The 78th Volume of Hi-Fructose is coming.
The New
Contemporary
Art Magazine
Hi-Fructose is a quarterly print art magazine founded by artists Attaboy and Annie Owens in 2005. Hi-Fructose focuses squarely on the art which transcends genre and trend, assuring readers thorough coverage and content that is informative and original. Hi-Fructose showcases an amalgamation of new contemporary, emerging as well distinguished artists, with a spotlight on awe inspiring spectacles from round the world.
It’s difficult to know when and how to communicate sometimes.
Surrealist embroidery by Santiago Cielo. @santo_cielo
🐸 El anfibio de las lenguas
The amphibian of tongues/languages
Isn’t it strange how a a bright geometric shape-y thing can be so soothing?
Aquatint etching by Courtney Sennish.
@courtneysennish
When color, texture and form come together perfectly… looking forward to seeing the end result of this work in progress by pheebs.
@cassisiss
Mother Pigeon is a performance artist and animal rights activist who creates hand stitched pigeons (and sometimes rats), usually in Washington Square Park in NYC. The actual pigeons seem to enjoy being around and mingling with their less animated flock, as does the populace. Unfortunately, the NYPD and parks service often harasses Mother Pigeon; often stating that she’ll need to have the pigeons displayed on a table to continue, which arguably eliminates the surreal element of her mobile, and very NYC art show.
@motherpigeonbrooklyn
Seiran Tsuno’s ghostly dresses rest above the bearer and recontextualizes the human body. The Japanese artist’s fluorescent creations are designed using a 3D pen, and in creating this work, Tsuno cites her 75-year-old grandmother as her muse. See more of her work on Hi-Fructose @seirantsuno
Artist Dante Denton first became known for his embedded Lego installations; where he would seamlessly fill a wall abscess or crack with the building block. His recent works included elaborate tapestries, “rips” included. @dantedentoniart in collaboration with @virginiacasadopolo
We visited Louise Bourgeois‘ intimidating "Crouching Spider" bronze sculpture at @donumestate
Full report on the field trip coming soon .
Memory may not be a tape-recorder, but in Sasha Gordon’s work, it serves as a device for the initial transportation. Characters wander this fluxing landscape—be it a drive-through window, a master bedroom, or white suburbia—shifting through the dynamic background of her dream-like haze. As a viewer of Gordon’s narrative paintings, you are intruding on intimate scenes of inciting trauma. There’s a word for this process. “Shadow work,” according to practitioners, is a radical form of self-education, where you integrate repressed aspects of ourselves back into the main self.
When Gordon paints herself as the main protagonist, she does so as her current self, re-inhabiting a depiction of her past memory in order to access her former self. Though characters are confided together in physical space, they are emotionally disconnected from each other and their environment, trapped in their own world of drudged-up thoughts. Yet this disconnect, spliced between the physical realm, and whichever memory the mind chooses, suspended between a moment from the past and somewhere in the future, spurs from a life’s worth of repression. In Gordon’s work, the renegade version of her current self revisits dramatized scenes from her past, creating narratives of constant collision.
“I know that I’m biracial and look East Asian, that I’m queer, that I’m in a bigger body, but there are moments when I forget or question these identities, and this state of confusion and dissociation is what I want to represent in my work.”
Read our full article on @sashaagordon written by Clayton Schuster now on Hi-Fructose.
