The 78th Volume of Hi-Fructose is here.
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.
“A shining door. A stairway, from nowhere to somewhere impossible. A figure, far off and shrouded in darkness, as if they are from the darkness, as if they were spawned from the structure itself. The structure created a person to walk it—to give it purpose.
Illustrator James Lipnickas says, “I have always been fascinated by mystery!”
The drawings of James Lipnickas was the featured artist in our special insert section in issue 71 of Hi-Fructose, we have a few stacks of these left.
@jameslipnickasart
If you had an astral alter ego, what would it look like?
From @masquenpapiermache
“My astral doppelganger”
Collaboration @derevo_ne_derevo x @masquenpapiermache
Painter Michael Koehler depicts landscapes that are brazenly modern; complete with the digital distractions and glitches which infect our attention span layered on top. While Impressionist plein air painters attempted to capture the feeling of nature, Koehler’s best work captures our visual state of mind in a way that’s all too relatable; there’s little chance of a digital escape, even a quiet scene is disrupted by a pop up window.
See his paintings in person in Philly at @archenemyarts We hear the weather is beautiful lately.
@michaelkoehlerart
Of the significance of hair, says the artist known as Shoplifter, “We constantly try to tame it and we have to make conscious, creative decisions all the time on what to do with it.” With a background in drawing and painting, Arnardóttir didn’t know just how crucial a role that synthetic hair would play in her art. “I think that hair snuck into the rest of my work. I didn’t realize that it would turn into this,” she says. “I didn’t mean for it to turn into this monstrosity.”
Initially she incorporated brown braids into her pieces. “Instead of drawing on paper, I was just going to use the physical material,” she says. “I started making murals, where I would place the braids and create this drawing with the patterns that are created when you do that.”
In part, Arnardóttir’s choice of material is reflective of her interest in the sheer volume of stuff that exists in this world. “Mass production of ridiculous things is fascinating to me, like a banana cutter or these ridiculous, nonsensical objects that are supposed to enrich our lives and make it easier, but it’s just an onslaught of stuff,” she says. Arnardóttir says that she likes to use materials that already exist in the world, perhaps recontextualizing them in the process. “Sometimes the original purpose is in the foreground, sometimes in the background,” she says.
The evolution of hair extensions in Arnardóttir’s work is an example of that. “Right now, the hair extensions have ceased to be so obviously hair extensions, but in the beginning I was doing braids out of brown hair extensions so that was referencing humans in that product,” she says. “Now, it’s become this onslaught of colors, texture and, frankly, a huge, analog, three-dimensional landscape painting in a way.”
Read the full article by Liz Ohanesian on @shoplifterart now on Hi-Fructose
Photos:
slide 1 and 9: @elisabet_davidsdottir
We’ve added a new library bundle with 6 rare issues, over 700 pages of Hi-Fructose in one box. Plus, thanks to our friends at Last Gasp, we’ve pre packed a bonus extra in each box, AND we cover the damn shipping.
What do you get when you combine an obsessive urge to create, sleep deprivation, climate change anxiety, and penchant for enchanted nature realms? Amy Casey shows us firsthand, through her infinitely detailed paintings of manmade structures, either clashing or peacefully coexisting with natural environments. In these pieces we might find repetitions of fungi, leaves, and moss burgeoning from trees, and hordes of impossibly assembled buildings.
As fantastical as it may seem, Casey’s imagery is based on composites of real-life experience, pulled from mental file cabinets and reinforced by meticulously collected reference material. “I have drawers upon drawers of building photographs from my neighborhood and my travels, organized by the number of stories the buildings have. Though sometimes buildings in my paintings might look non-specific, they are almost all buildings that exist. I also have thousands of pictures of stumps, lake waves, fungi, and other bits of nature—so even the nature parts of my paintings are usually based on things that actually exist,” she says. Abounding from her personal framework are complex worlds harboring universal messages.
Read Zara Kand’s full article on @amy_casey_art now on Hi-Fructose
In thirty days, artists from all over the world will hide original works of art for you to find and if you are lucky, keep. @gameofshroomsofficial is an annual leave no trace Art N Seek holiday where nature invades the human space in the form of original mushroom art to celebrate local art communities and non commercial gift giving.
Look for clues for this work in Thailand on June 13th by JObe. @jobe_coins
It’s time to make your eyes vibrate with this painting by Erik Mark Sandberg for Arch Enemy’s annual Brings May Flowers show. We are not sure what the music notes would sound like, so we made an educated guess.
@erikmarksandberg
@archenemyarts
