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.
Land artist Laurence Winram uses only materials found in nature for all aspects of his work, including honey as “glue”. He follows a long line of artists like Andy Goldsworthy, Joseph Beuys, and Robert Smithson.
@shapednature
Zacharie Gaudrillot-Roy`s decade-long, on going series, "Façades" has taken him through the city streets of places like Canada, Switzerland, France, and Lithuania, photographing urban and suburban, landscapes by night.
Taking shots with his camera from various angles, then digitally striping away everything from building structures, leaving only the façades — reshaping the surrounding landscape into scenes that feel like places in between, liminal (his own word to describe the 2013–2016 suburban chapter of the series) and almost devoid of human presence.
In Heather Benjamin’s work, her characters move through a spectrum of emotions and phases that reflect the complexity of womanhood. For more, see @heatherbenjamin_ or have a peek at our online story by Andy Smith on Hi-Fructose.
Some love the Choco Taco, others the Ice cream Fish.
Work in progress by Qimmy Shimmy.
@qimmyshimmy
Drawing a fish with late night sax-y sax solo with Bags. @bags43
baggerclips (jams🎼: Aktr - “Allspirituals ”)
Let’s take a sunset jaunt to Anthony Hurd’s ‘Gentle Nature’, “a solo project that engages with themes of nostalgia, love, and authenticity, set against a backdrop of vibrant color and the natural world.” now showing at MOAH Lancaster, presented by Thinkspace.
Hurd was last featured in Hi-Fructose issue 72, where the artist discussed their “internal landscapes” and evolution to his current body of work stating:
“My perception of queer life early on was, we don’t live long, we don’t live well, and the only safe place for us is big cities like NYC, LA, or SF. While the adult me knew better, the child in me did not, because there was nothing in the world to show me otherwise,” Hurd confides, circling back to the artist’s eventual realization: “So to comfort my inner child, I gave myself the representation I never had. I wanted to see loving, queer relationships taking up space in nature. Not hiding in the business of big cities but feeling safe in the desert, in nature. There was a very freeing feeling that just burst from within me when I started painting these new works.”
The body is an obsession for Monica Piloni. Whether it’s a hollowed face in the Samieses series or the eerie dolls depicted in “Ilegais”, a majority of Monica Piloni’s sculptures confront the human form. And while consistently returning to the body may seem confining to some, it’s a pursuit marked by liberation for the Brazilian sculptor. “I think that making art and looking at the body as an object of research is a way to break free from the bowels, guts, and drives, and for a few moments, to break free from desires,” Piloni says, in an interview with Hi-Fructose Magazine, “those desires which when realized, are immediately replaced by others.”
Read the full article on @monicapiloni now on Hi-Fructose.
We’re not exactly sure what is going on here but we do appreciate this attempt at attaining maximum whimsy .
@riskoukaidou via @hiroyukismily7
