The Editorial Magazine

Banal expressions of something incredibly vast, psychic containers like stills from a time lapse of unconsciousness erupting. 

“Ceramic art cancels out ideals, for better or worse. It’s a continuous process of acceptance.”

Clue wrote and recorded Picket Fence at her home earlier this year, telling us the song “Cherishes the idea of letting go of something and embracing spiritual connectivity.”

Four artists united in their efforts to represent the intangible through the phenomenological languages of color, shape, and light.

On Empathy and Bureaucracy in Racheal Crowther’s Qualified To Care

The beauty of Gold’s work is in her ability to bring the viewer with her.

Fade haircuts, concrete walls, flyers with tear-off tabs for carpet cleaners: on canvas, this ephemera that Gonzalez Jr. fixates on gives us something earnest, a documentation of a life for the last generation not fully enveloped by the internet.

French illustrator and comic artist, Jul Quanouai, is a visual polyglot. The varying styles and mediums he employs in his practice are like private languages of process and form, each one operating on a slightly different emotional timbre.

Why do all screenwriting and directing efforts get lost in a sea of gaze, femininity, and vanity? Why, still, does a woman have to be only behind the camera to be taken seriously?

An anachronistic office environment rendered in bleak color palettes and composed as a symmetric, medieval walled garden adorned with figurative renderings of chivalric symbolism depicting idyllic moments of the hunt and romantic courtship.