An interview with Angelique Heidler
So much of Heidler’s work feels as though it’s at its own altitude. Attention-seeking palettes are a conduit for recounting bewildering tales. Advertisements from a magazine’s back-page erotic advertisements, dried flowers, and stickers are the sorts of repurposed materials that find their way into her compositions. Engaging the pop cultural zeitgeist, farcical narratives, and divergent forms of femininity, Heidler’s work serves us a painterly mille-feuille brimming with dense, figurative layers.
Hollick’s Music for Water
“Music for Water is an idea I’ve had for sometime now. Since going to the local pool a lot more recently, I’ve come to realize how much water calms me. All songs selected have the theme of water running through them. Whether you’re heading to the pool, watering your plants, or just need a cool…
Andrea Lukic’s Journal of Smack
“I have fallen through a window of time, captured and written down on the screen. My name appears everywhere, but I cannot go home.” Journal of Smack, Andrea Lukic Branches drag across the window pane; shifting shadows on the floor reveal secret truths in Andrea Lukic’s fifth installment of Journal of Smack. Flipping the pages…
Koak’s Breaking the Prairie
Koak paints the modern day American Gothic, the Midwestern woman on the verge. Bold black lines and mood-colouring depict female figures writhing, gnawing, and bringing the axe down. Taking her title from Grant Wood’s 1930s mural Breaking the Prairie, Koak’s new exhibition is a reaction to a long history of men breaking nature. Wood’s Depression-era Public Works of Art projects serve as fodder for the Trump-era painter, with their focus on Midwest masculinity, agriculture, and economically-motivated American isolationism.
Kristy Luck and Alan Prazniak’s River Belly
The first to bloom and fastest to die, Lilac is the official harbinger of Spring. With a potent scent that is at once sweet and rotten, Lilacs unleash memories of childhood and adolescence. Kristy Luck and Alan Prazniak’s duo painting show River Belly, at Projet Pangee, takes us to Lilac realms.
Matthew Palladino’s Ourboros
Shiny, colourful, and 3D, Palladino’s work is consumer-friendly. Essentially a time-traveller in his practice, Palladino enhances the ancient art of sculptural reliefs with futuristic technologies like 3D design and additive manufacturing. In Ourboros, the gods and kings typically depicted in historical reliefs are traded in for idols of the current age: tech and science.
Antony Carle’s But You, Everybody Is
Today singer-songwriter Antony Carle unveils But You, Everybody Is, the first single off his debut album to be released in 2019. This sensual ballad, produced by Ouri, is wrapped in oneiric synths and unusual sounds. The lyrics are as personal as they are universal, tackling the quest for identity and the realities faced by today’s queer artists.
Prying Openings with Elysia Crampton
Elysia Crampton is an experimental producer and musician making music that is both challenging and rewarding. It is best to introduce her work, in writing at least, in her own words: “My two main points are that my work be understood as a project of Aymara survival and resistance… and secondly, as an impulse to resist appeals to individualism (marked by colonial law, in relation to bodies and land ownership, as a project of genocidal regulation against Native American people in the Americas). The notion of individualism as a governmental project of extraction and control can be traced verbatim to the Bureau of Indian Affairs.” A diverse, ever-growing group of attentive fans feel forever changed by her contributions.
Lauren Satlowski’s Gadzinas Bell
Lauren Satlowski’s exhibition Gadzinas Bell, currently on view at Odd Ark LA, features a group of psychological, future paintings. Satlowski’s lone protagonists, depicted as flimsy nebulous bodies, unlock a well of emotion typically reserved for human encounters with aliens or artificial intelligence. There’s a mix of love, empathy, and fear when we encounter these uncanny “others.”
Jane Corrigan’s Length of Day
In getting to know Jane Corrigan’s paintings in her recent exhibition, Length of Day at Erin Stump Projects, it’s helpful to delineate the four humours of Hippocratic medicine in ancient and medieval times. The humours were based on the balance of what was believed as the four distinct bodily fluids: Blood, Yellow and Black Bile and Plegm.
Orion Martin’s mark-making is nearly indiscernible. The precision with which he works seems uncharacteristic of our time—in favour of digital finesse, the act of pushing the limits of the human anatomy for the sake of art seems to have grown obsolete.
Whitney Mallett Goes to Mexico City
Mexico City is the new Berlin. A few years ago I heard someone announce it. All the kids who show at Berlin galleries show here too. All the same techno DJs play. I’m pretty convinced the world doesn’t need any more artists.
Venus Retrograde Mix ~ DJ Young Kiera
She’s back to help us through Venus Retrograde! Protect yourself from lurking exes and dive into hedonistic bliss with this new mix from DJ Young Kiera
An Homage to the Women of Televangelism
A glossy heap of modacrylic tendrils quivers with an emphatic “Only by the grace of God…”
Darby Milbrath’s Halloween Mix
Darby Milbrath returns for her annual Halloween mix of scary classical and ambience music. Warbling strings that are thought to be made by the devil. Artwork by Nick Bierk. Darby Milbrath is a Toronto based artist and editor at Editorial. See more of her work HERE.
Halloween Special: Somer Stampley
Stampley’s world is a celebration of the dreaded Bitch, a vixen decal slapped on the bumper of a truck speeding towards hell, a murderous nymphomaniac she-devil behind the wheel.
Halloween Special: Emily Mae Smith
A hot bullet sears through a glistening ice cube gouging out a peephole through which can be seen an alluring, anthropomorphic broom. This is the nightmare painted by Brooklyn-based artist Emily Mae Smith. Smith seems haunted by this broom, repeatedly painting it into different contemplative landscapes, as if she can’t escape it.
© 2019 The Editorial Magazine