Caley Feeney is a Los Angeles-based visual artist and musician. She makes art using a wild potpourri of materials, including drawings, paintings, graphic design, sculpture, music, toys, t-shirts, and textiles. But she tells us her favourite mediums are dance, laughter, and jokes.
Cara Chan’s A Part of Things
The soft, chalky texture of Cara Chan’s Venetian plaster sculptures evokes touch. Figures fondling and holding onto each other; they seem to converse in bed. Luminous busts rest elegantly on carefully constructed plinths, mutually supporting and melting together, interconnected
Nhozagri’s Stuffie Babies
PUBLISHED IN ISSUE 18 Nhozagri tells me her name means “someone who can make the sun sharp” in Chinese. She speaks in special, spiritual aphorisms. For example, about one of her sculptures, a particularly circular, fuzzy orange creature, she says, “Memories are jumping rope on someone’s face.” When I first laid eyes on Nhozagri’s creations, it…
Iris Fraser-Gudrunas for Dame Barbara Cartland
PUBLISHED IN ISSUE 18 Dame Cartland is the most prolific author of the 20th century, having written over 700 novels, the majority of which were pulp romance, often seemingly unedited. Estimate sales of her books range from 750K to 2 billion. A true 20th century woman, she was born 1901 and died in…
A Conversation with Sam Lipp
PUBLISHED IN ISSUE 18 INTERVIEW BY DREW ZEIBA Sleep, Acrylic on foamcore, mounted on aluminum. Images Courtesy of Bodega Artist, curator, and gallerist, Sam Lipp’s work floats. Despite his paintings’ use of seemingly clear language and representational images, the exact meanings behind them remain unnervingly difficult to pin down, unendingly unfixed. His paintings are suffuse…
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.
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