Death abounds in the work of Cindy Ji Hye Kim. The paintings evoke the funerary, mourning, and the physical death of the body, while the artist describes her process as something of a psychological journey towards ego death.
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Cash for Your Trash
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Somatic portraiture, while evocative of violence, equally represents a sort of tenderness
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Filippo Cegani’s paintings are haunting, universal symbols conjuring a sense of both reverence, and gothic horror.
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While man has exploited loopholes in the natural order in an attempt to replace God with his own image, Klein’s paintings suggest that this line of existence is frail and tenuous at best.
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From the characters buried deep within her psyche…
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The past, the present, the future—it all flattens out into familiar but impenetrable relics.
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Guerrero has managed to express the pure agony of simply having a memory. Think of anything and it is there.
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Artist and curator Aramis Gutierrez’s top 10 horror movies
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Scribbly, boyish drawings of devils and swords are placed methodically between plebeian fear-slogans “We should never listen to the voice of Satan.” One gets the sense these works were created in the spirit of penance.
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Mulligan harnesses portraiture and landscape to explore ciphers of a postcapitalist dystopia—organized religion, climate anxiety, data mining, post-irony, fast fashion, faces that smile unknowingly, or perhaps in blissful ignorance.
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She is filthy, dirty, sticky. She is wet and messy.
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Isabelle Albuquerque’s work is carnal, ritualistic, one part transhumanism, another part teratophilia
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The men are getting exactly what they always dreamed of, perfect wives. But the dream is becoming a nightmare.
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In the dark dark corners of a dark dark house, up in the rafters of cob-webbed abandoned buildings, on the creaky stairs of a haunted mansion, in the shadows cast by a heavy wood door rusting on its hinges, live Shelley Uckotter’s paintings.
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Indulging her taste for taboo, Dunlap aims to explore her obsessions, breathing life into her darkest interests.
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In the second issue of the magazine, an ad for Codependents Anonymous is followed by a sardonic editorial featuring Magic: The Addiction, a fictional card gamewith characters like “Nod the Comedown Clown” and “Lord Overdose.”
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Children and adult abductees often reported a sensation of being both human and alien at the same time, a condition called “Dual Reference.”
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