select publications
on divya mehra
In the 1984 cult classic Ghostbusters, when the god Gozer asks the protagonists what form they’d like the destroyer of the world to take, one of the team envisages Stay Puft Marshmallow Man – the seemingly harmless mascot of an ultra-processed snack food – who wreaks havoc on New York before finally being restrained. At more than nine metres tall and six metres wide, multidisciplinary artist Divya Mehra’s inflatable replica, We’re Ready to Believe in You (2024), almost entirely fills the second room of her solo show...continue reading.
on otis houston jr.
More striking than his overalls and melon-cap was the expression of absolute calm and contentment on his face as if he were standing beside not a heaving highway but a mountain lake. What I remember is straining in my seat to look back, transfixed by the grace and gravitas of the man painting over the exhaust, the sirens, the crush of cars, with a smile on his face...continue reading.
on jessie homer french
2023
where the right side is sliced open to reveal beneath the uniform, armor, weaponry, beneath even the skin, the internal organs, veins, and bones within. The same veins in him that carry the red-blue blood between my heart and feet, the same stomach as the one that rumbles, hungry to be filled full when empty in Hayden, in him, in me...continue reading.
on teresa baker
if art historian Simon Schama’s assertion is correct that “landscapes are culture before they’re nature” and “scenery is built up as much from strata of memory as from layers of rock,” then when Teresa Baker, a member of the Mandan and Hidatsa tribes, surveys the Northern Plains she sees far more than meets the eye...continue reading.
select commissions *recommended
on carole ebtinger
Standing before Promesse IV, you may see light flickering atop ruffled waters, streaming through leafy trees, or enshrining in gold, if for a moment, the pond’s mottled floor. But what you feel—what it makes you feel—is harder to place, harder yet to name. The rise and fall of light and shade across the twelve paintings comprising Carole Ebtinger’s A promise I want to resolve leads you toward the indescribable...continue reading.
on allison schulnik
When the speaker in T.S. Eliot’s The Love Song of J. Alfred Prufrock says, "I have measured out my life with coffee spoons," he means to say his life is burdened by the mundane. But for painter, sculptor, and filmmaker Allison Schulnik, spoons and all the quotidian activities they represent—nourishing loved ones, acts of service, comfort, and care—are from what a meaningful life is made...continue reading.
*on caro
“To know the history of embroidery is to know the history of women,” observed feminist art historian Rozsika Parker. Indeed, thread is amongst the earliest tools of meaning-making coeval with the charcoal mark, the ochre line. Even now, it’s difficult to name a material more inextricably linked than fabric to the human experience....continue reading.
on isabella cuglievan
Throughout, the lush, voluptuous brush marks feel generative, fertile, vividly alive, as if expressing the same energetic force that surges through all green things that grow toward the light. This vitality is, in turn, echoed and evolved with each restless brushstroke that proceeds sequentially from the one before...continue reading.
on jude pauli
Pauli’s segmented ceramics, with their asterisks, discs, skittery lines, arrows, orbs, cones, and dashes, appear like a physicalized language. Composed vertically, like archaic cuneiform, the three-dimensional symbols and glyphs form words, sentences, and stories whose meaning is entirely alien and intrinsic, even primal...continue reading.
on tahnee lonsdale
This is not to say that her new body of work doesn’t solicit slow-looking—it does—but that the paintings are immediately astonishing. Leonora Carrington once wrote, “I want to make people feel, to see what they haven't seen, to imagine beyond what is possible.” These celestial panoramas, populated by diaphanous beings...continue reading.
on david ‘mr.starcity’ white
as Loverboy makes flowers unfurl from the earth, Mr.StarCity coaxes his vibrant portraits from soil, sand, pumice, charcoal, and acrylic. Their rough-hewn surfaces are lush yet acerbic, the gritty textures recall the sensation of having one’s hands in the ground. Loversboy's face, a polychromatic bouquet, emerges from the confines of a tightly cropped frame...continue reading.
on gabrielle garland
“the house, even more than the landscape, is a "psychic state," even when reproduced as it appears from the outside, it bespeaks intimacy,” wrote Gaston Bachelard in The Poetics of Space. When I recall the quote to painter Gabrielle Garland, she’s quick to tell me that she, like Bachelard, is “definitely a phenomenologist. That’s me!” To view her luminous oil paint portraits of technicolor houses is to understand precisely what Bachelard meant by the “psychic state” of a home...continue reading.
on nancy friedland & ryan dobrowski
The Romantic writer John Keats once observed that all one needs to write poetry is a “feeling for light and shade.” Nancy Friedland and Ryan Dobrowski’s lucent compositions make a similar case, not for poetry but for painting. Both artists modulate the effects of light and darkness to wrest significance from ambiguity...continue reading.
*on gerald davis
to memorialize flowers in full wilt, stems bowed in acquiescence to the natural order of growth and decline, is to undermine the traditional imperative to rebuke the ephemerality of beauty and instead embrace life as it presently exists—yes, even wilted, yes, faded, yes cobwebs and all—....continue reading.
*on skylar hughes
resisting both narrative and categorization, the polychromatic images present an alternative way of seeing that is multifarious and dynamic. The world here is in flux, gracefully advancing toward knowability before again retreating, receding like the tide back into the sea. Inspired by the liminal periods of dusk and dawn, the muted palette emphasizes fluidity and ambiguity...continue reading
on james goss
goss sculpts, scrapes, layers, and manipulates enormous amounts of oil to emulate the crenelation of a flower petal, the lushness of a patch of grass, and the grit of a sandy beach. To see the ridges and grooves on the trunks of the elm trees is to feel their scaley bark beneath your palm in an inspired moment of synesthesia...continue reading.
*on jieun reiner and niki ford
both born of the earth, in subject or in substance, and shaped by the desire to manifest an internal tension in physical form, they enable the possibility of existing in the liminal space between nationalities, genders, and generations, between dreams and reality, past and present...continue reading.
on camilla engström
engström’s figures are rutilant, at once ethereal and carnal, the creators and creations of their landscapes. Their expressions are peaceful, pensive, and their dispositions benevolent, sublime. While fluid, glowing brushwork renders skin smooth and supple, complex chiaroscuro shading begets depth and anatomical definition....continue reading.
on cha yuree
to understand it this way, is to see how Cha’s women are engaged in something far more robust than their static poses could possibly convey and perhaps more fluid than the rigidity demanded by the roles they’re forced to perform...continue reading.
on brian robertson
we are, despite all our efforts to conceal it, animals. Animals, whose behaviors are determined, in large part, by a complex series of chemical reactions. “We’re blind to our blindness,” says psychologist Daniel Kahneman on the difficulty of knowing ourselves...continue reading.
on hiroya kurata
this is what food looks like 2023: highly processed white cake with frosting and strawberries. This is what children looked like: chaotic, cheerful blurs of energetic life force in cotton shorts. And light: dappled. And parks: serene. And mothers: overworked but ever-present...continue reading.
on super future kid
the twin figures seen throughout, rendered in an exuberant color palette and arranged in striking compositions appear as two halves of the same whole; their relationship, a third thing that transcends the limitations and boundaries of the self...continue reading.
jonathan edelhuber chooses carpe diem over momento mori
evidence of erasure, rupture, and addition indelibly preserved on the canvas’ surfaces affords the works not only a spatial depth but a temporal one as well. Each painting or sculpture reveals the stages of its creation, from blunt, flat strokes and splatters to robust finishes and scraped-down layer...continue reading.
on adam beris
in this way, the works become almost like Rorschach Tests, where each viewer sees themselves and their own tastes, assumptions, and experiences reflected back toward them...continue reading.
*on andy dixon
portraying works of art as commercial objects, subject to reproduction and arbitrary market values, is to remove them from the realm of the sacred and the untouchable and understand them in their historical context, which is to acknowledge the social systems that made their creation possible and to interrogate the ways their subjects venerate and perpetuate those hierarchies...continue reading.
additional publications include: typo, khora, blackbook magazine, man repeller, calliope, into the gloss, earnshaw’s, and footwear plus. fashion and culture clips available upon request.
2024
in conversation with ruby neri
for interview
Spend just five minutes with the Los Angeles-based artist Ruby Neri, and you’ll be absolutely charmed. “I can’t really sit still,” she says before jumping up to grab a Topo Chico. Then, a bottle opener. Then, a paper towel. Neri radiates the kind of kinetic energy that animates everything around her, including the statuary strewn about her spacious studio. What people mourn when they mourn the end of childhood is the loss of such unabashed vitality. As she bounds between the various vividly painted female figures, her dog Lucy trailing close behind, you’d swear the ceramics were moving, too...continue reading.on joseph beuys
for artnews
“If you have all my multiples,” Joseph Beuys once said, “then you have me completely.” The polymathic German sculptor was referring to the editioned objects that bore the intellectual and emotional freight of his artistic project. Ranging from blackboard erasers to carved blocks of copper-infused beeswax, these objects were small in scale and large in edition size...continue reading.on wendi norris
for art basel
For San Francisco gallerist Wendi Norris, words matter. More so than ‘surrealist’ – the characteristic most often attributed to her program – ‘textual’, ‘poetic’, and ‘narrative-driven’, best describe her artistic project and curatorial vision. Of the artists she represents, which include María Magdalena Campos-Pons, Chitra Ganesh, Enrique Martínez Celaya, and the estates of Leonora Carrington and Dorothea Tanning, Norris says: ‘Whether they’re using text as a visual material, referencing a work of literature, incorporating their own writing practice, or...continue reading.on magdalena suarez frimkess
for art papers
Whereas many ceramicists, including her husband, take great pains to rid their work of evidence of their physicality, eradicating touch, pressure, emotion, and kinetic energy, Magdalena’s sculptures quiver with her presence. Fingerprints, pinch marks, patchwork, the spontaneity and surety of her brushstrokes altogether engender a perceptible alive-ness. As the show’s title, The Finest Disregard, suggests, her feelings about convention and perfection are not on account of amateurism or ineptitude but in obedience to a higher designation, a rarefied vision...continue reading.in conversation with wendy red star
for artillery
Spanning self-portraiture, archival imagery, large-scale installations, mixed-media collage and performance, Red Star’s practice interrogates and undermines representations of Native Americans as primitive peoples and foregrounds the dynamism of contemporary Indigenous experience. In her series Thunder Up Above, included in Future Imaginaries: Indigenous Art, Fashion, Technology, at the Autry Museum, Red Star reimagines traditional powwow regalia for a future in outer space. Red Star and I met to discuss Indigenous Futurism, sewing, Crow Fair, and the moment she realized she could paint...continue reading.on divya mehra
for frieze
In the 1984 cult classic Ghostbusters, when the god Gozer asks the protagonists what form they’d like the destroyer of the world to take, one of the team envisages Stay Puft Marshmallow Man – the seemingly harmless mascot of an ultra-processed snack food – who wreaks havoc on New York before finally being restrained. At more than nine metres tall and six metres wide, multidisciplinary artist Divya Mehra’s inflatable replica, We’re Ready to Believe in You (2024), almost entirely fills the second room of her solo show...continue reading. in conversation with joanna novak
for bomb
I first read JoAnna Novak in 2018 after a friend gifted me her book-length poem Noirmania. I immediately fell in love with her melliferous diction, brimming with words like rosarium, cortège, and efflorescence. Two books of poems, one short story collection, and a memoir later, Novak’s delight in words’ sounds, shapes, and aesthetics continues to beguile. In her latest collection, Domestirexia (Soft Skull, 2024), Novak contends with the ethics and efficacy of desire during pandemic lockdown...continue reading.on carl cheng
for flaunt (print)
Aerospace-grade aluminum, avocado seeds, surfeit cerulean plexiglass, chemistry pipettes, stumps from abandoned Christmas trees, defunct miniature TVs, Wonder Bread, and organic specimens scavenged from shores around the world: these are just a few of the things that 82-year-old artist Carl Cheng has turned into art. Known for his genre-defying objects and innovatory public installations, Cheng has an alchemist’s talent for wresting something from nothing...continue reading.on kyungmi shin
for artillery (print)
Vintage family photographs, archival images, art-historical motifs and acrylic paint coalesce in portraits striving to convey the complexity of identity and the discordant narratives that form and deform history. Shin locates the point where the personal and the universal meet: where the urgency of the present intersects with the languid grandeur of the past...continue reading.on helen pashgian
for artnews
Before I can tell you how it was, I have to tell you how it wasn’t. It wasn’t futuristic, overtly technological, or like a sequence of special effects. It was less ominous and less speculative than my research had led me to expect. It was astonishing, remedial, and—as dubious as this sounds—transformative. When I left Pashgian’s studio some hours later, I was not the same person I was before...continue reading.in conversation with anna marie tendler
for w magazine
Men Have Called Her Crazy offers an original portrait of a woman who’s reached the apex of her rage against the patriarchy, a field guide to contemporary mental health practices, and a moving testament to the possibility of growth and healing. Below, Tendler opens up about her writing process, her current favorite recipe, and the album she can’t stop listening to on repeat...continue reading.on kate pincus-whitney
for artsy
For Ernest Hemingway, a “moveable feast” referred to a formative experience of a place—in his case, Paris—that stayed with you long after you’ve left. For self-described artist-anthropologist Kate Pincus-Whitney, the enduring experiences that inform her paintings are literal feasts, too, centered around shared meals in her hometown of Los Angeles. Stuffed celery from Musso & Frank Grill, Nancy Silverton’s Caesar salad...continue reading.on mickalene thomas
for w magazine
The art critic Jerry Saltz recently described Mickalene Thomas’s work as “a brick thrown through the window of art history.” Perhaps this was in reference to the way her nude portraits subvert the traditional male gaze or how her portrayal of Black queer female bodies challenges ingrained hierarchies. Or maybe it’s because of her unconventional use of craft supplies like rhinestones, felt, and glitter or because her mixed media paintings refuse formal categorization...continue reading.how betye saar’s radical assemblages have inspired a new generation of black women artists
for artsy
Betye Saar has made art for over six decades, yet in many ways, her work feels more relevant and urgent than ever. Her intricate and inventive collages, assemblages, and installations, dating back to the 1960s, merge the political with the mystical, imbuing historical narrative with personal, ancestral memory...continue reading.on sculptor camille claudel
for artnews
Though the figure lacks a head, arms, and left knee, she is stolidly centered. The burnished bronze figure writhes, pulling the skin and tendons taut across the delicate bones of her back. The attenuated surface, animated by the innumerable minuscule movements required to maintain the figure’s equilibrium, trembles with life. The absence of the left knee, lower thigh, and upper shin exposes the figure’s breasts and abdomen; her bottom rests on the back of a sudden ankle...continue reading.on basel abbas and ruanne abou-fahme
for artillery (print)
In the 18th century, when the Iranian elite heard rumors of the grand mirrored halls of Europe, they sent merchants to procure as many sheets of brilliant reflective glass as their boats could carry. Still, the mirrors cracked in their elaborate frames somewhere between Venice and Tehran. Rather than attempt to reassemble the shattered glass, artisans inlaid the thousands of pieces in sweeping geometrical patterns along walls and across ceilings. The mesmerizing designs...continue reading.on otis houston jr.
for autre (print)
More striking than his overalls and melon-cap was the expression of absolute calm and contentment on his face as if he were standing beside not a heaving highway but a mountain lake. What I remember is straining in my seat to look back, transfixed by the grace and gravitas of the man painting over the exhaust, the sirens, the crush of cars, with a smile on his face...continue reading. how contemporary women artists are reimagining cubism—and the body
for artsy
“Nothing changes in people from one generation to another except the way of seeing and being seen,” wrote Gertrude Stein in Picasso, her 1938 portrait of the Cubist pioneer. In the early 20th century, artists around the world set out to process and represent the effects of accelerated urban, industrial, and technological progress on visual perception. Early Cubists, concerned with the spatial relationship between a form and its parts, dissected familiar objects...continue reading.on jessie homer french
for artsy
Coming from someone else, the sentiment might register as untrue or intentionally contentious, but looking at Homer French’s intricate painting of jimsonweed blooming between scorched pinyon trees, or another of a pearlescent plane soaring over a field of turbines, the viewer understands her sincerity. You see what she sees: a world alternately ravaged and renewed by man’s capacity for devastation and rebirth....continue reading.
on anna libby and anne rosen
for artillery (print)
communal and collaborative art practices have long appealed to artists as a means of disrupting the patriarchal mythology behind the solitary creative genius, and escaping the art-market matrix of competition and authorship. For the two Los Angeles–based artists behind Libby Rosen, Anne Libby and Anna Rosen, collaboration afforded them not only freedom from...continue reading.2023
on hugh hayden
for autre
where the right side is sliced open to reveal beneath the uniform, armor, weaponry, beneath even the skin, the internal organs, veins, and bones within. The same veins in him that carry the red-blue blood between my heart and feet, the same stomach as the one that rumbles, hungry to be filled full when empty in Hayden, in him, in me...continue reading.on teresa baker
for autre
if art historian Simon Schama’s assertion is correct that “landscapes are culture before they’re nature” and “scenery is built up as much from strata of memory as from layers of rock,” then when Teresa Baker, a member of the Mandan and Hidatsa tribes, surveys the Northern Plains she sees far more than meets the eye...continue reading.on duke riley
for artillery (print)
“Humankind cannot bear very much reality,” remarked the poet who gave us The Wasteland, T.S. Eliot. The observation supports the standard explanation for the failings of our species to adequately address the climate crisis, the scope and scale of which are too abstract and elusive for people to fathom...continue reading.select commissions *recommended
2024
on carole ebtinger
for sarah brook gallery
Standing before Promesse IV, you may see light flickering atop ruffled waters, streaming through leafy trees, or enshrining in gold, if for a moment, the pond’s mottled floor. But what you feel—what it makes you feel—is harder to place, harder yet to name. The rise and fall of light and shade across the twelve paintings comprising Carole Ebtinger’s A promise I want to resolve leads you toward the indescribable...continue reading. on allison schulnik
for the pit
When the speaker in T.S. Eliot’s The Love Song of J. Alfred Prufrock says, "I have measured out my life with coffee spoons," he means to say his life is burdened by the mundane. But for painter, sculptor, and filmmaker Allison Schulnik, spoons and all the quotidian activities they represent—nourishing loved ones, acts of service, comfort, and care—are from what a meaningful life is made...continue reading. *on caro
for sarah brook gallery
“To know the history of embroidery is to know the history of women,” observed feminist art historian Rozsika Parker. Indeed, thread is amongst the earliest tools of meaning-making coeval with the charcoal mark, the ochre line. Even now, it’s difficult to name a material more inextricably linked than fabric to the human experience....continue reading.on isabella cuglievan
for the pit
Throughout, the lush, voluptuous brush marks feel generative, fertile, vividly alive, as if expressing the same energetic force that surges through all green things that grow toward the light. This vitality is, in turn, echoed and evolved with each restless brushstroke that proceeds sequentially from the one before...continue reading.
on jude pauli
for la loma projects
Pauli’s segmented ceramics, with their asterisks, discs, skittery lines, arrows, orbs, cones, and dashes, appear like a physicalized language. Composed vertically, like archaic cuneiform, the three-dimensional symbols and glyphs form words, sentences, and stories whose meaning is entirely alien and intrinsic, even primal...continue reading.
on sydney zester
for the pit
Standing before Sydney Zester’s technicolor quilts, it is nearly impossible not to feel the exuberance—the sheer delight—of their creator. Harnessing the effulgent energy of color, the consonant pleasure of composition, and the embodied resonance of fabric, the eight textile works in Giddy and Gusto enliven and console in equal measure...continue reading.*on fedor deichmann
for the pit
One does not need Wassily Kandinsky’s synesthesia or even to know that the painting’s title is borrowed from a symphony by Paul Hindemith to see music in Deichmann’s mesmerizing six-foot-tall Mathis der Maler. Traversing legato planes, sweeping gestural lines, and restless staccato brushstrokes reify the reach and resonance of a musical score...continue reading.on tahnee lonsdale
for night gallery
This is not to say that her new body of work doesn’t solicit slow-looking—it does—but that the paintings are immediately astonishing. Leonora Carrington once wrote, “I want to make people feel, to see what they haven't seen, to imagine beyond what is possible.” These celestial panoramas, populated by diaphanous beings...continue reading.
*on hayley barker
for brepols publishing (print)
Her verdant compositions, teeming with the elan vital of diaphanous grasses, lacy petals, and succulent citrus fruits, compel viewers to stop and rest awhile. As musical tones make nearby objects vibrate at the same frequency, the tender thrumming emanating from Barker’s pictorial worlds encourages reciprocal harmony. The pervasive sense of benevolence and serenity is bewitching...continue reading.*on tidaywhitney lek and veronica fernandez
for night gallery
Both women plumb the depths of their experiences to render the ecstasy and agony of the human condition in painterly bids for connection and acts of witness. In densely layered compositions that merge past and present, inherited and embodied memories, self and other, both artists give form to stories of love and loss as personal as they are universal...continue reading.on david ‘mr.starcity’ white
for the pit
as Loverboy makes flowers unfurl from the earth, Mr.StarCity coaxes his vibrant portraits from soil, sand, pumice, charcoal, and acrylic. Their rough-hewn surfaces are lush yet acerbic, the gritty textures recall the sensation of having one’s hands in the ground. Loversboy's face, a polychromatic bouquet, emerges from the confines of a tightly cropped frame...continue reading.on gabrielle garland
for the pit
“the house, even more than the landscape, is a "psychic state," even when reproduced as it appears from the outside, it bespeaks intimacy,” wrote Gaston Bachelard in The Poetics of Space. When I recall the quote to painter Gabrielle Garland, she’s quick to tell me that she, like Bachelard, is “definitely a phenomenologist. That’s me!” To view her luminous oil paint portraits of technicolor houses is to understand precisely what Bachelard meant by the “psychic state” of a home...continue reading.
*on chase barney
for the pit
According to historical records, the proverbial wisdom in the 17th and 18th centuries saw god, not the devil, in the details. That is until Friedrich Nietzsche pronounced god dead and amended the original idiom to der teufel stecktim detail or the devil in the details. For Barney’s effervescent clay sculptures, god is nowhere because he is everywhere, and the devil predominates by hiding in plain sight...continue reading.on nancy friedland & ryan dobrowski
for la loma projects
The Romantic writer John Keats once observed that all one needs to write poetry is a “feeling for light and shade.” Nancy Friedland and Ryan Dobrowski’s lucent compositions make a similar case, not for poetry but for painting. Both artists modulate the effects of light and darkness to wrest significance from ambiguity...continue reading.
*on alan prazniak
for la loma projects
irresolution consistently asserts the need for imagination and invention; here, the land is simultaneously water, sky, mountain, meadow, and vista, always already just up ahead. Where an exacting replica of a mountain range can only reveal something of itself, Prazniak’s compositions depend upon the viewer’s collaboration and revelation for their full meaning...continue reading.*on emily yong beck
for the pit
the sculptures in Soft Power visualize Beck’s reckoning with history’s claim on the present and her attempt to reconcile dialectically opposed truths about a beloved art form. Offering a poignant example of the ethical dilemma slated to define our contemporary moment: Can we cleave the past from the present? The artist from the art?...continue reading.*on keita morimoto
for night gallery
the nocturnal cityscapes and portraits in as we didn’t know it are akin to stills captured from a single, atmospheric film or cropped sections along a much larger, continuous tableau vivant. The compositions feature moments of stillness while suggesting that action and revelation are imminent...continue reading.*on gerald davis
for la loma projects
to memorialize flowers in full wilt, stems bowed in acquiescence to the natural order of growth and decline, is to undermine the traditional imperative to rebuke the ephemerality of beauty and instead embrace life as it presently exists—yes, even wilted, yes, faded, yes cobwebs and all—....continue reading. *on skylar hughes
for la loma projects
resisting both narrative and categorization, the polychromatic images present an alternative way of seeing that is multifarious and dynamic. The world here is in flux, gracefully advancing toward knowability before again retreating, receding like the tide back into the sea. Inspired by the liminal periods of dusk and dawn, the muted palette emphasizes fluidity and ambiguity...continue reading on james goss
for the pit
goss sculpts, scrapes, layers, and manipulates enormous amounts of oil to emulate the crenelation of a flower petal, the lushness of a patch of grass, and the grit of a sandy beach. To see the ridges and grooves on the trunks of the elm trees is to feel their scaley bark beneath your palm in an inspired moment of synesthesia...continue reading. *on jieun reiner and niki ford
for la loma projects
both born of the earth, in subject or in substance, and shaped by the desire to manifest an internal tension in physical form, they enable the possibility of existing in the liminal space between nationalities, genders, and generations, between dreams and reality, past and present...continue reading.on jonathan casella
for the pit
“Poet and philosopher Henry David Thoreau advised in his masterpiece Walden that “if you have built castles in the air…that is where they should be. Now put the foundations under them.” Jonathan Casella imagined palatial vessels capable of holding the elusive, incandescent...continue reading.on camilla engström
for over the influence paris
engström’s figures are rutilant, at once ethereal and carnal, the creators and creations of their landscapes. Their expressions are peaceful, pensive, and their dispositions benevolent, sublime. While fluid, glowing brushwork renders skin smooth and supple, complex chiaroscuro shading begets depth and anatomical definition....continue reading.on cha yuree
for over the influence hong kong
to understand it this way, is to see how Cha’s women are engaged in something far more robust than their static poses could possibly convey and perhaps more fluid than the rigidity demanded by the roles they’re forced to perform...continue reading.on brian robertson
for everyday moonday gallery
we are, despite all our efforts to conceal it, animals. Animals, whose behaviors are determined, in large part, by a complex series of chemical reactions. “We’re blind to our blindness,” says psychologist Daniel Kahneman on the difficulty of knowing ourselves...continue reading.
on hiroya kurata
for over the influence gallery los angeles
this is what food looks like 2023: highly processed white cake with frosting and strawberries. This is what children looked like: chaotic, cheerful blurs of energetic life force in cotton shorts. And light: dappled. And parks: serene. And mothers: overworked but ever-present...continue reading.
on super future kid
for mindy solomon gallery
the twin figures seen throughout, rendered in an exuberant color palette and arranged in striking compositions appear as two halves of the same whole; their relationship, a third thing that transcends the limitations and boundaries of the self...continue reading.jonathan edelhuber chooses carpe diem over momento mori
for over the influence gallery los angeles
evidence of erasure, rupture, and addition indelibly preserved on the canvas’ surfaces affords the works not only a spatial depth but a temporal one as well. Each painting or sculpture reveals the stages of its creation, from blunt, flat strokes and splatters to robust finishes and scraped-down layer...continue reading.on adam beris
for over the influence gallery bangkok
in this way, the works become almost like Rorschach Tests, where each viewer sees themselves and their own tastes, assumptions, and experiences reflected back toward them...continue reading.*on andy dixon
for over the influence bangkok
portraying works of art as commercial objects, subject to reproduction and arbitrary market values, is to remove them from the realm of the sacred and the untouchable and understand them in their historical context, which is to acknowledge the social systems that made their creation possible and to interrogate the ways their subjects venerate and perpetuate those hierarchies...continue reading.
additional publications include: typo, khora, blackbook magazine, man repeller, calliope, into the gloss, earnshaw’s, and footwear plus. fashion and culture clips available upon request.