Beneath Space
Beneath Space (Numerous LEDs in a Republic) Continue reading “Mark Goodwin: Beneath Space // Coil Evolver”
Based in London, Konstantinos Papacharalampos (Greece, 1988) works in poetry, performance, installation and regeneration. After releasing K – On (ed. Entefktirio, 2011) his poems appeared in leading magazines in Greek and Russian and installed in situ in contemporary art festival Action Field Kodra. He then performed his second book Είναι/ Íne (ed. FRMK, 2015) in English (Velorose Gallery, London) and Greece (Lola Nikolaou Gallery, i.a.). Selected work was translated in German for Dichtung mit Biss (Freie Universität Berlin: ed. Romiosini/ CeMoG, 2018) and English for Futures: Poetry of the Greek Crisis (Penned in the Margins, UK, 2015). He holds a Diploma in Rural and Surveying Engineering from Aristotle University of Thessaloniki and an MSc Real Estate from CASS Business School (London). In 2018 he released his new poetry book, 3: Ανθρώπων Ιστορία/ 3: Anthrópon Istoría (ed. Koukounari), the hybrid pop project about repetition of ego in social media. See more from Konstantinos in his website or contact him via email. Twitter: @Kon_Papach Continue reading “Konstantinos Papacharalampos: Hi, Passenger”
Ash and Stardust, a monthly column by energy worker and artist/writer DHIYANAH HASSAN explores the intersections of tarot with healing and creativity. You can read the rest of the series here.
For October, I came up with a personalized tarot-inspired inktober challenge that I named after this column, #ashytober. I drew a card for each day and then illustrated my response to that card. The result is a series of digital art illustrations that gave life and ambience to the vibrant things that pulsate vividly beyond the surface of my days. Save for a couple of lags, I spent my October making art that I had no chance to plan for since each day’s prompt only happened when I pulled a card from the deck. I documented the work and shared some insight about the process for each piece on my Instagram (they’ll also be up on my website once that’s back out of its hiatus).
The ways in which I work has changed. Instead of squeezing effort to make things, I’m more focused on allowing things to happen. There’s so much that wants to come through me, so much that’s getting ready that wants me to be gentle with it.
Working on #ashytober after months of light sketchbook work allowed me the space to let the different parts of my work – my art, my training as a healer, my words, my aspirations – find their own ways to integrate and merge. I also found out that working intuitively was a great way to allow old strategies of art-making to adapt to where I’m at now.
Like how with each piece of #ashytober, I was building – finding – a fantastical world that housed its own cosmic cartography with strange landscapes, multiple suns and moons in the sky, and characters living diverse lifestyles.
Building up a cosmology for magical worlds – like building up the narrative behind the theory behind the symbology of a series – is something I’ve grown so accustomed to in my work as an artist. Except that I used to pressure myself to the point of paralysis that not much of this work gets to see the light of day. And so it was really delightful – like unwrapping candy to find a surprise toy packed inside with it – to see an entire universe of characters and narratives being spun out so spontaneously with each piece.
Air cooled life-forms by Rob Miller
About the series //
Work produced for the Grey Planet series reflects the incalculable absurdity of a global economy fundamentally at odds with our shared ecology – the [im]material flows of commerce, a fiction of progress constructed from pure exceptionalism. We the first of the last men trade more than futures; these transactions create a terminal velocity in which we attempt to live a myth not yet even imagined. We are faced then with a new and inescapable reality, in which the world-wide blindness of our impact is matched only by the eco-anxiousness of the few. Willingness alone simply produces an artifice of meaning and self-indulgent virtue signalling – conflicted anxieties of which I am equally guilty.
Continue reading “Air cooled life-forms: Rob Miller”
ReVerse Butcher is a multi-disciplinary artist with focuses in making unique artist’s books, collages, visual art, writing & performance. She will use any medium necessary to engage and subvert reality until it is less dull and oppressive. When she grows up she wants to be a well-read recluse. She currently lives in Melbourne, Australia.
Yellow Flower
Are you a girl
or a boy?
my nephew would ask me,
puzzled.
I’d smile and try not to answer
for as long as I could.
But he was so persistent, so
needy for reassurance.
My nephew is secure in his boyhood;
no questions, no blurriness
in his mind. He, him,
boy things, boy clothes
and books.
But me? An enigma, Continue reading “Poem, Writing & Art by Alix Hyde”
Sam Kaner is a visual artist and writer based in Nottingham, UK. Her work is rooted in the personal experience of social and political navigation as a depressed trans woman of colour.
Her work is documented on her website, www.samkaner.com, and on her Instagram account, @skamglamart.
“In the end, I would like it to be said that I have been a silent conversationalist with the world, a patient interlocutor devoid of names and arguments, seeking and at odds with, always, the atomic.” — Anton Aubinov, 1998
For a while, he graced a footnote in a biography of Clyfford Still1, removed in subsequent editions, purged as too obscure, adding no value to the lay reader. He is heavily rumored to have been the young artist called a “pissant” by Barnett Newman in a story attached to but never actually recounted by Betty Parsons. He may or may not have been able to do hands.
The late painter Anton Aubinov remained near-hidden throughout his career, subsumed into the greater wave of late American abstraction. His lone New York exhibition, at a here-today-gone-tomorrow space in Chelsea in 1952, was thrown together to capitalize on the recent fame of Mark Rothko, who had displayed, for the first time, his multiforms the year before. As the story of Aubinov’s opening goes, the drywall on which his works were mounted had been improperly adhered to the concrete casing, and the collapse of one wall was the subject of much of the subsequent press. So it went, so frequently. Continue reading “The New Atomist: A Selection from the Catalogue Raisonné of Anton Aubinov by Joshua Rothes”
A pair of paradox, or pandora’s box
We are forgotten yesterdays of tomorrow,
note-booked mementos on thighs time travelled,
back from the future, a few tsha-tsha with flashes
blackouts and gray-matter gashes,
the slurred dance of good memory,
crib-notes on collar-bones,
bare chest, a loose tie, knots, not around neck
formal education white suits, tucked-in remembering.
A formal date chasing me indoors.
chasing me into doors of consistent
nurturing nature of the neuro
doors on the right, left doubt in the cold.
A manner of hindsight sighs. Continue reading “Art + Poetry by nublaccsoul”
By Fredric Nord
Zero is the only numeral with the ability to remain itself in solitude. Zero is defined by the ability to not change. All other numerals are relative to each other and depend on each other for existence. They always change and change together. Without each other, stripped of cohabitation, they have no meaning or personality. That’s why all numerals in solitude equals zero. The total amount of numerals aren’t gazillions but one and a half, generously measured. Continue reading “Footnote to silence”
The City of Dreadful Night is my response to the 1874 poem of the same name by James Thomson which dealt with depression, alienation, suicide and the urban landscape. With these images, I sought to respond to the spaces or penumbra between Thomson’s words; to capture the poem’s feeling of dread, to transmute this to my own setting here in Trinidad and Tobago; to suggest his dread mirrors something of what local marginal communities (LGBTQ, disabled) experience. The range of images in the book includes asemic writing, visuals generated by performing random functions on text, illustrations and photographs. I wanted the multiplicity of media – deployed in response to a source text – to suggest the multiplicity of identity/diversity, all while retaining the dread of Thomson’s poem.
Continue reading “The City of Dreadful Night by Andre Bagoo”
“There was an artist I worked with for a while who used Polaroids as drawing references. When she was done with them, she just chucked them in a black trash bag under the kitchen sink – where I found them. I urged her to think of them as sketches, to value them…”
The surreal world of Sergio Sainz Vidal’s collages are not just a matter of style and technique but a way of ruminating on eternal human subjects such as death, mysticism, eroticism, and our relationship to nature.
BURNING HOUSE PRESS 