The 78th Volume of Hi-Fructose is coming.
The New
Contemporary
Art Magazine
Hi-Fructose is a quarterly print art magazine founded by artists Attaboy and Annie Owens in 2005. Hi-Fructose focuses squarely on the art which transcends genre and trend, assuring readers thorough coverage and content that is informative and original. Hi-Fructose showcases an amalgamation of new contemporary, emerging as well distinguished artists, with a spotlight on awe inspiring spectacles from round the world.
Memory may not be a tape-recorder, but in Sasha Gordon’s work, it serves as a device for the initial transportation. Characters wander this fluxing landscape—be it a drive-through window, a master bedroom, or white suburbia—shifting through the dynamic background of her dream-like haze. As a viewer of Gordon’s narrative paintings, you are intruding on intimate scenes of inciting trauma. There’s a word for this process. “Shadow work,” according to practitioners, is a radical form of self-education, where you integrate repressed aspects of ourselves back into the main self.
When Gordon paints herself as the main protagonist, she does so as her current self, re-inhabiting a depiction of her past memory in order to access her former self. Though characters are confided together in physical space, they are emotionally disconnected from each other and their environment, trapped in their own world of drudged-up thoughts. Yet this disconnect, spliced between the physical realm, and whichever memory the mind chooses, suspended between a moment from the past and somewhere in the future, spurs from a life’s worth of repression. In Gordon’s work, the renegade version of her current self revisits dramatized scenes from her past, creating narratives of constant collision.
“I know that I’m biracial and look East Asian, that I’m queer, that I’m in a bigger body, but there are moments when I forget or question these identities, and this state of confusion and dissociation is what I want to represent in my work.”
Read our full article on @sashaagordon written by Clayton Schuster now on Hi-Fructose.
In 1975, Stuart Pearson Wright entered the world as a product of artificial insemination, his father’s identity kept anonymous for the entirety of his life even to this day. This fact would fuel Wright’s early, burgeoning interest in expressing himself through the arts and a later rise to prominence in portraiture. In interviews, he would say his penchant toward self-portraits was not only due to narcissism, but “also a form of catharsis to heal the vacuum at the center of my identity.” Lacking a father pushed Wright to examine the patriarchal archetypes and examples of masculinity found in pop culture and art history.
During the past few years, the influence of his mysterious origins took on a more literal bent as he began the body of work Halfboy. Wright likens the arrival of his 2018 show at Cambridge’s Heong Gallery as a “coming out” experience, “albeit from a naive heterosexual point of view.” The self-awareness there offers some insight into Wright’s probing character, which is bared most in this collection of paintings, scenes tethered to the artist’s memories. “I have certainly never hidden the nature of my conception by donor insemination and my tortured existential feelings in relation to it, but this was the first time that this subject had been a major focal point for a body of work,” Wright says. “To define oneself as a Halfboy was also a way of addressing, in a very public way, my feelings of failure, both as an individual and as an artist.”
Read the full article by Andy Smith on @stuartpearsonwright now on Hi-Fructose.
Fritz Proctor IV makes a self portrait.
Says the artist:
“This is technically a “frottage” drawing. Back in the 1920s, Surrealist artist Max Ernst invented a technique called “frottage”—which is just a fancy French word for “rubbing.” He’d place paper over textured objects and rub a pencil over it to capture the pattern. I got curious if I could use my own face to try this out, and this is how it turned out!“
@fritzdoesart_
Time to delve into the rolling, braying, and peeling techniques of Adam Lupton. @adampaints
Sofia Yu’s mixed media soft sculpture is tantrum ready, are you?
@selkxy
crash out girl guts
“a little bit maternal a little bit violent. a lot of crash out. my month long logistical nightmare finally sees the world in all her angry crying whiny tantrum throwing glory”
We’ve just added our interview with otherworldly illustrator Will Sweeney to Hi-Fructose online. Learn all about his relationship to color, the unknown, working with clientele, and projects he’s brought to life with his unique perspective. Welcome to the Will Sweeney-verse!
@willsweeney_uk
The 79th Issue of Hi-Fructose is coming. This jammed packed issue includes a cover a feature on sculptor Willy Verginer, the black and white world of Murayama Tomoaki, the graphic art of Jimi Biscuits, Harriet Mena Hill’s painted rubble, the colorful art of Bangkok based Pabaja, Plus a Special Insert Section featuring the art of Marigold Santos, surrealist painter Philip Bosmans, the universal art of Filipino artist Blic, the uniformly absurd painting of Ian Davis, Casino. Carpets, and more! Look for thought provoking articles, presented on thick matte paper, curated and published by artists Annie Owens and Attaboy.
(Don’t try this at home) A peek insides the organized chaos of assemblage sculptor Barnaby Barford as he creates his latest work.
@barnabybarford
