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.
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
“On a perfect day, I would get up and not snooze,” says Brandi Milne of her ideal day at work. She would then head into the studio at her Huntington Beach, California home, do some warm-up sketches and paint for about eight hours. She would remember to take breaks to stretch. (“That’s really important and I never do it,” she says.) She would work “completely in the zone” with music playing in the background. Music, she says, is a big point of inspiration and her tastes range from Billie Holiday to Mastodon to disco. “Then I would stop, put that away and become a human and live my married life,” she says.
There’s a fine line between work and life and, for the past few years, Milne has been honing that balance in a way that has made an impact on her art…
Learn all about the @brandimilne and the darkly whimsical world the artist depicts in her paintings, now on Hi-Fructose.
