The 77th Volume of Hi-Fructose is here.
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.
Yes, we want to hug these vases by @shishi.san too.
Says the artist:
“Vietnamese culture being heavily linked to China, Japan and Korea, through their shared history, East and Southeast Asia are her main source of inspiration. Shishi San explores her cultural legacy by drawing inspiration from their folklore and traditions, adopting their visual identity whilst adding a touch of her own personal history to create a body of work that embodies her psyche.”
#chinesevases
#textileart
Goodnight.
Animation by Angela Kirkwood.
@angelakirkwood
14 years ago today, Journey showed us that video games can be profound works of art.
In a new reflection, filmmaker and writer @stephenreedy explores the symbolism, themes, and quiet philosophy at the heart of Journey — the visionary work of @JenovaChen and the team at @thatgamecompany — with a Grammy-nominated score by @a.wintory
Even KRK Ryden’s bathroom walls are hand painted in comic book panels. Elsewhere, a collection of convenience store-boughtnovelty lighters, positioned like circling sharks, has invaded a brightly colored coffee table.
The kitchen refrigerator, long removed from the premises to make room for the wall of mousetraps; each room, nay, each exposed surface or wall trimming is painted its own distinct color. Alone, the colors are obnoxiously garish, but together, they compliment each other like a neon bouquet in Paris. Windows and curtains always drawn, the conductor KRK Ryden creates his work surrounded by a kaleidoscope symphony of his own choosing. The odd ephemera, expertly placed knick knacks, and spectrum-colored walls would appear as the ultimate distraction for a meditating Zen Buddhist, but for KRK, it makes the coziest of homes.
KRK’s paintings are like his house/studio. Experiments in controlled chaos, bursts of expertly displayed clutter, arranged by color, pattern, size, and theme. Each has its own push and pull on your eye and brain.
I sat down with KRK to interview him for Hi-Fructose as we ate a bowl of fresh popcorn, heavy on the butter. We were in a room crammed top to bottom with Sharpie labeled VHS cassettes and DVDs of titles like: “Hot Rod Girl”, “Fiend of Dope Island”, and “The World of Tomorrow”. (It’s been a dream of KRK’s to host a Saturday night Creature-Feature TV show). There are stacks of cartoons too: “Gigantor,” “Colonel Bleep,” and old “Betty Boop” when she still sported a dog’s head. Some have handwritten reviews by KRK on them, “cutting edge animation, but the music score ruined this fl ick!” Or like the review for “The Return”: “like watching grass grow while having prickly heat, but not as exciting.”
KRK Ryden’s solo show Wet Bread opens Saturday at @brassworksgallery in Portland. Read the full interview with @krk_ryden plucked from our archives, now on Hi-Fructose.
here are many occasions when language fails me, when a poet’s hand seems what is needed to get to the truth of a thing—a man’s life, a work of art, a life of art. This is such a moment. To call the oil paintings of Eyvind Earle “landscapes” is accurate but very sorely wanting. For more than seventy years, Earle turned his unique refracting eye on what he called the “stupendous infinity of nature,” interpreting what he saw through a long lens shaped by a very particular kind of mythopoeia.
Earle’s gift for myth-building led him to create landscapes that are not merely a setting for an unfolding drama, but the drama in and of itself. Light is a muse that stretches, dances, and twirls, flouting natural laws for attainment of higher reality. Color answers with a superhuman brashness born of confidence, practice, and poise. Inky shadows, sharp as knives, lie across soft, downy fields like a threat, full of menace and mystery. Rocks and sea take many guises, rising like beacons of Martian authority or slouching along the horizon like a cattle rustler’s hideaway; crashing against the shore with the violence and high style of samurais, or lying in cool, precise striations like the digital daydream of lonely A.I.
Trees play myriad roles: they flank hill tops like murmuring, whispering bandits, hatching plots and hiding treasure; they stand like monks bearing solemn witness to rising mists and falling snow; they stand rise from firestorms while jewels of light spread along their trunks like veins; they reach surreal heights with smooth, slender limbs outstretched, as lithe and ethereal as a company of dancers; they linger on the sideline, old and wise, gnarled beyond time, and draped in patchwork coats of unearthly lichen.
Read the full article on @eyvindearleart now on Hi-Fructose, written by Silke Tudor.
Teodora’s Redwood National Park inspired map tattoo ensures you’ll always know where to get lost.
@twodoors_open 🏞️
With the turn of a crank or a whir of a motor, the elegantly engineered sculptures of Casey Curran bring a unique version of the natural world to life.
@casey_curran
