Repetitive loops and endless possibilities: the virtual cartoon dream-world of Bridget Mullen’s paintings by Rebecca Irvin For New York-based artist Bridget Mullen, the most important aspect of making art is the making itself. Painting, as Bridget sees it, takes ...
“When I paint I must lose myself without knowing the way”: In conversation with Tal Yerushalmi by Layla Leiman Like an archaeologist, Tal Yerushalmi sifts through the debris of history, the remnants of past societies – artefacts and fragments of craft...
Ethan Stuart: Playing with history and memory, symbols and metaphors by Layla Leiman Ethan Stuart’s paintings are deceptively simple. Flora and fauna feature in many of his compositions, where acrylic paint or crayon is appli...
Showing up: In conversation with Matt Haywood about the importance of being open to process by Layla Leiman Working from a studio housed in a 150-year old refurbished barn outside Detroit, Michigan, Matt Haywood has given himself over to the proces...
Like looking through the window of a moving car: In conversation with Claudia Keep by Layla Leiman Landscape painter Claudia Keep shies away from the grandiose and the impressive, the main attraction and picture postcard view. Instead, wha...
The subtle dynamism and asymmetrical symmetry of Angela Heisch’s geometric paintings by Rebecca Irvin New York-based artist Angela Heisch began her journey into painting working under the influence of surrealist artists such as René Magritte,...
A garland of associations, family stories, and unfortunate coincidences in the work of Siggi Sekira artmazemag Siggi Sekira Lives and works in Vienna, Austria www.siggisekira.com AMM: What inspired you to be an artist? When did you ...
Anthropomorphic femme fatale: The surreal work of Alicia Adamerovich by Layla Leiman The anthropomorphic shapes and forms that characterise Alicia Adamerovich’s work undulate between rounded and organic and sharp and brittle....
Surrealist Natura Morta: In conversation with Charlie Goering by Layla Leiman “If anyone had told me back in 2017 that I would be making small still lifes, I would have called them nuts,” says painter Charlie Goering. ...
Merging memory and interior reflection with visual and aural references in the work of Painter James Owens by Rebecca Irvin Having spent his childhood in north Yorkshire and the Cotswolds, painter James Owens moved to London at 18 years old to study at Camberwell ...
Excess and Extraness: Talking subversive humour and macho bodies with Ana Benaroya by Layla Leiman “What are you looking at!” the Amazonian powerhouse women in Ana Benaroya’s paintings seem to shout at you. And it’s not a question, but a s...
The playful cynic: Jonathan Lux blends wilful naïvety with perceptive shrewdness by Rebecca Irvin The world of Jonathan Lux’s paintings is a seductive one. His lines are voluptuous and flowing, his figures languid and loose-limbed, his co...
Submerged bodies: Discovering the place of the human in the natural landscape with Giordanne Salley by Rebecca Irvin Growing up around the “woods, water, and quiet” of the American Midwest of Ohio, painter Giordanne Salley had an early penchant for interpre...
Yes, but… Ambiguity and multiplicity in Anna Schachinger’s work by Maria Zemtsova For Austrian-Ecuadorian artist Anna Schachinger, painting is an intricately intertwined process of balancing conceptual and intuitive impuls...
Gut feel: In conversation with guest curator Scott Ogden by Maria Zemtsova For artist-turned-gallerist Scott Ogden, the curatorial journey has always been led by the heart (with support from the head). “I first star...
“Stripped down and made strange”: Towards an ambiguous visual language in the semiotics of Alice Tippit’s graphic paintings by Rebecca Irvin Chicago-based artist Alice Tippit creates bold paintings that translate familiar forms into a visual language of stark shapes, symbols and c...
