The most horrifying of the Aurel Schmidt’s “New Gods” drawings is a demonic chimp around which radiates a gruesome halo of six white baby heads skewered on pointed sticks. Schmidt sees it as a revenge object provoked by wholesale co-opting of primitive images and the implementation of cultural slavery. Keep Reading
All Zachari Logan’s work returns to a pair of central concerns: his own body and the ditch, a very particular feature of the prairie landscape. What he finds attractive about the ditch are the plants and grasses that grow in its in-between terrain. He sees parallels between that liminality and queer space. Keep Reading
Tammy Salzl is aware that her watercolours often elicit severe accusations of indulging in the brutal and the grotesque. It is a reaction she anticipates for its utility. Her intention is to repulse the viewer with the grotesque and then mediate that alienation through beauty. Keep Reading
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