An Interview with David Lynch
David Lynch, a painting student in 1967 at the Pennsylvania Academy of Fine Arts in Philadelphia, was working on an all-black painting of a night garden when he sensed that a wind, mysteriously generated from within the canvas, stirred the leaves he had just rendered.
An Interview with Laura Owens
Is it too early to refer to the Owens Effect? I’m describing what happens when a single artist gathers up the traceries of what an art form has been and the trailings of what it has become in the digital age and presents what she makes out of the commingling as some kind of new and generative pictorial language.
An Interview with Holger Kalberg
Throughout the 30 years he has been making art, initially in Germany where he was born, then in Vancouver and London, UK, where he was educated, and now in Winnipeg where he lives and teaches, Holger Kalberg has been attracted to the ways in which paintings are structured.
An Interview with Meryl McMaster
Meryl McMaster knows what’s in a name. The names she has picked for three of her main bodies of work— “Ancestral,” “In-Between Worlds” and “Wanderings”—all articulate a relation to her past and present identity as it emerges from a self-described “dual heritage.”
Image and Object in the Art of Erin Shirreff
It’s my sense that engaging with Erin Shirreff’s work involves an act of faith. Her proposition that time is the elemental dimension in the embodiment of her works, that is, in bringing them into being, is one with which we agree if we commit to her work.
Haven’t found what you're looking for? Explore our index for material not available online.