Author name: Saskia Clarke

When Politics Divides, Art Refuses to Stay in Place text Jahwanna Berglunds   In a world increasingly fractured by war, political polarization, and rigid borders both physical and ideological, it is easy to assume that cultural dialogue is breaking down. Governments clash, narratives harden, and positions calcify into identities. Yet, amidst this discord, art operates on an entirely different plane.    Art moves with a rare fluidity. It traverses boundaries, resists simplistic interpretation, and refuses to be confined to a single perspective. Where political discourse often demands clarity and alignment, art embraces contradiction. It holds tension without needing resolution, offering space for ambiguity in an era that increasingly demands immediate answers.   This became especially clear to me during Stockholm Art Week, not as an abstract idea but as a lived experience. At the Market Art Fair, my attention was drawn less to the explicit “meaning” of each work and more to its “doing.” Across booths and exhibitions, there was a quiet but persistent engagement with global realities: identity, migration, memory, and belonging. These themes were not presented as statements or slogans, but as fragments, gestures, and questions that resisted closure. Perhaps it is in this resistance that genuine cultural dialogue begins – not in agreement, but in proximity.   Cultural exchange, in its most authentic form, is rarely neat or conclusive. It does not culminate in consensus but unfolds in liminal spaces between cultures, interpretations, discomfort, and recognition.   Anders Krisár High Diver, Stockholm Art Week, ODALISQUE  Issue 17  Katherine Bradford Encounter In The Sky, Stockholm Art Week, ODALISQUE Issue 17 This idea gained sharper resonance during a conversation hosted at the Residence of the U.S. Ambassador to Sweden, Christine Toretti. The discussion, led by Destinee Ross-Sutton and featuring Rugiyatou Ylva Jallow, Jordan Zayas Kelly, and Chuck Ohlson, stood out for its candor and openness. It was not about reaching agreement, but about creating exposure allowing diverse positions, backgrounds, and lived experiences to coexist without being reduced to a single narrative. In a climate where conversations often feel pre framed, managed, or performative, this openness felt radical. It created room not only for speaking, but for listening across perspectives that do not need to align. Outside these rare spaces, there is constant pressure toward simplification: to choose a side, define a position, and compress complexity into something immediately legible. But art resists this urgency. It slows perception, inviting us to remain with ambiguity rather than resolve it too quickly. Still, it would be naïve to suggest that art alone can bridge political or cultural divides. It cannot. It does not replace diplomacy or resolve conflict. What it does offer is more subtle but equally important: it creates space – space for contradiction, nuance, and voices that might otherwise remain unheard outside formal structures of dialogue.     This is why long-term cultural initiatives are becoming increasingly significant. Programs connecting cities like Stockholm and New York, bringing artists into sustained residency, offer a different model of exchange. These are not symbolic encounters but lived engagements; not representation from a distance, but participation within shared time and space. True dialogue does not happen in passing. It requires time, friction, and a willingness to remain in relation even when understanding is incomplete.   We are witnessing a broader shift. Cultural landscapes once seen as stable shaped by geography, history, and inherited narratives are now in constant reassembly through movement, migration, and the circulation of images, ideas, and people. What emerges is not the replacement of one culture by another, but a layered condition: a continuous negotiation of identity that resists final form. Art exists within this condition. It absorbs what was, responds to what is, and gestures toward what could be. Increasingly, it feels less like representation and more like an atmosphere shared but not owned, sensed rather than defined. A language that may not translate cleanly, but still communicates deeply. “EARL”. Deborah Roberts, In Changing Black Voices curated by Destinee Ross Sutton Image Curtesy Of The Artist. Art is not a solution or an answer. It is a space where things can remain open without being forced into closure. This, perhaps, is the most lasting impression from Stockholm: not clarity, but a different relationship to complexity. A reminder that cultural dialogue is not measured by agreement, but by the willingness to remain open within difference. In a divided world, that openness is not softness, it is work.

Chellis Baird Redefines What a Painting Can Be text Anna Mikaela Ekstrand body suit Capezio  tights Falke  trenchcoat Lapointe  heels Christian Louboutin Over the past decade, of showing at prestigious galleries, institutions, and the odd member club, her work has been presented by leading galleries in New York and Paris. We visited her Long Island City studio to talk about how her work pushes boundaries by combining dress, movement, and the mechanics of fabric in new ways.   “After visiting the Museum of Modern Art, in my late twenties, I remember standing in front of a Barnett Newman painting and starting to cry. It was at that point that I knew I was going to share my art with the world,” Chellis Baird commented in a 2023 interview. In her early twenties, she was living in New York and working as a designer at Ralph Lauren, making her own art when she was off the clock. A dream for many, but she hadn’t quite made it yet. Hailing from a South Carolina textile town and educated at the Rhode Island School of Design—known for fostering cross-disciplinary education—Baird not only had a deep understanding of fabrics and their innovation from the get-go, but a passion for continuing to push their boundaries. Movement is deeply embedded in her practice, dancing ballet multiple days a week, she sees it as a hobby, but when a principal dancer from the New York City Ballet saw her, he likened her to a professional. She’s a Type A creative.          When Baird transitioned into making art full-time, living her dream, she literally painted the town red. The Touch of Red at the National Arts Club is among the many exhibitions that centered on her signature hue, red. Her works are sculptural paintings, or painterly sculptures—twisted, draped, and bound fiber that is dyed and painted. They are hard to pinpoint because she has created her own artistic language. Arguably, she is the leading artist who is moving the needle in fiber, painting, and sculpture, all wrapped up in one. She is also preparing for a museum presentation at the Bo Bartlett Center from August through December 2026, with a larger gallery footprint, she is thinking more expansively about spatial rhythm, duration, and how viewers physically move through and between the work. “I am especially interested in using color as atmosphere and shadow as a structural force,” she explains to me on a sunny afternoon.    Baird has had an extraordinary year with a major solo show in Paris with RX&SLAG and several shows with Hollis Taggart in New York, and during Miami Art Week, marking a significant expansion of her gallery presence. It’s really a big break, but to Baird, it feels less like a sudden opening and more like time finally cracking the pavement. We are in her Long Island City studio. The studio is a daily ritual for the artist, for her creation is a form of breath, like her ballet practice. Correcting me, she explains that rather than a breakthrough her work is a continuation of ongoing discipline, diligence, and an obsessive devotion to her craft.  dress Emma Krikorian  heels Christian Louboutin dress Emma Krikorian  heels Christian Louboutin  All around us are pieces from different times in Baird’s artistic career, finished and in progress, as a testament to her hard work. Her sun-drenched studio is filled with reference material as well—fabric and color swatches on hand and many museum catalogs on fashion, textiles, and art tucked away in various places. To avoid high shipping costs, ahead of her show in Paris, the gallery set her up with a local studio where she constructed a new choreography of making. Keeping a sketchbook recording color formulas, fabric techniques, title ideas, and personal notes. As she temporarily was away from her husband and very young children, Paris gave her a greater freedom, a fluid daily structure. Working under an intense deadline, the long, focused days, often seven to ten hours, and then moving through the city at night, dancing or lingering over late dinners, reminded her of her student years at RISD, when time felt expansive and porous. This sense of freedom and the city’s material palette and chromatic range — living near the Picasso Museum and the Centre Pompidou — deeply informed what became her most colorful body of work.  body suit Capezio  tights Falke  heels Christian Louboutin Embodiment, being in one’s own body, is spoken about when it comes to performance, but not often discussed when it comes to painting or sculpture; however, this grounding and playful aspect of the body is present in the art-making process. Sartorial experimentation helps guide Baird; sometimes she cosplays when she makes work—wearing period-style clothes to feel connected to her lineage and labor. “Clothing shifts posture, tempo, and emotional tone,” Baird explains.   At other times, she dresses formally to slow her gestures. Through these actions, the studio becomes a private territory where she can experiment with identity without external scrutiny. “Overall, the body is one of my most important tools; knowledge lives in muscle memory, in gesture, in rhythm, which is why I wear specific fabrics or silhouettes to harness a mood,” she continues. Having formerly worked as a clothing designer and now exploring textiles, Baird has a sophisticated understanding of fabrics, and her work delves into their composition, movement, and history. “High heels, for example, create elegance through precariousness. They reorganize the body’s relationship to gravity and time. These tensions, structure and softness, constraint and freedom, directly inform how I sculpt material,” Baird explains. In Paris, she began using the heel of a stiletto to create physical ruptures in the canvas, a gesture that is both elegant and violent. Acclaimed craft historian, Glenn Adamson described her piece Lace III, 2024 as representing the DNA of his group exhibition Drop, Cloth, as her work reveals rather than conceals the substrate, one of the conceptual bases of his show.  This new monochromatic body of work explores lace, explores