Art

Stockholm Art Week: An Interview With Mark Frygell text Zohra Vanlerberghe Mark Frygell’s art thrives in the liminal space between the grotesque and the playful, where ambiguity sparks open-ended narratives. Born in Umeå’s punk scene and shaped by years as a tattooist, his paintings, vibrant, textured, and teeming with surreal characters, invite viewers into a world where fantasy collides with the uncanny. From Renaissance graffiti to surreal memes, his influences are as eclectic as his output: a testament to a practice driven by curiosity rather than convention. Natalia Muntean: Your work often blends the grotesque with the playful, exploring ambiguity and fantasy. How do you approach creating these contrasting elements, and what do you hope viewers take away from your art? Mark Frygell: I hope that what the viewer is taking away is very subjective. To a large extent, when you grow as an artist, you drift further and further away from designing an artwork to have a certain effect on the world and, instead, the outcome of your process becomes something you trust the viewer will find its way in relationship to. Nowadays, we are so used to having things packaged and served to us and, in that sense, artistic work is more important than ever to break that habit and help us see things for what they are. It’s a “shields down” kind of approach, I suppose. In the studio, I am most interested in experimenting and discovering where it leads and what the outcome might be. Then, of course, I have my background, taste and hang-ups that colour the aesthetics of what I do. I rarely think too conceptually about what a piece should be or what is good or bad, a failure or a success. Curiosity and interest in the medium, whichever that is, are what drive me to the studio every day. I have some sort of obsession with the imaginative and grotesque that colour my work, not as an intention but more as a consequence. I have thought about it a lot and there is something in it that feels transgressive and limitless. Ever since I was a kid, I have had a huge interest in the wonky, weird, and odd. From Garbage Pail Kids and Weirdo Comics to underground roleplaying game illustrations, renaissance graffiti, the Neue Sachlichkeit of the early 20th century, and even the surreal memes created by teenagers in Blender, I am drawn to unconventional forms of expression. A couple of years ago, I discovered that the word “grotesque” originates from “grotto-esque,” an aesthetic trend from 15th-century Italy. This trend started when a farmer fell through a hole and found a hidden festive building built by Emperor Nero, with walls adorned by surreal paintings of plants, animals, and humans. Initially, these images were seen as strange and fantastical, but over time, the word began to take on a negative connotation of “ugly,” influenced by conservative views seeking to uphold the status quo. NM: Growing up in Umeå’s alternative music scene and working as a tattoo artist, how have these diverse experiences influenced your artistic style and multidisciplinary approach? MF: It has shaped everything I do! One of the advantages of being part of the alternative music scene is its small size, which encourages participation. This creates an environment that is very supportive of creativity. Even if you’re young and inexperienced, you receive a lot of encouragement to explore your talents. As far as tattoos go, I think it has coloured my work less. When I started working professionally with tattooingvaround 2011, the “wild style” was quite new, and adopting a more artistic approach was an interesting way to work. In that sense, the art coloured the tattooing more than the other way around. Around 2015, I was also very lucky to become friends with Emil Särelind (Frogmagik) of Deepwood Tattoo in Stockholm. He had studied at Konstfack and was very dedicated to working in a similar vein. It was an interesting time when most other studios focused on traditional tattoos, while the entire scene began to feel stale. He played a significant role in shaping the tattoo landscape in Sweden that we have today, particularly by consistently inviting tattoo artists with similar ideas from all over the world for the past 10 years. NM: During your residency with the Mack Art Foundation in NYC, how did the city and its art scene influence your creative process, and what was the most memorable part of that experience? MF: It’s an amazing city, very inspirational, and many people are extremely dedicated to what they are doing in a way that just boosts your creativity. I spent a lot of time walking around all over Brooklyn, Manhattan and Long Island. This is my favourite thing to do in general when I am travelling. You see so much and a new interesting discovery is just a corner away. Of course, it is a luxury to be able to see amazing art shows, alternative music scenes and all the awesome food but it all pales in comparison to just exploring the streets in a city of this magnitude. It maintains its universe somehow. Mack Art is also a fantastic residency that was so supportive and made my day-to-day life and work very easy. Christine who runs it is a super active person who just makes things happen. NM: You’re collaborating with A Day’s March and have a unique relationship with clothing. How does fashion intersect with your art, and what can we expect from this collaboration? MF: I have a terrible fashion sense myself. Most of the time I just dress in things I have stumbled upon. I don’t really go shopping, and I think most of my clothes are basically memorabilia from my travels, printed shirts that friends have made, and sportswear because it’s comfortable. Plus, I tend to mess up my clothes with paint and stuff anyway. With that said, I love looking at people and how they express themselves, and in my paintings I like to come

YOU’VE will come. GOT THE LOVE, An Interview with Liselotte Watkins  Natalia Muntean images courtesy of Liselotte Watkins and CFHILL “I am a kiosk,” says Liselotte Watkins. For Watkins, a kiosk is more than a nostalgic nod to the disappearing newsstands of Italy, it’s a metaphor for her art, a space where history, memory, and everyday objects collide to tell stories that bridge the past and present. Her need to see new things and experience new places has taken her from a small town in Sweden to Texas, New York, Paris, Rome and now Tuscany. “Moving around has shaped me,“ she says. “I’m like a treasure hunter. I collect experiences, and they come back to me years later.” Watkins says that challenging herself in new environments has done her good and that she enjoys diving into the culture wherever she finds herself. “When I came to Tuscany, I wanted to learn everything about the Renaissance, the Medici, Florence. I immerse myself in it, and that expands my world,” she says. In her latest exhibition, Edicola, at CFHILL Gallery in Stockholm, Watkins tells stories, of which she has many, all kept in “a bank of memories” she draws from. She weaves together fragments of art history, personal narratives, and pop culture into a tapestry that is as thought-provoking as it is visually stunning. In Edicola, stories both old and new are confronted, engaged in dialogue, creating a bridge between what has been, what is and what YOU’VE will come. Natalia Muntean: You started as an illustrator, working with big names like Vogue, Prada, and Marimekko. What led to your transition from illustration to becoming an artist?Liselotte Watkins: When I moved to New York, I was just surviving. Fashion was exciting in the ’90s, and I got my first job at Barneys. I didn’t know much about fashion, so I studied everything: designers, editors, history. Knowing my stuff helped me a lot. But over time, fashion became less about knowledge and more about being part of the “cool” crowd. I got bored. I’ve always drawn and painted, so the transition felt natural. I didn’t think, “Now I’m an artist.” It just happened. The discipline I learned as an illustrator still helps me – I get up in the morning and go to the studio. That’s what I’m used to. NM: What happens when you get to your studio and there’s no inspiration?LW: Inspiration doesn’t just come. You have to work for it. If you’re constantly working, thinking, and immersed in it, it’s more about curiosity. If my curiosity ever faded, I’d be really upset. If I woke up and felt like, “Oh, I don’t want to know or see or think about anything today,” that would be sad. But inspiration… I don’t even know what that is. I can feel inspired to clean the he house, but inspiration to paint? That’s just what I do. NM: You don’t see it as something that randomly visits you. It’s more like a muscle that you train.LW: Of course! I don’t think any artist would say it just comes and visits like a muse. It’s not like the old Greeks, where you’d pray to the Muses and hope they’d show up. You have to put that idea aside. If you start thinking like. that, you’ll just sit there and do nothing. Nothing’s going to come if you wait for it. No one’s going to knock on your door and say, “Hi, I’m your muse.” And I think that’s depressing for some people to hear because they think artists just sit around and wait for inspiration. I can’t speak for everyone, but I don’t think it works that way. By doing, you make things happen. NM: Do you have any rituals to get you in the mood to work?LW: I drink coffee, and I need to have some quiet time. I take walks with my dogs and think about what I need to do that day: what’s a priority, what can wait. But when I’m in my studio, it’s my little bubble. NM: Do you usually have a plan for what to work on, or is it more intuitive?LW: Everything is planned. Even if the plan doesn’t always go accordingly, I have an idea. I research, think, do more research, and have different projects going. I also try to have a project that involves other people so I don’t isolate myself completely. You have to include people in your work. It’s better to share and collaborate because if you keep everything to yourself, it can be hindering. NM: Are you comfortable with feedback?LW: Yes, but that’s something I learned as a commercial illustrator. You get harsh feedback sometimes, and it taught me not to take it personally. Now I’m more stubborn because my work is more personal. I argue more. Now I think, “Why don’t they get it?” But you have to stop that. The people I work with now are young, and they know so much about today. You have to be open to that. I can’t sit here thinking I’m some kind of veteran. NM: What is your earliest memory of creating something, or painting?LW: I didn’t grow up in a very creative home. My mother was a dog trainer and painted dogs for other people. She was quite good at it, but it wasn’t a creative environment. We didn’t have art books or go to exhibitions. But I was always drawing. In a very Swedish way, in the 70s, nobody acknowledged it. It was just something you did. I always had the highest grades in drawing, but no one said, “Oh, you’re really good at it.” It was like, “Everybody’s equal. Don’t make anyone feel special.” That’s kind of why I went to the States. I needed a break. I knew I was good at drawing, not a genius, but it made me feel good. It was a big part of finding out who I was. I explored myself through drawing. It was a place where I felt good about myself. I didn’t even know it was something you could do

As Above, So Below” – Klara Lilja and Royal Copenhagen create a dreamy universe with their new collaboration text Natalia Muntean “The idea comes from the French court in the 16th century, where they made platters that weren’t meant for eating but had various decorative elements on them. I really wanted my identity to be visible in these pieces, so even in 50 years, there would be no doubt about who made them,” says Danish sculptor Klara Lilja about ‘As Above, So Below’, her freshly launched collaboration with Royal Copenhagen. The imaginative collaboration marks the continuation of Royal Copenhagen’s rich legacy of elevating artists, inviting them to share their unique interpretations of porcelain.Klara Lilja’s 25 platters delve into themes closely connected to nature. Each platter features 120 to 180 meticulously handcrafted details, creating an organic narrative that highlights flora and fauna. “My style is quite lush and wild, whereas Royal Copenhagen has a very perfectionistic approach. But common for us is that we value quality over quantity. The works we have created I’ve made as complex as I possibly could because I knew the porcelain factory’s craftsmen could handle it. I wanted to push them as well as myself,” says Klara Lilja. Each piece also incorporates historical references to Royal Copenhagen’s artistic heritage, with elements such as starfish, butterflies, snails, and flowers adding an enchanting dimension. The collection comprises three sections: Ocean, Land and Air, with each platter being unique. “From the very beginning, you could feel Klara’s genuine passion, and it’s been exciting to see how our craftsmen have been able to take her more daring expressions and create their version of them. Klara Lilja is clearly present in the pieces, but at the same time, they showcase our craftsmen’s exceptional skills,” says Jasper Toron Nielsen, Creative Director for Royal Copenhagen. Klara Lilja X Royal Copenhagen launched on the porcelain factory’s 250th anniversary, May 1st. The artworks will be displayed in Royal Copenhagen’s flagship store in Amagertorv in Copenhagen from May 2nd to the beginning of August 2025.

Stockholm Art Week: Iria Leino: An Interview With Darren Warner & Peter Hastings Falk text Zohra Vanlerberghe The late Finnish-American artist Iria Leino (1932–2022) lived a life of radical reinvention, from a 1950s Parisian fashion icon to a reclusive New York painter whose vibrant abstractions remained hidden for decades. Now, her work is being rediscovered as a vital missing link in postwar abstraction, blending the intensity of the New York School with the depth of Buddhist philosophy. On the occasion of her dual presentations during Stockholm Art Week, at Market Art Fair and a solo takeover of the former Galerie Nordenhake space, Darren Warner, from Larsen Warner Gallery in Stockholm, and curator of the Iria Leino Trust in New York, Peter Hastings Falk, discuss her extraordinary legacy and life. Natalia Muntean: What inspired you to bring Iria Leino’s work into the spotlight now? Darren Warner: Iria’s story is fascinating; she was born in Helsinki in 1932, moved to Paris around 1955 and became an iconic model for Christian Dior and Pierre Cardin. She abandoned acclaim in Paris to move to New York in 1964 to fulfil her lifelong desire to become an artist, working in near solitude for over 50 years. In her lifetime, Leino rarely engaged with galleries, instead, Leino opted for an existence devoted to her studio practice and her faith in Buddhism, and much like pioneering artists such as Hilma af Klint, saw her work as a means of spiritual enlightenment rather than a commercial endeavour. Leino’s experimentation and manipulation of acrylic pigments during the ’60s and ’70s is of particular significance; alongside her peers in the second wave of the New York School such as Helen Frankenthaler, Keneth Noland and Larry Poons, Leino was a pioneer in the development of a more lyrical abstraction, an antidote to the more gestural abstract expressionism that had come before. After she died in 2022, there were over 1000 paintings and works on paper left within her Soho loft; an extraordinary time capsule of works of exceptional quality that helps broaden the story of 20th century abstract painting in a powerful way. NM: Leino abandoned a successful modelling career for a secluded life of painting – how did this shift influence her artistic voice? How did her faith shape her creative process? Peter Hastings Falk: Iria never intended to become reclusive. She wanted to be as much a star in the art world as she had become in the fashion and modelling world. While in New York, major dealers, such as the legendary Leo Castelli, visited her and liked her work very much but she was impatient about waiting in line and always wound up turning them off. Throughout her life, she battled many demons and struggled at times with bouts of bulimia and anorexia. She had countless boyfriends, and at least four of them proposed marriage to her but she rejected all of them. To her, men were like children, requiring too much work, and they would get in the way of her painting time. Iria was full of contradictions. But through her conversion to Buddhism in 1968, she found a consistent philosophy and a way to focus on her art. This allowed her to express herself authentically and compellingly, as she was not a follower of the New York Abstract Expressionist painters and not derivative of her more famous peers. Her use of colour and techniques often came to her from dreams, which she recorded consistently in her journals. Even the spiral sgraffito in her colour field paintings were not just decorative elements, they had deep life meanings. NM: Why did you choose to present the Colour Field and Buddhist Rain series, and what do they reveal about her evolution as an artist? DW: In Leino’s work, you are swept into an ethereal world where the artist’s abstract manifestations skillfully capture the spiritual dimensions of our inner selves. Favouring the contemplative nature of pure colour and its sensuous immediacy over the spontaneous intensity of gestural abstraction, Leino dedicated several years to developing dozens of immersive colour fields and lyrically abstract paintings. The Colour Field and Buddhist Rain series are the first two collections that ignited Leino’s lifelong exploration of the viscosity of acrylic paint across various styles. Each series embodies key elements of Iria’s practice and serves as an ideal introduction to her extensive body of work, which includes many definitive series. NM: Why was Stockholm the right place to launch Leino’s work in Scandinavia, especially during Art Week? DW: Iria had a long-held relationship with Sweden and Stockholm in particular. She had learned Swedish and made many Swedish connections through her time at the Swedish Girls School in Helsinki. Iria’s journals start in 1955 but she made many references to spending her summers working in Stockholm as a waitress, this would have been from around 1950 through to 1954. Market Art Fair and Stockholm Art Week provide a perfect platform to present Iria’s groundbreaking painting to a Swedish audience for the first time in nearly 50 years. Iria was included in the exhibition ‘Finsk bild: aktuell skulptur, måleri och grafik at Liljevalchs Konsthall in 1977 where she showed a selection of works from her Buddhist Rain series so the idea that we could present her work within the same space nearly 50 years later felt like a wonderful full circle moment. During this period, Stockholm emerges as a central hub for the broader Scandinavian art community. This makes it an ideal moment to pay tribute to and spotlight an important yet under-recognised Scandinavian painter, who we believe is one of the most significant Svandinavian artistic discoveries of the last 50 years.

Stockholm Art Week: An Interview With Joanna Sundström & Lill Lindqvist text Zohra Vanlerberghe Some collaborations just click. Joanna Sundström, founder of Stockholm Art Week and Lill Lindqvist, Head of Membership & Communications at Soho House Stockholm, have forged a partnership that blends art and energy in a way that feels uniquely Stockholm. Their latest collaboration for Stockholm Art Week brings back what works, intimate artist talks, bold installations in Soho House’s iconic space, and that unforgettable closing party, while introducing fresh twists to surprise even returning attendees. Natalia Muntean: How did this partnership come about, and what makes it such a natural fit? Joanna Sundström: This was Lill’s idea from the start. She’s a visionary and a true art lover. I’ll never forget when we went to an art exhibition 15 years ago, she was completely drawn in and said, “I’d love to be involved in something like this.” Not long after, we organised our first event together. That’s the power of art – it sparks emotions and meaningful conversations.Lill Lindqvist: I met Joanna through a mutual friend when I was new to Stockholm, and I’ll always be grateful for the way she introduced me to the city’s art scene. My background is in nightlife, and over the years, we’ve hosted quite a few Stockholm Art Week events together – they’re honestly my favourites. I love the mix of people: artists, gallerists, collectors, and creatives. It makes for such a dynamic atmosphere.JS: Soho House is already a hub for open-minded creatives, and art naturally enhances that. The space itself, a hidden old church in the middle of Stockholm, is breathtaking, but what excites me most is how they’ve brought contemporary artists into the mix.LL: This partnership really grew out of our longstanding connection and shared love for the arts. Stockholm Art Week is all about bringing artists, galleries, and audiences together, and Soho House, with its focus on curated creative experiences, was the perfect match. It allows us to reach new people who are just as passionate about art and culture as we are. NM: How will this collaboration enhance the Stockholm Art Week experience for Soho House members? JS/LL: Soho House members can expect a really special lineup during Stockholm Art Week: exclusive events, curated talks, and behind-the-scenes access to exhibitions and projects. Over the past three years, we’ve built up a strong program, from artist talks and studio visits to press breakfasts, all leading up to the grand finale – the closing party at Soho House Stockholm. It’s a chance to experience the art world in a more intimate and engaging way. NM: How does this collaboration support emerging or underrepresented artists? JS/LL: We’re both passionate about creating space for new voices in the arts. This partnership helps spotlight emerging and underrepresented artists, introducing them to a broader network of collectors, curators, and cultural influencers. Soho House has such a diverse and engaged community, giving these artists valuable exposure and opportunities to connect with the right people. NM: How does this collaboration bring art into the everyday lives of Soho House members? JS: Soho House is designed to inspire creativity, and art is woven into that experience. The House already has an incredible art collection, and its international curator, Kate Bryan, has done a fantastic job selecting works from local artists and building strong relationships with Swedish galleries.LL: And during Stockholm Art Week, that presence is amplified. The spaces come alive with curated installations, pop-up performances, and interactive experiences that encourage people to engage with art in a more natural, everyday way. It’s not just about looking at art, but about feeling part of it. NM: What are the must-see events from this collaboration? JS/LL: The official closing party has become a tradition, it’s always a standout moment. For the third year in a row, we’re hosting it in collaboration with Porsche, and it’s going to be a special night with art, curated drinks, and internationally renowned DJs who are deeply connected to the art world. Another highlight is the guided tour of Market Art Fair, which members always look forward to. NM: What’s been the most exciting or challenging part of bringing these worlds together? JS/LL: The best part has been the creative energy between our teams. Soho House has this amazing ability to curate intimate but impactful experiences, which has allowed us to present artists in really fresh ways. At first, one challenge was the fact that Soho House is a private members’ club, but we found a great solution by introducing an external guest list for Art Week events. It worked out even better than we expected because it opened the House to new people and made the Stockholm art scene feel a little less exclusive. NM: Where do you see this collaboration going in the future? JS: This is definitely an ongoing partnership. We want to keep creating meaningful opportunities for artists while growing Stockholm’s creative community. Looking ahead, we’re excited about expanding into artist residencies, mentorship programs, and international collaborations that put Stockholm on the map as a hub for contemporary art.LL: After three years, it really feels like our organisations are intertwined. Stockholm Art Week is one of the most important moments of the year, and I think this partnership has helped make the city’s art scene feel more open and accessible to a wider audience. We’re just getting started!

Heather Chontos on Intuition, Nature, and Turning Paintings into Rugs text Ulrika Lindqvist For multidisciplinary artist Heather Chontos, creativity is less a career choice than a way of being, spontaneous, intuitive, and inseparable from daily life. Speaking from her farm in Portugal, Chontos reflects on her journey from set design to abstract painting, her recent collaboration with Swedish design brand LAYERED, and how wildflowers, light, and chance encounters continue to shape her practice. Ulrika Lindqvist: Hi Heather, can you tell us how long you’ve been working as an artist, and what first drew you to this path? Heather Chontos: I have always been an artist in one form or another. I always drew and made things as a child, and my work as an artist of one type started officially at 18 as a prop stylist and set designer. Then I moved on to fashion illustration and art direction. I was all the while painting but did not fully commit until I was 30 , so 16 years now. It was always just obvious to me, it is who I am. UL: How did your collaboration with Layered come to life, and what has that creative exchange been like for you? HC: It all happened very randomly on my end. My daughter is half Swedish and lives in Stockholm,  studying for her masters degree. So when I saw it was a Swedish company contacting me, I was intrigued.  The exchange has been very fluid and easy . They have an amazing team of people who are truly respectful of my work and the individual creative process. It has been a lot of fun to see the artwork come to life in a new way. UL: Three of your paintings have recently been reimagined as rugs. Can you walk us through how you chose which pieces to transform? HC: I didn’t choose the works on my own. I think  they have a very clear vision at LAYERED and understand what works best with the way the rugs are made. I came to see the showroom to understand the different methods of weaving and it helped me understand the vast  possibilities. Lisa Nyman, the designer at LAYERED truly looks at the artwork and understands how it can be transformed through this new medium, so it was a joint effort in choosing the works. UL: Nature seems to play a significant role in your work. Are there any specific landscapes or environments that particularly inspire you? HC: I love every little piece of the landscape around me at home in Portugal, the wildflowers and red grasses, the insects and birds, the cork oak trees and rocky cliffs and formations. I just have to walk out my front door and it is right there for me. What us. Most important, is the light . Nature has many shades of light and thus bring my attention to many different parts of nature all day long. UL: Looking back on your career so far, are there any projects or moments that feel especially meaningful or memorable? HC: Yes, the ceiling I painted in Paris this year was a new challenge for me. I painted 90 sq meters of beamed ceiling in a historical private residence . There were a lot of challenges to making it, but the result was a wonderful new version of my work. UL: Can you share a bit about your creative process? Do you have any rituals or routines that help spark new ideas? HC: I don’t have any rituals. I work very spontaneously . I have a working farm here with horses and chickens and dogs, so I paint in between doing chores. I find that it is so very engrained in what I am doing every waking and non waking minute of my life that I can’t really separate it out, it’s like breathing or drinking water, I just have to do it. It has chosen me. UL: What does an ordinary day in the studio look like for you? HC: I am always working on more than one thing, and I tend to work in the studio and around it outside. I have multiple tables and surfaces where I work on various things. I am always moving around from one thing to the next. There is no ordinary day. UL: How would you describe your personal interior style at home? HC: Eclectic and very focused on everything being handmade UL: And finally, what’s on the horizon for you? Are there any upcoming projects or ideas you’re especially excited about? HC: Yes, I have many projects, some I can mention, some I cannot… I have an exhibition in The Hague, Netherlands, where I will fill an entire house with my work, that opens in May and then the exhibition schedule for 2025-2026 is in the works for Paris and possibly Portugal.I just built a house and am trying to finish all of its details, so that will be my other main focus. I can’t wait to see everyone’s reaction to the rug collaboration. I think they are so wonderful. I am very grateful.  

Two New York Feminists Discuss Their Booth at Future Fair text Zohra Vanlerberghe New Yorkers, whether they are born or bred, are a certain kind of breed. They know what they want and are not afraid to go get it. For those in the creative sphere, this means a work and life that is curated, full of collaboration, and where art often spills into personhood—Lesley Bodzy, is no exception, exceptionally chic (we love the photos that accompany this piece), she always looks impeccable and put together, with Jackie O as her ultimate inspiration. “What can I say, I love style,” she told me on the phone while we were discussing this Odalisque feature. Her sculptural work tackles themes of youth, beauty, time, and aging with deft, subtlety, and humor through material exploration, incorporating materials as diverse as latex, meat hooks, ribbons, acrylic paint pours, paper bags, bronze, glitter, and resin. It is daring to uncover societal pressures, fears, and hopes head-on and to dismantle what she calls the ‘artifice’—our second skin. Erica Criss, an artist and curator, has found her livelihood in supporting artists through her consultancy Criss Collaborations, and is showing Bodzy’s work during New York’s Art Week in May.. Criss has curated more than thirty exhibitions, of which three were with Bodzy. Both are unapologetically feminist. I invited them to discuss their newest show that will be opening on May 7th at Future Fair. Lesley Bodzy: Someone asked me how I came up with curating my work on multiple levels, eye level, above-head, and on the floor. This is really something that curators have led me to do. Including you, Erica. I see the role of the curator as enhancing my work and bringing it to the public eye in ways I can not even imagine. I think you should tell Odalisque’s readers more about your curatorial vision for Future Fair and how you think about curating, because it is very interesting. Erica Criss: My vision for Future Fair is to continue the conversation that was started last year between you and Katie Commodore in Womanhood 102—titled like a university class. You have both been hard at work creating new pieces, and I’m excited to debut several of them at the fair. I love how your works speak to each other. When curating a show like this, or any show really, I am considering the space, the artworks, and the audience. I am always thinking about how I can activate the space, how the works play off of each other, and what is going to draw people in. It is kind of like thinking of the exhibition as an artwork itself. I paired you as artists who both explore vulnerabilities from a place of strength. You both approach your subject matter boldly and make interesting use of your materials. Commodore’s meticulous peyote stitching and your free ideation of latex and resin, in new ways, made for an interesting contrast. What I didn’t expect was Commodore’s work, which is overtly sexual, bringing more covert aspects out of your own. Can you speak about the overt and covert nature of your work and its material?   LB: My work is about aging and its effect on female beauty and sexuality. The latex works are wrinkled and deflating, yet still beautiful and compelling. As we age, women should still be considered attractive and desirable—that is, both the covert and the overt message. I think of myself as two-faced, my real self and my artifice, the latter are the more performative aspects of who I am. Women are encouraged more than men to develop their artifice, but men can hace very sophisticated ones too. How long have we worked together? And how many exhibitions of my work have you curated? EC: We were just talking about this the other day and couldn’t believe we’ve been working together for three years. Including Future Fair, I have curated three exhibitions with you. However, we have collaborated on over thirty exhibitions. So much goes into curating a show; it is not just about choosing the artworks. We work together on everything from digital marketing and installation logistics to graphic design. LB: Yes. You have supported so many artists. From your time at Manhattan Graphics Center as director of operations and chief curator, and at Kent State University, where you curated The Women’s Printmaking Invitational 2022 with over 100 artworks, and now your independent curatorial work. The world is always changing, as is the art world—what do you think artists need right now? EC: The art world is always changing, but what hasn’t changed is the artists’ need for support. I am also an artist and received an MFA from KSU. Having both experiences, as an artist and art administrator, I realized that the majority of artists do not think of their practice as a business. Traditionally, galleries handle all of the artist’s “business needs” like online presence, artist statements, marketing, sales, and more. The competition for gallery representation (and opportunities in general) is so oversaturated that the artist now has to be their own business to compete. This is one of the main reasons I started Criss Collaborations—to offer individual artists all of the services a gallery would offer, plus more. LB: Why did you decide to curate another feminist show? We have spoken about feminism at length together, and I think readers need to hear your opinion. How do you define your own feminism? EC:  For myself, feminism is about recognizing women for their talents, uplifting the female voice, and redefining narratives to fit the female perspective. It is also about just being true to yourself. Last year, I showed you and Katie together for the first time in Womanhood 102. When I started that show, I felt a little scared at first because your work was so different visually. I wasn’t sure I’d be able to make the connections for the audience. But the more I spoke with both of you, the more I realized you were tackling the same overarching issues through different lenses. The show was so powerful, in both its

“The Erosion of Reason”: Gustaf Lilliestierna on Blurring Reality and Imagination text Natalia Muntean In his latest exhibition at WAY Gallery in Stockholm, titled The Erosion of Reason, Gustaf ​​Lilliestierna invites viewers into a world where reality and imagination blur, creating a “parallel sense of time” that feels both familiar and foreign. His paintings, which he describes as “hyper images,” are more than just visual representations, they are layered with fragments of memory, ideas, and visual impulses that challenge our understanding of what is real. “I enjoy the childish qualities,” he admits, reflecting on the playful yet profound nature of his work. “I want it to be as enjoyable for a six-year-old as it is for a sixty-year-old theorist.” Gustaf’s process is deeply intuitive, often starting with a single image or idea that leads to another. “One thing just leads to another,” he explains. “I might have 50 ideas, and then I’m trying to understand how these ideas relate to each other. How can they be combined?” For Gustaf, the act of painting is as much about discovery as it is about creation. “They are always a mystery,” he says of his works. “I do wish to see them, so I make them. But in the end, they become material for new thoughts.” Through evocative painting and a deep engagement with nostalgia and inspiration, Gustaf’s art invites viewers to explore the spaces where reality and imagination intersect. Natalia Muntean: How did you develop the concept of “hyperimages,” and what is the most challenging part of creating them?   Gustaf ​​Lilliestierna: “Hyperimagery” started as a term I used once, and I noticed how helpful it was. Without it, I could describe my practice as a problematisation of referencelessness, or perhaps referential ambiguity, in visual representation. Or, I could say it’s a playful attempt to provoke new mental images through depiction. But neither explanation fully captures my practice, and they’re unfair to the immediate experience of my pieces. I often spiral when asked, “What do you do?” So, I embraced the term “hyperimagery,” which popped into my head, and it’s been useful ever since. When I use it, I’m referring toimages that are intuitively, and perhaps even ontologically, perceived as more than one image. NM: How do you define the relationship between reality and imagination in your work?  GL: This question is larger than life! Every attempt to define this relationship pushes the line that represents the “between.” If we assume reality is everything that exists independently of our thoughts, then no such line can exist without us imagining it. A perspective from that line—bordering reality on one side and imagination on the other—would inevitably come from a position within the “non-real.” Any answer inspired by this juxtaposition will be unsatisfactory. We must consider whether we’re answering from individual, separate realities and imaginations, positioned behind a line we can’t fully access. If so, it’s hard to say anything definitive about “the” or “a” reality. If we still believe we can describe “the” reality we all share without including imagination, our book of knowledge would be very thin. Perhaps I’m too cautious to answer this question. But I can say this: I love being a mind. And as a mind, I find myself superpositioned between these fields, though I try to avoid the border between them. NM: How do you decide on the colour palette and composition for a piece? GL: I always start by drawing. Sometimes the final product of this ‘thinking by doing’ activity consists of several, usually 5-10, drawings. Sometimes it results in depictions of buildings, people, streets, objects, or just faces. This collection gives me an idea (if I’m not currently under the influence of one). The idea however is never better than the composition and is only worth realising if I’m pleased with the aesthetic quality of the visuality in a given form. I therefore make a lot of lines and measurements within a drawn dimensional frame. It is perhaps a golden ratio fetish, but I need it for motivation. When the proportions of my ‘abstract composition’ correspond with my collection of imagery nicely, I compose the image using the chosen means. I then translate the drawing into an oil painting. I try to keep it as mind-dependent as I possibly can, but sometimes I do real-life drawing, and build models or digital illustrations as support. The colour palette depends on the mood, which is revealed by the scene. It always ends up in a certain place, at a certain hour. NM: How do you know when a painting is finished, especially when dealing with such abstract and elusive concepts?  GL: It’s a question of just stopping. In one way, they’re never thematically finished. I finish the drawing when it’s close to what I had in mind, and I finish the painting when it looks cool and convincing. Sometimes I manipulate the idea, maybe adding a road sign, a lamp, or another figure. But this is risky, and when it happens, I often start over. I do a lot of work outside the studio: thinking, drawing, reading, exploring, and writing. I usually trust the process once I pick up the brush. I also evaluate my process between paintings, being careful about the direction a series is headed. NM: What does the title The Erosion of Reason mean to you, and how does it reflect the themes of the exhibition? GL: I wanted a title that reflected my previous claims about the immediacy of artistic experience. I wanted to align this with the view that every artwork represents a possible antithesis to a possible linguistic conclusion. I decided that “The Erosion of Reason” was a good fit, since it packs several punches: “The Erosion of Motive”, “The Erosion of Cause”, and “The Erosion of Rational Thinking”. In the case of art, something like an erosion of reason (as the erosion of motive, cause, and rational thinking) becomes beneficial if we wish to see, experience and feel without limitation. In such cases, the erosion of reason occurs

Where Muses Dare: Sara Berman at Larsen Warner text Natalia Muntean “Where Muses Dare” is the first solo exhibition in Sweden by British artist Sara Berman, hosted by Larsen Warner Gallery. This collection features 12 oil paintings on linen, each exploring the societal constructs that shape the female experience. Through evocative storytelling, Berman’s characters navigate realms of power, reflection, and transformation. Berman plays with colour, texture, and form, creating melanges of neon pinks and fiery oranges pulsing beneath deep petrol blues and shadowed greens, with bruised surfaces, textured by layers of scraping, smudging, and wiping. Clothing plays a central role in Berman’s work, both as a metaphor for societal expectations and as a literal, tactile element in her process. Drawing from her background in fashion, she sources and inhabits vintage garments, using staged photographic recordings as the foundation for her paintings. In these shifting personas, the artist explores the fluidity of identity, blurring the boundaries between self-portraiture, fiction, and performance. Through this lens, Where Muses Dare delves into the tensions between personal and collective histories, between authenticity and artifice. Berman’s paintings embody the contradictions of contemporary existence—celebrating, questioning, and confronting the complex realities of gender, power, and self

Frieze Frames — A Vibe Check from LA’s Art Week text Eddie Brannan The juggernaut that is Frieze rolled into LA last week, and as usual, the main event, held at the Santa Monica airport as in previous years, brought with it a flotilla of smaller fairs, pop-ups and openings. The buzz of what has now become a quasi-official art week was felt city-wide, from the Westside to the Hollywood Hills, from DTLA to the artist enclaves to the east. But it was a subdued Los Angeles that welcomed the annual extravaganza this year. The toll of the recent fires on the city was unprecedented, with two neighborhoods—Pacific Palisades and Altadena—almost completely razed. Everyone knows someone who lost absolutely everything in the fires. Homes are gone, studios are gone, collections are gone, archives are gone—things that can never be replaced. But the city stands strong, and Angelenos will build new homes and studios, make new art, and forge new stories. All the shows recognized the impact of recent events and offered fundraising for wildfire relief, whether at designated booths where artworks were available by artist donation, or by providing QR codes linking directly to various fundraisers. Grief And Hope is one such organization, committed to raising funds for impacted artists and art workers, and there are many other groups and endeavors working towards the same end. Aside from Frieze itself, we took the city and the art world’s temperature at other events around LA—Felix Art Fair at the renowned Roosevelt Hotel, Future Fair Tigertail in the hills of Brentwood, and The Art of Oscar group art show, at AF Projects in Hollywood. Felix kicked the week off on Wednesday, and the action was in the rooms and in particular the cabanas around the pool, where a wealth of galleries and artists showed. Out-of-towners were happy to find clear blue skies and temperatures in the 70s in LA, and took advantage of the poolside setting to socialize and acclimatize, as well as take in the works on show. Among our favorites were Meegan Barnes’ whimsical ceramic depictions of LA landmarks at One Trick Pony. Thursday was opening day at Frieze, and the four huge main rooms were full. As well as the wealth of art on show (Sydney Cain, represented by Casey Kaplan, was the stand-out among stand-outs), the people-watching was similarly top-flight. LA is a city that doesn’t typically like to dress up unless there are red carpets involved, so it’s refreshing for Angelenos to see one another in daytime finery. Talking of red carpets, Friday found us at The Art Of Oscar, a group show organized by The Hollywood Reporter to coordinate with the awards and curated by Michael Slenske, where a range of artists showed work that reimagined the famous statuette. Ellen Jong’s Oscarella, an ink-black four-foot-tall Oscar fountain projecting a tutu of water into a surrounding pool, caught visitors’ attention. Topping the most-extravagant-setting list was Future Perfect’s presentation that occupied the whole of a theatrically lit white mansion hidden behind high, high hedges under Runyon Canyon, where we saw the sculptural ceramic pieces of LGS Studio and ran into co-founders Tom Renaud and Noel Hennessy. The weekend meant multiple parties, including a garden gathering at the home of M + B Gallery’s Benjamin Trigano, and a jam-packed pool party at the West Adams home of Alexis Borges, president of Next Models. And lastly on Saturday we visited Future Fair’s pop-up group show in the Brentwood hills, where among other works we saw wonderful wood intarsia renditions of prosaic objects such as cassette mix tapes by Michael Buhler-Rose (represented by New Discretions) while a chef-prepared dinner was served to invited guests as they watched the sun set over the hills of LA, and over Frieze week 2025. photography Ellen Jong