Portfolio

“The way me and my friends lived was kind of liminal too.”

“Rather than being like, Oh, I want to make an amazing track, the coding of time has been much more what I’m interested in. At the forefront is, what am I doing with time here? How am I structuring time?”

“In a way, their limited elements reflect the confined psychic space of the New York art market.”

“I think it is interesting how you corrupt your own work, in the sense of how you also corrupt yourself.”

“Figure, ground and texture frequently trade places in a general atmosphere of sober unearthliness.”

“There was a character and that was me. And you figured out how to get your part bigger.”

“As we pan slowly over a display of Greek pottery, the Ionic’s voice chirps about suburban development, modern appliances and other signs of middle-class comfort, as if to equate the priceless and museum-worthy with the merely banal.”

“I think women are natural anarchists because you’re always operating in a male framework.”

“A film is meant to be something provocative, something hurled into the culture.”

“Tcherepnin’s artworks hint at the ineffability and sorcery of hearing, and in an art context could be taken as the revenge of sound on the subordinating reign of vision.”

“We don’t try to fortify ourselves or our positions.”

“The press release stated that the source for the words was ‘a text that the artists came across one day,’ one ‘obviously written by a gallerist.'”

“I was reading poetry as a form of visual art: as a form of invisible visual art, or as a form of Everyman’s visual art.”

“[A] curatorial search that ventured beyond the Darwinian trends of the art market.”

“I want to show such a duality in its most raw form–with a fragility that triggers aggression.”

“Ancestral archetypes often appear in Bubzee’s intuitively charged work, amidst leaves, petals and other living things.”

“The Evil Side of Love is a tightly wound collection of electronica laced with moody breaks and emotive vocal tracks.”

“A dark-haired witch in metallic body paint and crotchless panties climbs into a dungeon to the sounds of eerie minimal music.”

“I met experimental sound artist and hybrid performer Anastasia Clarke several years ago when I was hosting my old radio show on Know Wave. Earlier this year, I helped them refresh their artist bio.”

“These leather accessories can be worn as a fashion statement but may also have deep personal significance to the wearer.”

“I wrote about Indiana-based artist Manal Kara’s work for their exhibition at Pangée here in Montreal.”

“It was a pleasure to work on the exhibition text for Michelle Cieloszczyk’s recent show ‘hairline fracture’.”

“I was recently approached to do some writing for Brooklyn label No Peak Hours, a relatively new imprint run by Katelyn M. that focuses on dancefloor-inspired music for all hours.”

“In 2020 I created a new bio for New York-based designer Noah Venezia.”

“I had the opportunity to collaborate with OBSKUR MUSIC on album write-ups for two of their releases in 2021 and 2022: SIGSALY’s Arrival and Sara Gold’s Isosafrole.”

“‘receive, return, repose’ is a 3-song journey that very much lives up to its restorative title.’

“I had a spirited start to 2023 with an opportunity to write the album description for Vancouver producer Uma Iste’s latest release Deficient on techno label OBSKUR MUSIC.”

“I was happy to help NYC experimental publisher and curatorial project Other Subjects/Killer Dentist in the past year with some editing and transcribing work for the book Dictionary For Mayflies by filmmaker Keren Cytter, as well as an interview with performance artist Lisa Carver.”

“In early 2020, Steff Juniper commissioned me to refresh their short artist bio for a Toronto queer art festival, Inkling Enacted Project Spotlight Series.”

“In the past year, I’ve had the pleasure of working on several writing projects for Twenty First Gallery, a contemporary decorative arts gallery in Manhattan.”

“To promote Wish Lash’s debut full-length, I created an album write-up as well as a new artist bio.”

“Their obsessive lines trace a relentless impulse to filch something of the world and its (dis)contents; pictures borrowed to be returned at an unknown future date.”

“We have so many very core survival mechanisms and emotionalities wrapped up in sound.”

“Awareness is a feedback loop created somewhere between our faculties and the object, while the boundaries of a painting could provide a theoretical if not a literal kind of mirror.”

“Revising the notion of home through the transformations and upheavals of our time, “User’s Manual for an Invisible Home” traverses migrations, uprootings, the fragmentation of traditions, and the toxicity of everyday materials.”

“The continuation of my tarot series for By Tooth and Claw’s instagram: Death, the Devil, and the Pentacle.”

“Under the dimming overcast sky, my clothes already damp from the chronic regional mist, I’d walk over to catch the commuter train, which traveled above ground, passing through layers of suburban development, residences growing increasingly dismal and forgotten-seeming, until I arrived at his stop, which had the same name as his street, one of the local proper names, the name of a judge or sheriff or gambler from the previous century, which was used commonly in the place where I grew up and which evokes such a stew of memories, mostly bad, that to pronounce it for me is analogous to a certain queasiness.”

“Watching, I imagined her mind as an electrical, muscular diamond – both consummately and consumingly luminous, equally ultra-absorbent and ultra-resistant to surrounding energies.”

“I didn’t see or realize anything. I felt alien, alone and paranoid – and dull, like the dark moments of a song on the radio that I was indifferent to.”

“I was captivated by her relaxed expression as she drew the exhaled smoke into her nostrils and back out through her mouth.”

“A raw but dry attraction that makes me think the words: ‘blunt and scalding colors.'”

“The spirit had coughed up the question, but its bodily messenger had departed, leaving me to answer it alone.”

“Pedestrians’ sneakers would leave impressions on the slick wet streets, and the sidewalk silt – a mutant peat soil host to cigarette butts, boredom, annoyance, and other nuisances – would build up and finally disappear down the drains, to be stretched and hung on a wall, or hardened in a block of civic concrete.”

“Yeah, I’ve seen you around. But when you’ve been here as long as I have, it’s not just you, it’s years of yous, or very-much-like-yous. This city breeds yous: hey yous, me and yous, sick of yous, fuck yous. As I’m sure you can understand, I gave up on names a long time ago.”

“A user had commented: ‘You’re not watching music, you’re watching an exorcism. We’re all lucky Michael Gira had musical talent or else he’d probably be doing serial killings.'”

“BC’s decentralized artistic approach took a critical position toward the commoditization of the singular artist’s identity while exploring capitalism’s strange existential slippages.”

“In 2011, I had a chance to speak with Kraus about her films, which were shown at Real Fine Arts (RIP) under the BQE on the border of industrial Greenpoint.”

“There was something natural to me about this concept of a disembodied presence haunting the streets of NYC.”

“I can’t look at the title of the show without hearing it echoing in my head in Holmqvist’s monotonous, lilting yet powerful tone.”

“At some point in the midst of all this, I did a project for By Tooth and Claw, a “slow clothing” label offering small batch, upcycled, and artisan-made tarot and astrology-themed items.”

“In 2021, I unearthed this poem and paired it with some ink drawings I made. The images aren’t directly related to the poem, but they portray objects and environments I use for channelling creativity.”

“Referencing the concept of a grimoire, or witch’s book of spells, the show was based around a series of texts displayed on the gallery walls in adhesive vinyl lettering.”

“My fourth solo release Dematerialize differs from anything else I’ve done before. First of all, it’s credited to both of my artistic personas: Kayla Guthrie and Reliquary V.”

“In the almost-decade since this piece began to germinate, its dark seeds have blossomed into potent fleurs du mal whose perfume lingers like a phantom over what I create today.”

“It was two extremes at the time for me: the radical presence of performance, where I was watched and acted in real time; and then the almost completely disembodied practice as a writer.”

“My cigarette is imaginary, a ghost Smooth scar where once shone a rosy gash, glossy as the jaws of bloodthirst”

“His story was like a moral tale, childishly simple, and I think it was the lack of complexity in the emotions his story conveyed that made me the most suspicious.”

“Everything is ugly, like the inside of 7-11s, and the look of the streets is familiar from video games.”

“I recently had the chance to speak with experimental sound practitioner Sara Gold for West Coast publication ReIssue.”

“The book does things on its own now. It hangs out, notices things, gets its feelings hurt, complains.”

“I realized recently that I could stand to change the way that I tell stories. Lately I’ve been telling the same ones over and over again without really pausing to think of whether they’re the truth of things as I see them now.”

“The idea of music as raw, communal, sometimes half-formed and chaotic, plunged into obscurity and re-emerging after being buried long ago was ingrained in my mind from these early listening days.”

“My thoughts wander toward the role of pleasure and beauty in my life; how they’ve been edging out the cold familiarity of anhedonia, restriction, and isolation that once stood in their place.”

“I felt especially at home in this supernatural, amorphous character, which unmoored me a bit from the need to accurately describe or convey things that had already happened to me.”

“I looked for places that were dark even in daylight.”

“I moved away from NYC over two years ago, a reality that was almost completely obfuscated by the sweeping global pandemic that arrived mere months after I landed in Vancouver, where I’d graduated from art school nearly a decade and a half previously.”

“I enjoyed the idea of injecting my essence into something functional and semi-hidden, of subtly influencing the proceedings beneath surface perceptions.”

“‘So Bladerunner,’ I say to nobody in particular.”

“Welcome to my first letter from my new home city of Montréal.”

“An artist-led show from a generation steeped in the digital, where technology is an ambient given rather than a topical theme.”