The Giving Project: After Hours
Josh Stein recounts a New Year’s Eve portrait exchange that grew from the relationships formed through The Giving Project.
A Glue Stick Alone Wasn’t Going to Cut It
Amy Devlin describes moving collage beyond the page through fabric, found objects, sewing, staples and the visual language of weathered billboards.
Against Compliance: Disobedience as Artistic Strategy in a Time of Permanent Crisis
Lucy Lambe examines artistic disobedience as a sustained method of resistance within conditions of permanent political and social crisis.
Kauguri Garden in the Winter Dark
Katrīna Tračuma reflects on painting a beloved Kauguri garden en plein air as winter cold, sunset and darkness transform the scene.
Where Beauty and Sorrow Are Inseparable
A reflection on fragility, grief and transformation through a mixed-media study of a single flower suspended in darkness.
The Giving Project: After Hours
Josh Stein’s The Giving Project: After Hours follows the relationships that emerged from giving artworks to strangers. Through photographs taken in late-night and off-hours spaces, the project documents where these encounters have led—across lower Manhattan, Monmouth County, and the Napa Valley—turning ephemeral exchange into personal record.
How to express a feeling
Enrique Hernandez reflects on how to express emotion when words are not enough. Through drawing, painting, resin, gouache and expressive lines, the work explores raw feeling, texture, vulnerability, eroticism, and psychological depth—holding the tension between strength, exposure, and the crude reality of human fragility.
and yet a trace of the true self exists in the false self
Katrīna Tračuma’s “and yet a trace of the true self exists in the false self” unpacks the “Circle of Life” meme as a cyclical evolution story—comic, bleak, and strangely tender. The series visualises a modern domestic dinosaur, linking present life to ancestral death, from dino nuggets to wrapped flesh.
Ancient Ground
In Ancient Ground, Anne Martin Walsh reflects on vestiges and indentations—traces in the landscape formed by human intervention and the earth’s natural processes. The accompanying work layers collage, acrylic and oil, holding marks like evidence: part history, part erosion, part memory. Read the full piece in Anecdotes Issue 01.
Pre-Mobile Era
In Pre-Mobile Era, John Murray considers the human–phone relationship as something symbiotic: we’re attached to our phones, and they’re attached to us. Through drawing and painting, the series records this mutual dependence, anchored by a study of an office secretary from the pre-mobile age.
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