Ginny: Ioana Dragomir

Are these part of the works? Are we meant to wonder as much? Is this intrusion by the domestic onto the public space a matter of convenience or calibrated critique?

In Review of a pillow fort & other soft things 

At scarcely thirty years old, Huhtala has proven a sophisticated command of material efficiency at the nexus of all the big (forgive me) post-modern themes—frustration, alienation, and impotence vis-à-vis ceaselessly absurd industrial momentum. But the genius of the work is its tragicomedy.

Sous ses yeux de pierre: Véronique Chagnon Côté and Élise Lafontaine

The everywhere filigree of enpencilled architectural guidelines throughout Côté’s work suggest the work is, in some ways—and in contrast to instances of exquisite, even masterful detail—half-imagined, or, if you’d prefer, half-dreamt, akin in space to the swirling translucence and precise geometry of a dream partially inhabited at waking.

Revelations: Gathie Falk

If there is a word in English that will do to describe existence at all it is perhaps miracle and it is perhaps the job of the artist to situate the miracle for us, as Falk does—to remind us of the miracle when the grooved fat of habit suppresses our appetite for it.