Rachel Levit


Rachel Levit is a Brooklyn based illustrator raised in Mexico City.

To see more from Rachel Levit click here.

Mitsuko Miwa

Mitsuko Miwa

Mitsuko Miwa

The work of Mitsuko Miwa.

**All images are from longhouseprojects.com

Davide Balliano

davide balliano


Davide Balliano was born in Torino, Italy in 1983.  He lives and works in New York City.  To see more of his work, click here.


Alistair Matthews


Alistair Matthews (b. 1987) lives and works in New York. Her photography appropriates pop-culture iconography and studio aesthetics, presenting objects and tableaus in a commercial influenced arrangement. Her work has been shown in Chicago, New York, Philadelphia, San Francisco, Oakland and Denver. -Moroso Projects

To see more from Alistair Matthews click here.

Good Thing NY

“Good Thing is a Brooklyn-based manufacturer of small products and accessories. We try to make objects that are minimal, considerate and expressive.

To develop a new product, Good Thing and collaborating designers work closely with local vendors from the very earliest stages of the design process. This unorthodox method yields objects that are strengthened by the inherent qualities of the materials and processes used to make them.”


GoodThing_CanopyLamp_White_V1_006_RGB-copy-530x570 GoodThing_Collection_1-530x389 GoodThing_Collection_V3_007_RGB-copy-530x593 GoodThing_DinoMug_008_RGB-copy-530x544 GoodThing_EasyMirror_V2_006_RGB-copy-530x480 GoodThing_Lamp_Natural_V4_005_RGB-530x435 GoodThing_PCPot_V1_004_RGB-copy-530x535 GoodThing_Spiral_002_RGB-copy-530x491 GoodThing_Vase_Group_015_RGB-copy-530x438 GoodThing_Vase_Teal_V2_006_RGB-copy-530x381




Instagram: @goodthingnyc

Christopher Derek Bruno


After his education in industrial design, Christopher Derek Bruno moved about the United States cultivating his approach to the design/fabrication of furniture, and sculpture based imagery. Currently residing in his hometown of Atlanta, his recent work intends to explore the cognitive visual experience using (but not limited to) a set of 0-dimensional points bound by 1-dimensional lines, combined to make 2-d planes, organized into 3-d forms, applied to objects with the express purpose of creating a 4-dimensional relationship with the observer.

To see more from Christopher Derek Bruno click here.

Guy de Cointet







From the late ’60s until his untimely death in 1983, Guy de Cointet was an active member of the Los Angeles art scene whose encrypted works on paper and theatrical productions using readymade language–taken from both the high literature of his native France and the soap operas of his adopted land–were often as enigmatic as the man himself. A fundamental model for the newest generation of artists, Guy de Cointet was re-discovered for the world thanks to the curatorial excellence of Marie de Brugerolle.

**Text from here.



WHITE WASH VERNER is a collection of easy, thoughtfully deconstructed street wear that gives a nod to Australian kitsch iconography. The collection explores the history of black memorabilia and the ‘white Australia policy’, which was finally dismantled in 1973. White Wash also references the historical use of lime and chalk as an application, which translates graphically throughout the collection.

During the research phase of the range, the studio looked into the work of American fashion designer Patrick Kelly who was the first person of colour to be admitted as a member of the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode (translated as: the Trade Union of Ready-to-Wear Fashion Designers) as well as contemporary Aboriginal Artist Destiny Deacon. Both artists use the iconography of black memorabilia in their works.

“It is my job as an Australian designer to look inward into this country’s history including areas of political correctness.” States VERNER.

VERNER continues to develop its unique take on street wear with the inclusion of decorated track suiting, oversized coats and quilted patterns. Colours are predominantly the positive and negative shades of white and black. Decorative details include embroidery, digital prints of white brush strokes, raised, non-slip dot prints and starched white cottons. The collection features a variation of prints including the words ‘White Wash’ plus a nod to a Destiny Deacon and the use of dolls in her sculpture and photography.

“I generally enjoy playing with the proportions of street wear archetypes; the short, t-shirt and pant. I deflated them this season by crossing over the softness and the freedom found in children’s wear. There is a real anti-bourgeois feel to this collection, still playful and relaxed, just like the way we live in Australia.” States VERNER.


To see more from Verner, click here.

Bonanza VI: Eighteencharacters at Interface Gallery

I recently went to check out the awesome Bonanza show at Interface Gallery. If you are in the Bay Area make sure to catch it before the show goes down, it’s a real neat!
Show is up from Wednesday, October 1st – Friday, October 31st.


“The first rule of naming a horse is that a name may consist of no more than 18 letters, and spaces and punctuation marks count as letters. Eighteencharacters is acceptable (and is, in fact, a registered horse name) but Eighteen Characters is not.” (From The Jockey Club Registry, established 1894)

Interface Gallery is pleased to present Eighteencharacters, featuring Bonanza, the collective practice of Conrad Guevara, Lindsay Tully and Lana Williams. Taking inspiration from the horse races at nearby Golden Gate Fields in Berkeley and the gallery’s history as turn of the century horse stable for the local horse-drawn trolley, the exhibition is titled after a naming convention used for race horses.

Examining the performativity of identity through stage names like those given to race horses – Midnight Lady, Mark of a Gem, Lil Swiss Echo – Bonanza finds a metaphor for their own collective practice, which is similarly playful and strategic.

Just as the act of naming attributes, masks, and alters meaning, implicitly revealing the imitative structure and contingency of naming itself, Bonanza’s shifting interplay of sculpture, film making, and painting, and of individual and collaborative works, examines contingency through a collapsing and continuity of their work as a spirited partnership. As the distinctions between individual practices blur and the collaborative exercise becomes more concrete, the artists challenge the value of authorship and the fixity of identity by taking on their own stage name – Bonanza.

Back in the Saddle Again.


Bonanza is the collective practice of Conrad Guevara, Lindsay Tully, and Lana Williams. The formal cohesion of a film maker, sculptor, and painter is the result of their shared way of thinking and making. Bonanza centers around ideas of abstraction, questions authorship, and dismantles ideas of the heroic artist. They have exhibited at Artists’ Television Access, n/a, and S.H.E.D. Projects in the Bay area.

To find out more click here.

Post Projects for Umbra Shift

Photography, art direction, and styling for Umbra Shift’s 2014 collection by Post Projects, a Vancouver-based graphic art and design studio.



**All images are from post-projects.com