Kumi Yamashita


Kumi Yamashita (山下 工美 Yamashita Kumi) is a New York City–based Japanese artist. Yamashita is best known for her light and shadow sculptures constructed from everyday objects.

To see more of her work, click here.

Clare Owen


Clare Owen is a freelance Illustrator and Designer currently based In Bristol, UK.

To see more of her work, click here.

Tracy Ma


” Tracy is a graphic designer. She can illustrate, design, lead teams, make zines, teach, animate, design for the web, produce events, and think creatively. She is great at collaborating and enjoys working with others … She studied graphic design in Canada and lives in Chinatown, New York. It reminds her of Hong Kong, where she immigrated from in 1996.”

You can see more of Tracy’s work here and on Instagram.

All text and images from tracyma.com/KXUeZ/KTYlZ/.

Now Featuring Lindsay Stripling

Lindsay Stripling makes paintings that speak to possibility. Accessible, figurative, and peopled with a diverse population of alter-egos, Stripling paints parallel spaces and stories in watercolor. Even her most off-putting tableaux also speak to our ability to experiment and reimagine.

Exclusive Print 1

Exclusive Print 1, Triptych

Exclusive Print 2

Exclusive Print 2, Cloud Blowers

Exclusive Print 3 , Ouroboros

Exclusive Print 3 , Ouroboros

MH: To get started, can you talk about the people and creatures we meet in your paintings? Who are they? And where are they?

LS: My paintings are filled with people and creatures I have met, who are maybe partly me and who are from my imagination. I am interested in creating a world in which anyone can insert themselves, so I use masks and intentionally use different body types and skin tones. I also intentionally mainly use women and androgynous creatures because I think providing a space for women, non-gender conforming, queer, trans and basically all people to exist where they are not continuously objectified and instead are able to be a part of something more interesting, have power and be powerful is important.

The world my creatures inhabit exists partly here and now and partly in my dreams, in a universe that doesn’t quite exist yet and doesn’t make logical sense. It’s one peel of an onion away, close enough to feel relevant but far enough to blur my vision.


MH: What are the stories (literature, myths, your own narratives) that have influence you and the scenes that you paint?

LS: I have always been very interested in alternate realities, fairy tales, folk tales and stories from the future and how they can reveal and create discussion around our current situations. I am influenced by authors like Haruki Murakami, Helen Oyeyemi, Angela Carter and Walter Moers, but I am equally influenced by movies, TV, and music. I always come back to shows like The Fringe (or anything from JJ Abrams), Star Trek, ET, Invasion of the Body Snatchers, Tremors… and I love B sic-fi movies from the ‘70s and ‘80s.


MH: How do you think about narrative— do the stories/characters come to you before the images or vice versa?

LS: While narrative is super important for me is difficult for me to pinpoint where it begins— I usually start with an inkling of an idea or a scene, and begin painting, the painting typically begins to build upon itself. Usually what I thought it would be ends up being far from what it becomes. Often I try to create multiple scenes within one image, creating multiple entry points and even exit points.

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MH: How do you use whimsy and humor as tools in your work?

LS: I find whimsy and things people view as cute or pretty as places to trick people into having more interesting and subversive conversation. I love it when I have a pastel-colored painting that is filled with missing limbs and sea monsters. I strive to have my work have the same effect as old fairy tales; our initial idea of them is pop, full color Disney cartoons, and then when we look at the underlying narrative and its cultural history it becomes grotesque and has so much more to say. I like that. I find that both whimsy and humor are great ways to lure people in— they also help me to not take myself so seriously!


MH: I see that you also teach art. I am always curious how teaching might influence the teacher’s own practice. Have you experienced that?

LS: Definitely. I teach adult education watercolor classes, and I struggled for years to figure out ways to make painting and drawing more approachable to people who have never painted or drawn. What I’ve discovered over the years is to firstly make it quick, none of us really have long attention spans anymore so I focus a lot on bite sized information and how to make it easily digestible. Secondly, nobody likes to leave a class they’ve paid $100 for feeling inept or frustrated, so I try to make being loose a tool. Often beginning watercolor students use way too much water, and that’s because controlling saturation levels is really difficult and also being patient and waiting for paint to dry is painful without practice. So I try to encourage students to use the messy, unpredictable quality of overly wet watercolor in their favor, and to understand how to gain certain effects while trying to control chaos— so students leave feeling empowered.

Most of my lesson plans emphasize imperfection and nuance and I think over the years it’s begun to show in my own paintings. If I stress less about depicting a perfect tree, which as an A type person I normally want to do, then I can focus more on the larger image.


MH: What are you working on now, and what are you longing to work on, but for whatever reason (resources, time, courage, opportunity) haven’t gotten to yet??

LS: I am currently in a three month residency at Irving Street Projects in the Outer Sunset. I am doing a large, ten painting panorama of Ocean Beach, as well as making some mobiles and other interactive portions to the space. I am hoping to get to do more residencies. It’s nice to think larger and outside my comfort zone, I have been really wanting to do more murals recently too.

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Stephanie Deangelis


Stephanie Deangelis is an illustrator and graphic designer living in Los Angeles, CA.  To see more of her work, click here.

Willian Santiago


Willian Santiago is a Brazilian illustrator.

You can see more of his work here and here.

Harriet Lee Merrion


Harriet Lee Merrion is an illustrator based in Bristol, U.K.  Her washed palette and delicate line work are influenced by botanical engravings, surrealism and Japanese woodblock prints.  Represented by Heart Agency, Merrion has worked with various international magazines and publishers.


To see more of her work, click here.

Keef Palas


Keef Palas is a collaborative line of ephemeral Mediterranean jewelry by artists Claire O’Keefe and Eugenia Oliva.

To see more, click here.



Sonia Alins


Sonia’s art is a personal well-mixed combination of surrealism and visual poetry. Her artworks are her thoughts, her fears, her feelings and her desires, transformed into drawings and color. She develops a conceptual narrative full of delicate details, with her own sophisticated language and always innovating and exploring new ways of expression.

To see more of Sonia’s work, click here and here.

Meltem Isik


Meltem Isik was born in Ankara. She received her BFA in Graphic Design from Bilkent University, Ankara, and her AAS in Jewelry Design from the Fashion Institute of Technology, New York. In 2011, she received her MA from the Department of Visual Arts at Sabancı University, Istanbul. She is a PhD student in the Design, Technology and Society program at Özyeğin University.

Through intricate compositions of photographic images, Meltem Isik explores the way we see and perceive the human body. The complexity that originates from the capability of our bodies to see and be seen simultaneously provides the basis of her work. Currently she lives and works in Istanbul.

To see more of Meltem’s work, click here.