There is never a shortage of people and organisations to whom repeated and embarrassingly effusive ‘thanks’ are owed for their support and encouragement in the making of each issue, and there is simply no listing them all here. Special mention must, nevertheless, be made to the visual artists, whose work gives this issue its particular and arresting watermark:
Karolina Krasouli was born in 1984 in Athens, Greece. After studying Clinical Psychology, she enrolled in the National School of Fine Arts of Lyon. During her studies, she developed an interest in painting, photography and filmmaking. In 2013 she worked as an assistant for Moyra Davey, a photographer, essayist and filmmaker whose work has had a big influence, and participated in the making of her short-film Les Godesses, a visual essay on Jean Genet. Working with painting, photography and film, Karolina Krasouli produces images that lie in the intersection of abstraction and figuration. Her work always draws inspiration from literature and poetry. Through the process of reading and writing, she extracts a set of operations where she transcribes meanings and sensations without the support of language. The paintings aim closer at representing optical phenomena related to memory and language, than providing an immediate grasp of an image or an object. “Omitted Center” (2015); the discovery of the archive of Dickinson’s envelope poems, marked the beginning of a series of works of paintings and sculptures. By manipulating envelopes never sent, via using techniques such as cutting, folding, coloring, she created motifs: a set of signs, that is, an alphabet arranged in grid directly on the wall or represented on canvas forming a line. She presented her work at Ateliers de Rennes, 5th edition, Incorporated! (2016), galerie Raymond Hains, Saint-Brieuc (2016), la Tôlerie, Clermont-Ferrand (2016), Eva Meyer, Paris (2017), Frac Bretagne, Rennes (2018), Daily Lazy, Athens (2018), Pauline Perplexe, Paris (2018), Kunstraum am Schauplatz, Vienna (2019), La vitrine, Frac île-de-France Le Plateau, Paris (2020).
Louise Wheeler (instagram: @louisewheelerart) is a painter currently based in Cambridgeshire, but she also spends time in the Highlands, Scotland, where the landscape has an influence upon her work. Her preferred painting media are watercolours and acrylics. Louise graduated with a MLitt in Art History from the University of St Andrews in 2018, and prior to this, with a BA in English from the University of Exeter in 2016.
She has long been fascinated with exploring the formal possibilities between female figures and landscapes in her paintings. Watercolours and acrylics enable her to express the figure and landscape as intertwining and coalescing, due to their fluid, translucent natures. She loves to paint fluctuating forms which fragment, obscure, and therefore ultimately, question the relationship between a figure and its environment.
During 2018-2019, Louise became very interested in the environment movement, and the growing awareness of the reality of the climate crisis. She felt that her exploration of the figure and landscape in her painting resonated with the current situation of human-induced global warming. In response, her practice continues to recombine the motifs of figure, landscape and water forms, and wind turbines, to push the boundaries in paint further between the human and the environment.
In addition, special thanks are owed to the staff and advisors in the School of English at the University of St Andrews for their support and guidance; thank you to The Poetry Society, The Scottish Poetry Library, and StAnza, Scotland’s International Poetry Festival, for helping to promote the magazine.
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Views of contributors are not necessarily those of the Editors.