Interviews by Brainard Carey

photograph by Lori E. Seid Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. Recent solo exhibitions include The Mathematics of Consciousness, a 100-foot long video installation commissioned by Pioneer Works, Brooklyn, NY, and supported by a grant from the VIA Art Fund; Charles Atlas: Ominous, Glamorous, Momentous, Ridiculous, Fondazione ICA Milano, Italy; and Charles Atlas: The past is here, the futures are coming and The Kitchen Follies, The Kitchen, New York. In 2017, the Hammer Museum, Los Angeles acquired Atlas' five-channel video installation with sound entitled The Tyranny of Consciousness, which won a prize in Viva Arte Viva, the 57th International Art Exhibition of the Venice Biennial. In September 2019, Atlas unveiled The Geometry of Thought, a new commission for Art on theMART that spanned across the 2.5 acre river fac;:ade of theMART in Chicago.Atlas' work is included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris; Hamburger Bahnhof - Museum fur Gegenwart, Berlin; Migros Museum fur Gegenwartskunst, Zurich; and De Hallen Haarlem, The Netherlands. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens.

Charlotte Edey Charlotte Edey is a British artist (b.1992, Manchester). Her work is primarily concerned with contemporary issues of selfhood.Cultural signifiers and personal mythologies are interwoven through a process of world-building.Her imagined realms are peppered with symbolist motifs that explore the politics of embodiment, race, gender and the erotic. Her process combines tapestry and embroidery as an expansion of her drawing practice. Mark-making and gesture are explored through hand-embroidery and beading, forging a relationship between line and thread. Her installations reference ritualistic methods of display that blur the boundary between the real and the represented, forming portals to bodily otherworlds that offer the opportunity to investigate our present.Charlotte Edey lives and works in London. She studied at Chelsea School of Art and Design and the Royal Drawing School. Charlotte Edey, Cutting Ties, 2022, soft pastel on paper in found cedar frame, 13 1/2h x 11w inches, Courtesy of 1969 Gallery and Artist. Charlotte Edey, Finger Coils, 2022, soft pastel on paper, 25 1/2h x 19 1/2w inches, Courtesy of 1969 Gallery and Artist. Charlotte Edey, Tongue Tied, 2022, Woven jacquard tapestry with silk hand-embroidery and freshwater pearl in sapele double frame with hinge, 70cm x 70cm. Courtesy of Artist.

Photographer: Guillaume Ziccarelli. Courtesy of the artist and Perrotin Nikki Maloof’s paintings depict the world hidden within the mind. Imagined interiors, and animals become proxies for the human experience. Her subjects convey existential loneliness, but that loneliness is buoyed by humor, capricious paint handling, and the use of a saturated palette. A squiggle depicting ground meat, a cat’s meow being mistaken for a howl, or a comically disillusioned fish being filleted before our eyes, all draw the viewer’s attention to the melancholic and at times brutal tone of the imagery. At the same time, the paint handling and colors attempt to undermine the dark nature of these images all together. This self-defeating melodrama points to an ambivalent view of existence, to a need to laugh and cry and even at once. Nikki Maloof, The Cherry Tree, 2022. Oil on linen, 64 x 48 inch. Photograph: Guillaume Ziccarelli. Courtesy of the artist and Perrotin. Nikki Maloof, In the Yellow Room, 2022. Oil on linen, 78 x 60 inch. Photograph: Guillaume Ziccarelli. Courtesy of the artist and Perrotin. Nikki Maloof, Skunk Hour, 2022. Oil on linen, 74 x 114 inch. Photograph: Guillaume Ziccarelli. Courtesy of the artist and Perrotin.

Victor Burgin (b. 1941, Sheffield, United Kingdom) first came to prominence in the late 1960s as one of the originators of Conceptual Art. His work appeared in such key exhibitions as Harald Szeemann'sLive in Your Head:When Attitudes Become Form(1969) at the ICA London, and Kynaston McShine'sInformation(1970) at The Museum of Modern Art, New York. Since then, he has had solo exhibitions at the Museum für Gegenwartkunst Siegen, Kunsthalle Bremerhaven, MAMCO Musée d'art moderne et contemporain, Canadian Centre for Architecture, Mücsarnok Museum, University at Buffalo Art Gallery, Musée d'art moderne Villeneuve d'Ascq, The List Visual Arts Center, Renaissance Society at the University of Chicago, Musée de la Ville de Calais, The Museum of Modern Art in Oxford, and Stedelijk van Abbemuseum in Eindhoven. His work appears in the collections of The Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Walker Art Center, Tate Gallery, Victoria and Albert Museum, Los Angeles County Museum of Art, Museum of Contemporary Art in Los Angeles, Museum Ludwig, Fotomuseum Winterthur, Musée national d'art moderne, Sammlung Falckenberg, and The Arts Council Collection in London. Burgin graduated from the School of Painting at the Royal College of Art, London, in 1965, where his teachers included the philosopher and novelist Iris Murdoch, and then went on to study Philosophy and Fine Art at Yale University School of Art and Architecture, where his teachers included Robert Morris and Donald Judd. Burgin is Professor of Visual Culture at the University of Southampton, Professor Emeritus of History of Consciousness at the University of California, Santa Cruz and Emeritus Millard Chair of Fine Art at Goldsmiths College, London. In 2015 he was a Mellon Fellow and Visiting Professor in the Department of Cinema and Media Studies at the University of Chicago. He lives and works in South West France and Paris. Victor Burgin, Photopath, 1967-69. instruction card; typewritten on card stock. 5 x 8 inches. Courtesy the artist and Cristin Tierney Gallery, New York Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York. Detail. Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York.

Lila de Magalhaes (b. 1986, Rio de Janiero) lives and works in Los Angeles. She received her MFA from the University of Southern California in 2013 and a BA from Glasgow School of Art in 2008. Her recent solo and two-person exhibitions include Palace of Errors, Deli Gallery, NY; Soup of the Night, Matthew Brown, LA; Cupid of Chaos, Ghebaly Gallery, LA; A Soft Flea, Mutt. R, LA; Remote Control, Abode, LA; Exhibition (10), SPF15, San Diego; and Motorfruit, Blood Gallery, NY. She has appeared as well in numerous group exhibitions, including Porch Gallery, Ojai; Company Gallery, NY; Freedman Fitzpatrick, LA; François Ghebaly, LA; ltd los angeles, LA; Steve Turner, LA, PANE Project, Milan; Julius Caesar, Chicago; and 356 Mission, LA. Lila de Magalhaes Interior (The wonders of epsom salt), 2022 Glazed ceramic 9 ½ × 10 ¾ × 1 ½ inches (24.13 × 27.31 × 3.81 cm) Lila de Magalhaes Ride Home, 2022 Dyed fabric, chalk pastel, and thread 43 × 35 × 1 inches (109.22 × 88.90 × 2.54 cm) Lila de Magalhaes Lunch Date, 2022 Dyed fabric, chalk pastel, and thread 62 × 49 × 1 inches (157.48 × 124.46 × 2.54 cm)

Jakob Jørgensen by Dorte Krogh Jakob Jørgensen was born in 1977 in Nyborg, Denmark. He studied fine art in his early twenties, attending The New Art School, Odense,Denmark and Guildhall School of Fine Arts in London, as well as completing an apprenticeship with Studio Palla in Carrara, Italy. In 2008, hegraduated from the Royal Danish Academy for Design, and went on to found a successful design studio. As his interest in large scale steelsculpture developed, he submitted a proposal to the Danish National Workshop in 2017, and was granted access to their vast metalworkingfacilities. He continued his exploration of the medium, building a dedicated studio tailored to working with steel pipe on the island of Bornholmin 2020. Jørgensen’s work has been exhibited internationally in solo and group exhibitions including at the Musée d’Art Moderne de Paris,France; Louisiana Museum of Modern Art, Humlebæk, Denmark; Designmuseum, Copenhagen, Denmark; and the 21st Century Museum,Kanazawa, Japan. He has been the recipient of numerous awards and grants including the Finn Juhl Prize, the Bodum Design Award, and theIFDA Goldleaf Award. Installationimage of Take Root,From left to right:Resistance, Freedom Vessel, The Wound, The Tree, The Punch, Branch Out II, Branch Out I, 2022,Photo by Joe Kramm. Installation image of Take Root,Wall sculptures from left to right:The Bean, The Beat, The Hole, 2022,Floor sculpture:Freedom Vessel, 2022,Photo by Joe Kramm. The Wound, 2022 Photo by Dorte Krogh https://museumofnonvisibleart.com/interviews/wp-content/uploads/2023/03/The-Burning.mp4

Susan Dory is a Seattle-based artist whose geometric abstractions explore systems of interconnectedness, patterning and her trust of the process. Susan has exhibited widely with exhibitions at Winston Wachter Fine Art in New York and Seattle; Margaret Thatcher, New York; Catharine Clark Gallery, San Francisco; Tew Gallery, Atlanta; Boecker Contemporary, Heidelberg; The Tacoma Art Museum; The Henry Art Gallery, University of Washington; Kittredge Art Gallery, University of Puget Sound, The Western Gallery, Western Washington University; Mills College Art Museum, Oakland; The Contemporary Austin – Jones Center and The Art Gallery of Greater Victoria, Victoria BC, Canada. She received her BA from Iowa State University and studied painting in Vienna, Austria. Susan is a recipient of the Neddy Award, The Pollock Krasner Foundation Grant, GAP grant, the Artist Trust Fellowship Grant, and was a finalist for the Betty Bowen Award. Some public collections include, The Tacoma Art Museum, Ballinglen Museum of Contemporary Art, Ireland; The U.S. Embassy, Vientiane, Laos, Seattle Arts Commission Collection, King County Arts Commission, 4Culture, The Microsoft Collection, Vulcan Enterprises, Swedish Hospital, Hewlett Packard, W. Clements Jr. University Hospital, Dallas, TX, Neiman Marcus and Nordstrom Spontaneous Sights, through March 11th at Winston Wachter Fine Art. Fluency 2022-23 acrylic on canvas over panel 24 x 30" Fluency 2022-23 acrylic on canvas over panel 24 x 30" Secret Cave of the Heart 10, 2022, acrylic on canvas over panel, 42 x 48"

Jonathan Casella is a contemporary artist based in Los Angeles, California, whose work is defined by dynamic compositions featuring riotous amalgams of dots, checkers, stripes, and bold swaths of color. His disciplined approach to painting involves the exploration and definition of a unique visual language through endless permutations of color, shape, and pattern Born in Houston, Texas, he received a BA from San Francisco State University in 2010. Recent solo exhibitions include Harper's NY (2023), Mindy Solomon Gallery in Miami (2023), F2T Gallery in Milan (2022), and M+B Gallery in Los Angeles (2021). Jonathan Casella, Doublestar Installation, Harper's Gallery Chelsea Jonathan Casella, Doublestar (A.B.B. Emma Cline), 2022, Acrylic on canvas, 77h x 66.25w in., 195.58h x 168.28w cm Jonathan Casella Doublestar (A.B.B. Eat It Up), 2022 Acrylic on canvas 77h x 66.25w in 195.58h x 168.28w cm

Jason Lustig is an artist living and working in Brooklyn, New York. Originally from the S.F. Bay Area Jason’s work is largely informed by the environment he grew up in. Often moving between cities, mountains, and coastal areas, Jason uses these as the main settings of his paintings and then adds charmingly mischievous characters to live inside them. Using a bright and saturated color palette, his paintings capture moments in time from other worlds that seem to parallel our own. Jason Lustig, "Joyride", 2023, Flashe on canvas, 18 x 24 in. Jason Lustig, "The Regular", 2022, Flashe on wood panel, 10 x 8 in. Jason Lustig, "Window Cat", 2021, Flashe on wood panel, 7 x 5 in.

Danielle Roberts. Photo: Anushka Bohra | @ab.frames, Courtesy Fredericks & Freiser Archives. Danielle Roberts (b. 1991, Stockton, CA; raised in Gabriola Island, British Columbia; lives and works in Brooklyn, NY.) She received an M.F.A. from Hunter College in 2021. Recent solo exhibitions include "Evening All Day" (2023) at Fredericks & Freiser, New York and "Afterglow" (2022) at Friends Indeed, San Francisco. Group exhibitions include "What Now?" (2022) at PM/AM, London; "Women of Now: Dialogues of Memory, Place and Identity" (2022) at Green Family Art Foundation, Dallas, TX, and "Towards a More Beautiful Oblivion" (2021) at Fredericks & Freiser, NY. Danielle is represented by Fredericks & Freiser in New York, and Friends Indeed in San Francisco. Drawing from personal experience Danielle Roberts' paintings are grounded with an uncanny sense of place. Through the collision of light and shadow she creates a world where light is simultaneously magical and toxic; against a darkness that is both soothing and foreboding. The spaces in her paintings radiate with dark luminescence. Roberts does not shy away from discomfort and awkwardness in her worlds. She hones in on the pathos of her own experiences and those of her peers which are at once individual, unique to each of Roberts’ figures, and universal, instantly recognizable to audiences. The artist does not retreat into her painted worlds as an escape from the overwhelming anxiety and instability coursing through contemporary society; instead, she pushes right up against them, opening those spaces onto her audiences. There is an insistence on life and desire, even if those desires are complicated. The people of her scenes - withdrawn and ambivalent - wade through the mess, surviving on their own terms. Danielle Roberts, Hidden in Plain Sight (The Reading), 2022, Acrylic on canvas, 54 x 60 inches. Courtesy Fredericks & Freiser, New York. Danielle Roberts, The sky weighs heavy through the night, 2023, Acrylic on canvas, 76 x 96 inches.Courtesy Fredericks & Freiser, New York. Danielle Roberts, Adrift, 2022, Acrylic on canvas, 56 x 66 inches. Courtesy Fredericks & Freiser, New York.