////////////

Haruka Kawakami

i'm all the people i've ever loved

Endpaper. 1785.

Mina Loy (born Mina Gertrude Löwy; 1882 – 1966) was a British artist, writer, poet, playwright, novelist, painter, designer of lamps, and bohemian. She was one of the last of the first-generation modernists to achieve posthumous recognition. Her poetry was admired by T. S. Eliot, Ezra Pound, William Carlos Williams, Basil Bunting, Gertrude Stein, Francis Picabia, and Yvor Winters, among others.

Loy's formal art education began late in 1897 at St. John's Wood School where she remained for about two years. She later called it "the worst art school in London" and "a haven of disappointment". Loy's father pushed for her to go to the art school in the hope that it would make her more marriageable. Around this time, Loy became fascinated with both Dante Gabriel Rossetti and Christina Rossetti, and after much pleading was able to persuade her father to purchase her Dante's Complete Works and reproductions of his paintings as well as a red Moroccan leather-bound version of Christina's poems. She also became passionate about the Pre-Raphaelites, beginning with the work of William Morris and later turning to Edward Burne-Jones (her favourite work of which, at the time, was Love Among the Ruins). Loy had to be careful as to how she expressed herself due to her mother's control. For example, Loy described that when her mother found a drawing she had done of the naked Andromeda bound to a rock her mother, scandalised and disgusted, tore up the work and called her daughter "a vicious slut".

Intricate paper cut-outs by Canadian artist Myriam Dion

From found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montréal-based artist has recently begun experimenting with a range of found materials, like gouache-painted samples of antique textile patterns and pages from old garden books.

Myriam explains: "I did a lot of installations during my bachelor's degree; I liked the monumental aspect of the works and their immersive quality. When I began incorporating newspaper articles into the heart of the pieces, with a more political message, I also added increasingly smaller and more intricate motifs. These are very intense and highly detailed works that are then framed and sold by the Blouin Division gallery . The subjects I work with from newspapers are very clearly defined; you immediately recognize what they are about, it's quite obvious. On the other hand, the large-scale installations correspond to a more subjective aspect of my practice. They leave more room for the viewer's interpretation, which is freer, more focused on contemplation or immersion."