Our Highlights from Plaster Magazine's First Exhibition: The Radar
May 29, 2025
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
In a remarkably short span of time, Plaster Magazine has carved out a huge space for itself within London’s art criticism landscape: rejecting the dense, alienating codes of “International Art English,” Plaster embraces a tone that’s relaxed, sincere, and refreshingly irreverent. Instead of hiding behind academic opacity or market hype, the magazine champions clarity and down-to-earthiness, giving space to emerging trends in the art world that nobody chooses to speak about in more institutional settings.
One of Plaster Magazine’s most beloved online features recently stepped out of the digital realm and into the physical world with The Radar exhibition, running from 21 May to 4 June at 20 Great Chapel Street, London. Curated by Plaster’s writer Izzy Bilkus, the group show brings together a diverse mix of emerging artists previously featured in the magazine’s monthly “Radar” column: a regular snapshot of the creative voices catching the editors’ eye. From Ada Bond’s haunting paintings to Fern O’Carolan’s hybrid objects blending chainmail and softness, the exhibition is a tangible manifestation of the magazine’s commitment to spotlighting fresh, undiscovered artists in the UK scene.
Here, we take The Radar one step further by highlighting a selection of artists from the exhibition whose work particularly stood out to us. While the show as a whole offers a panoramic view of the new voices making waves on the contemporary art scene, we’re zooming in on a few profiles that we believe deserve a closer look.
Lucas Dupuy
Lucas Dupuy (b. 1992, London) works across engraved surfaces, xerox collages, and subtle sculptures, building a kind of quiet, emotional language that perfectly encapsulates the state of abstract painting in digital times. His recent editorial project Formless Anxiety (2023) brings together five years of experimentation into a loose, atmospheric rhythm of textures and forms, eerily calm but also a little bit haunted. In collaboration with producer Pavel Milyakov, his album takes this mood into sound, described by Pitchfork as a musical project that works as a “sculpture” made from ambient noise.
Lily Bloom
Lily Bloom (b. 1993, London) blends self-portraiture and sculpture to explore memory, longing, and the invisible weight of grief. Her pieces feel like relics or offerings, halfway between pop culture and dark tourism. Glossy, bleeding, and at times unsettlingly lifelike, her sculptures channel what she calls “spiritual alchemy”: casting feelings into physical form. There’s a quiet power in how Bloom turns vulnerability into presence: her work doesn’t just mourn, it screams out loud, carrying a kind of horror from a world where grief has taken on flesh and started to breathe.
Kevin Brennan
Kevin Brennan (b. 1993, Ireland) works with film and video installation to dig into the aesthetic of daily digital life. With a background at the Royal Academy Schools and the Slade School of Fine Art, Brennan’s practice is rooted in the aesthetic of early internet spaces, horror tropes, and glitched-out gaming environments. His films operate like strange loops: stories that lose their footing in liminal spaces where time, logic, and identity start to dissolve. Think Ryan Trecartin meets cursed YouTube rabbit holes. His film Checked Out (2024) is described as a hallucinatory and disorientating film set in the claustrophobic bedrooms of a luxury beachside hotel, where characters experience seizures and retreat into fantasies, reflecting a kind of purgatory.
Ada Bond
Ada Bond, currently studying Fine Art: Painting at the Slade School of Fine Art, builds cryptic, atmospheric canvases that feel like dream fragments pulled from the internet’s deep end. Her work grows from a habit of obsessive collecting - of images, memories, digital scraps, and ideas - all layered into a childish but dark visual language. Inspired by the surrealism of Leonora Carrington (but filtered through Tumblr and online subcultures), Bond’s paintings feel like a thread in a much larger web: poetic, elusive, and slightly out of reach.
Fern O’Carolan
Fern O’Carolan (b. 1993, Dublin) turns sculpture into a playground for her love-hate relationship with Catholicism, mixing it with internet culture and teen girl aesthetics. Growing up in a strict convent school, she found freedom in platforms like Bebo and Tumblr: an adolescent online life whose energy now shows up in plush leather creatures, chainmail purses, and devotional objects with a twist. Drawing inspiration from Mike Kelley and Dash Snow, O’Carolan sets up her alternate altars where profanity and religion sit side by side, in a world where goldsmith meets the WeHeartIt homepage.
Bertie Garnett
Bertie Garnett’s work bridges the ancient and the futuristic, crafting accessories that fuse esoteric patterns with digital aesthetics. Drawing from a rich visual lexicon of sacred geometry and motifs, Garnett reinterprets these forms through the lens of contemporary digital design: using 3D rendering and printing to create objects that feel both enchanted and tactile. This approach perfectly enters into the current wave of techno-mysticism, where ancient symbols are reimagined through modern fabrication techniques, inviting people to consider the evolving relationship between technology and tradition.
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