Issue no. 3 features original, hand-embossed stamps on the back cover by artist Stephen A. Fredericks. The stamp is based on Fredericks’ etching “Seagull Skull,” included in the artist’s issue no. 3 fine-art portfolio.
Carrier Pigeon continues to fulfill its mission to produce the highest quality fiction and fine art journal on the market today with its largest and most lavishly illustrated issue to date. As with previous issues, six works of short fiction and six artist portfolios form the anchor of the content.
“Oil Spills,” written by Genette Nowak, chronicles the dark spiral into sociopathic behavior of an alcoholic unable to move on after the failure of a love affair and is illustrated with a moody collection of etchings of the nude figure contributed and first published by the New York Etcher’s Press. “Sex & Shame,” written by Victor Gianni, is a skillfully crafted musing about adolescent sexuality and the pains associated with coming of age, illustrated with disquieting pen & ink washes from artist Josh Bayer. “Teague at the Edge,” a sobering exploration by Christopher Stanton of one man’s descent into personal hell, is complemented by devilishly articulate drawings by Christopher Darling. Ryan Scamehorn’s “Hall of Mirrors,” the story of a hapless meth addict, concludes with unexpected twists of fate and poetic justice. Russ Spitkovsky captures both the humor and underlying malaise woven through Scamehorn’s text with a series of skillful drawings and oil-based monotypes. The quieter tempo of “Inertia-fied,” written by Ben Fleming, brings a sensitive lens to a single afternoon’s adventure in the life of a boy living on a southern Texas bayou and reminds us that luck is nothing more than timing and angels. Kristy Caldwell affectionately brings Fleming’s work to life with drawings that carry a fine narrative of their own. Finally, Ben Schaeffer’s science fiction opus “Evidence” weaves together family life on two worlds at opposite ends of the universe with a murderous thread. “Evidence” is deftly and comically adorned with illustrations from artist Matt Barteluce.
Six fine-art portfolios round out the content for issue no. 3: David Fox’s compelling monotypes of surrealistic landscapes; artist-printmaker Stephen A. Fredericks shares a series of his soft ground etchings and several anecdotal musings about the inspiration for many of the prints; Sara Sears exhibits a series of complex etchings in which she explores themes of the subconscious alongside provocative charcoal drawings; Richie Lasansky, a master of the rare practice of artist-engraving, shows a striking sampling of contemporary portraiture and oversized animal art; Israeli artist Zohar Nir-Amitin contributes a portfolio of evocative and quixotic etchings; and Chunwoo Nam offers a solitary and sensory journey through his finely-detailed lithographs.
The third issue of Carrier Pigeon magazine is full-color, 10”x13” and 176 pages with illuminated end pages illustrated by Justin Sanz. The cover is printed on Rendezvous 240g paper, and the text pages are printed on Rendezvous 106g paper. Issue no. 3 designer Sam Chun is a New York-based graphic designer associated with Robert Blackburn and Cooper Union’s printmaking workshops. Issue no. 3 features a gun-metal half-front cover that exposes the first of Sanz’s endpapers and a full back cover signed by and featuring an original stamp by Stephen A. Fredericks.