Issue no. 4 features a larger-than-life pair of folding, iridescent insect wings created by artist Ana Golici. The wings can be found in between pages 70 and 71 of the issue, framed by instructions on how to fold them.
As Carrier Pigeon prepares to celebrate closure of its successful first year of publication, they announce the release of their most striking and exquisitely illustrated issue to date.
Issue no. 4 of the fiction and fine art quarterly is distinguished first by the stark white, die-cut cover created by designers Kyle Green and Nico Curtis, which opens to pale blue, digitized drawings by contributing artist Anna Golici. The unique cover design also includes provocative images by artist-printmaker Bruce Waldman, printed on the inside flaps. As with previous issues, six works of short fiction and six artist portfolios form the anchor of the content. The content is anchored, as with previous issues, by six short works of fiction that will appeal to an audience with a taste for ‘darker’ content and six mesmerizing artist portfolios featuring cutting-edge, contemporary work not to be missed.
“The Bonsai Ecosystem,” written by Daniel Borrelli, chronicles an episode in the life of a scientist/game designer with a fetish for miniature bears and monkeys of his own creation and is illustrated with a series of smart drawings by Clay Rodery. “The Midas Touch,” by New-York playwright August Schulenburg, is an artfully crafted monologue from the point of view of a comic strip writer suddenly gifted with the ability to turn anything into gold. Carrier Pigeon copyeditor and artist Kristy Caldwell captures the mood with fiendishly clever brush and ink drawings. Ryan Scamehorn returns to issue no. 4 with a darkly contorted romance titled “No Fun For Frankie.” Scamehorn’s fiction is studded with searing, saturated illustrations by Eric Collins. “Strawberry Heart,” written by Christine Pacson, is a highly crafted story about a young woman’s path to reconciliation with her feelings about her father and her inherited career. Artist Rachel Allison captures the essence of discovery in Pacson’s tale with a series of intimate drawings that read as snapshots of the environment. “The Shark Engine Enigma,” written by return contributor Victor Giannini, is an ambitious rumination on the afterlife, love and the will to survive. Ray Jones adds his visual narrative to this epic tale with a poignant series of his signature inked illustrations. Finally, Editor-in-Chief Russ Spitkovsky contributes a poetic muse about sleeping and dreaming in outer space. “Little Stanley” is complemented by loose and playful images from the hand of Matt Barteluce.
The first of six artist portfolios in issue no. 4 is a presentation from Niyeti Chadha of her exceptional rapidograph drawings on paper and collage. Her large-format works, deeply rooted in architecturally inspired studies of two and three dimensional space, evoke infinity-driven landscapes. Artist-printmaker Elana Goren shares a series of thought-provoking monotypes and etchings with which she hopes to dispel generalized stereotypes about the animals with whom we share our lives and the planet. Anna Golici’s work defies easy description: her portfolio features both handmade images of wildlife subjects and also complex digital photographs of botanical subjects. Past cover artist Justin Sanz, a young master of monotype and woodcut printmaking, shows a powerful collection of his recent prints, combining wryly sardonic and introspective commentaries with lush textures. Artist Andy P. Hoogenboom contributes a portfolio of dramatically fluid drawings and prints focusing on musicians and expressing his own deep appreciation and respect for the world of musical performance. Master printer Phil Sanders rounds out the issue with his outstanding series of photography-based, graphic art images that explore his personal relationship with American cultural history.
Russ Spitkovsky (editor)
10 x 13.25
perfect bound, full color
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