Precog Magazine

Lily Jue Sheng

Lily Jue Sheng makes moving images with film, video, 2D mixed media, and multi-projection performance & installation. She graduated from the School of the Museum of Fine Arts in Boston, MA, and is currently based in New York City & New Jersey. She exhibits in a wide range of contexts such as museums, galleries, universities, film festivals, theaters, electronic billboards, and projection mappings for unique spaces. Her work has shown at the Whitney Museum of American Art, Parrish Art Museum, Microscope Gallery, Eyebeam, Pioneer Works, Flux Factory, and the Knockdown Center in New York; Mana Contemporary in New Jersey; the Museum of Fine Arts in Boston; the Musée d’art contemporain de Montréal in Montreal; the 1933 Slaughterhouse (老场坊) and West Bund Art & Design Fair in Shanghai; and 3331 Arts Chiyoda in Tokyo.

中东功风空 . Zhong Dong Gong Feng Kong
Digital collage

Five Movements 五種流行之氣 (Film Still) 
Directed by Lily Jue Sheng, co-produced with Anjuli Rathod

Aegyptia (Film Still) 

You Spin me Right Sound (Film Still) 

You Spin me Right Sound (Film Still) 

Change 变 (Film Still) 

Iman Raad

Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), was a fellow in the Shandaken Projects’ Paint School (2017-18), and is currently a resident in the Queens Museum Studio Program (2018-20). He lives and works in Brooklyn.

Iman Raad's work presents a contradictory combination of beauty and fear. His work addresses humankind’s anxieties by staging a traumatic scene of a disturbance in reality. He foregrounds ornamental elements, which that inverting the art historical narrative of ornamentation. His work presents subjects like birds and fruits, that are extracted from traditionally decorative and neutral contexts and juxtaposed with present concerns and future plans.

His recent solo exhibitions include Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). Raad is installing a large-scale mural in the 9th Asia Pacific Triennial of Contemporary Art in Brisbane, Australia, opening in November 2018. The following photos are studio shots showing the mural in progress in his studio in Bushwick, between June and September of 2018.

Marcela Florido

At some point in my practice, I realized that the landscapes I depict do not correspond to real space or time. I understand them, instead, as fabricated memories of all the places I’ve called home over the past 10 years. Having lived in such contrasting cities as Rio de Janeiro, London, New York and Nairobi, my body had to adapt, growing amidst the new prejudices of each place. My work is for me a product of those confusing experiences.

The figures in my paintings, although fictional characters have always been females: who I suppose are a hybrid of myself and other women my life. My goal is to give them agency as I obsessively repaint them again and again.  Art is a way I can play with, and therefore take ownership of, my femininity, sexuality, and body. Through painting, I liberate my sense of self from the restrictive notions of gender, race, and identity that surround me. It excites me to explore the conventions of the visual languages artists have developed throughout history, but I am primarily preoccupied with finding freedom within these languages. Art is not all about linguistics: there is something that goes beyond the verbal and allows for ambiguity and fluidity. For me, this tension between limits and freedom is what brings me back to the studio every day.

Marcela Florido(b. Brasil, 1988, currently Brooklyn, NY) received her BA from The Slade School of Fine Art in London and her MFA from Yale University. Florido has had solo exhibitions at the Institute United States (Brazil, 2016) and Sharjah Art Foundation (UAE, 2014). In 2017, she was a resident fellow at MassMoCa, MA and at the Vermont Studio Center, VT and in 2015 the artist received the Viridian Prize from Lauren Hinkson, senior curator at the Solomon Guggenheim Museum. Her work has also been exhibited in the Cervantes Institute (New York, 2017), Cambridge University  (Cambridge, UK), the Institute of Contemporary Art ( Las Vegas, 2015), the Arts Council of Greater New Haven (New Haven, 2014) and Fabrica Bhering, (Rio de Janeiro, 2009).


Portrait in B&W, 2017, Oil on canvas

Portrait Sanca, 2018, Oil on canvas


Portrait - Norway, 2017, Oil on canvas

Sweaters and Sweethearts, 2017, Oil on canvas

Inverted Sisters and Many Hearts, 2018, Oil on canvas

Mariana Garibay Raeke

Mariana Garibay Raeke is interested in color. The objects she makes are places where color can materialize, become object or image. They result from experimentes that follow a particular logic — mixture of intuition and knowledge - which often gets repeated but never duplicated. These objects are fragments of an open conversation between the similarities and difference of the material she chooses and the procedural logic that transforms them.  Her work captures moments in the process of becoming and suggests a potential for continuous change.

Garibay Raeke was born in Mexico and is currently based in Brooklyn. She holds a BFA from the California College of the Arts and an MFA in painting and printmaking from Yale University School of Art.  Her recent solo exhibitions include “closing the space between us”, The Chimney, Brooklyn (2018); and “Every Number is One”, Transmitter, Brooklyn (2015).  Last Year she was an artist in resident at the Museum of Arts and Design, New York; and Anderson Ranch Arts Center, Snowmass, CO.

Lucia Love

Lucia Love was born in Manhattan where she lived in a thin triangle with parents and a tv that only showed tanks playing in the sand. Years later her mother retired from her city life making clothing to do yoga in the Berkshires. Her father, a resume man with a Leica who's famously never had a job, disappeared into the Desert View Drive.

Young Love became schooled in the city on a dime from Jasper John's Foundation for Contemporary Arts. She studied animation and painting at SVA. It was common to discover yourself there by researching conceptual movements of the 70s and making ironic statements about the 90s. Upon graduation in 2012 she became the assistant director of Family Business gallery which put on shows of hot young art every two weeks before the hurricane took our baby away.

Currently Lucia Love has been working with myth, legend, symbolism, crayons, Leipzig school techniques, talking dogs, Shooby Taylor, and hours of sleep paralysis at the gateway to the astral plane, to create a series of Doomerangs. These creatures just keep returning to doom - when you throw them right.


       FAIR HAVEN. 2017. Oil on big canvas. Here is a terrible man made out of snakes who is
popping the head off a vampire. It is fair since everyone here is evil.


GOD??? 2017. Digital drawing. Here, the shackled water carrier comes across what she believes to be god, 
but is really just a big dead guy. Meanwhile, his dancing groupies steal her cup of water.



Home For The Coming Season. 2016. Oil on medium canvas. This is a fancy dog. Her physical dimensions have
been distorted, and she is blind. Perhaps a symptom of too much breeding. She is well kept though, with nice white gloves
and gilded kneepads. She is waiting alone in a dim room for something to happen.



Roller God. 2016. oil on huge canvas. This guy is happy eating shit.

Blinn & Lambert

Blinn & Lambert is the collaborative pseudonym of Nicholas Steindorf and Kyle Williams. They work in digital animation, video, sculpture, and practical special effects. Steindorf and Williams met while attending Yale’s MFA program in Painting, and live and work in Brooklyn and Queens, New York. Blinn & Lambert has recently screened work at Icebox Projects in Philadelphia and at Microscope Gallery in Brooklyn. Nicholas Steindorf (b. 1987) holds a BFA from Columbia College Chicago and an MFA in painting from Yale University (2014). Kyle Williams (b.1982) holds a BA from Stanford University in Art History and an MFA in painting from Yale University (2015). Steindorf and Williams both live and work in Brooklyn, NY.



1. Blinn & Lambert, "Untitled (Broom, Out)", 2017, 3D anaglyph installation, 82 x 80 x 84 inches
(Detail) Image courtesy of Microscope Gallery



2. Blinn & Lambert, "Untitled (Fountain, In)", 2017, 3D anaglyph installation, 70 x 76 x 69 inches
(Detail) Image courtesy of Microscope Gallery


3. Blinn & Lambert, "Untitled (Fountain, In)", 2017, 3D anaglyph installation, 70 x 76 x 69 inches,
(Detail) Image courtesy of Microscope Gallery


4. Blinn & Lambert, "Untitled (U-Shaped Table, Out)", 2017, 3D anaglyph installation, 82 x 64 x 80 inches
(Detail) Image courtesy of Microscope Gallery


5. Blinn & Lambert, "Untitled (Two U-Shaped Tables, In)", 2017, 3D anaglyph installation, 80 x 72 x 84 inches
(Detail) Image courtesy of Microscope Gallery


6. Blinn & Lambert, "New Grey Planet" exhibition, 2017
(Installation view) Image courtesyof Microscope Gallery


7. Blinn & Lambert, "New Grey Planet" exhibition, 2017
(Installation view) Image courtesy of Microscope Gallery


8. Blinn & Lambert, "New Grey Planet: Chapter 1", 2016, single-channel HD video, sound, 8 minutes 6 seconds
(Still), Image courtesy of the artist and Microscope Gallery


9. Blinn & Lambert, "Doe, a Deer", 2017, single-channel HD stereoscopic 3D video, silent, 4 minutes 4 seconds
(Still), image courtesy of the artist and Microscope Gallery


10. Blinn & Lambert, "New Grey Planet" exhibition, 2017, installation view
Image courtesy of Microscope Gallery


Julia Bland 

Julia Bland’s large-scale works incorporate painting and weaving, developing the structures and patterns that bind disparate elements into a whole. Through weaving, cutting, sewing, dying, and painting, the surface becomes a visible record of her evolving, multi-faceted process.

Bland’s recent solo exhibitions include “Things to Say at Night” at MILLER Contemporary in 2017 and “If You Want To Be Free” at On Stellar Rays in 2015.  She has been an artist in residence at The Sharpe-Walentas Space Program, Lighthouse Works, Yaddo, The Woodstock Byrdcliffe Guild, and The Skowhegan School of Painting and Sculpture.  She has been awarded The Milton and Sally Avery Fellowship, The Carol Scholsberg Memorial Prize, The Jacques and Natasha Gelman Trust Travel Fellowship, and the Florence Leif Award. She earned her BFA from the Rhode Island School of Design in 2008, and her MFA from Yale in 2012.












Kari Cholnoky 

Kari Cholnoky lives and works in Brookyln, NY.

Kimberly Kruge

Kimberly Kruge is a poet and translator and the author of High-Land Sub-Tropic, which was selected as the winner of the 2017 Center for Book Arts Chapbook Prize by Juan Felipe Herrera. Her other manuscripts have recently been finalists or semi-finalists for 7 other book prizes. Her work has appeared or is forthcoming in Ploughshares, The Iowa Review, The Massachusetts Review, Poetry Northwest, Copper Nickel, Luvina and elsewhere. She is a graduate of the Warren Wilson MFA Program for Writers and the recipient of a residency at the Millay Colony for the Arts. She is also the founder of Comala Haven, a retreat and workshop in Mexico for women writers. She lives and works in Guadalajara.

Dalia Amara 

Dalia Amara is an American-Jordanian multidisciplinary artist living and working in Brooklyn, New York with a practice based in photography, video and performance art. Amara received her MFA in Photography, Video and Related Media from the School of Visual Arts in New York, and her BFA from Columbia College Chicago. Her work uses the domestic space or photo/video studio as a staging ground for sites of trauma, desire, and banality. Amara’s recent photographs and videos are invested in the visual language of feminine beauty, and the anxieties of assimilating to cultural expectations. Born to multi-ethnic parents, and raised in the US, Jordan, Egypt, Qatar and UAE, the ever-changing home, along with the varying and at times contradictory cultural expectations, have all been at the heart of Amara's motivations in her work. Amara has been featured in Paper Journal (UK), Art F City, and The Art Newspaper. She most recently participated in "Skin Dips," a two-person exhibition with Florencia Escudero at Selena Gallery in New York. Her work will be included in the forthcoming group exhibition “In Pursuit of the Perfect Pose” at Gallery 44: Centre for Contemporary Photography in Toronto.


Assimilation, 2016, 20” x 16” Print



Modified Balloon, 2016, 30” x 45” Print



Lips, 2017, 42” x 63” Print 


I’ll Be Your____________, 2017, 32” x 23”Print 


Still frame from Posing, 2017

Panayiotis Terzis (b. 1983, Thessaloniki, Greece) lives and works in New York City. Recent exhibitions include: Endless Biennial, Elizabeth Foundation, New York (2016); Nieves and Innen Zine Library, Swiss Institute, New York (2016); and Spring/Break Art Show 2016, (curated by Andrea McGinty) Moynihan Station, New York (2016). His work has been featured in publications including Vice Magazine, Mould Map II, Zine Soup, Salt Hill, Gigantic Worlds, Cosmos, and Creeps Annual, and he has worked with American Apparel, Digitaria, and other brands. His artist books, zines and print editions are held in the permanent collection of the MoMA Library, the Brooklyn Museum, the New York Public Library and the collection of Stanford University among others. He teaches printmaking and color theory at the School of Visual Arts and Parsons.  


Stephen Miguel Decker is an artist based in New York. He has participated in a yearlong residency program at the MoMA PS1 Print Shop as a part of the artist-collective ALLGOLD, presented an evening-long performance to inaugurate the Filipino American Museum and extends his activities as a DJ on the London-based station NTS Radio, where he hosts a monthly show, NODE. Stephen often works in the areas of sound/music and more recently in web development/design. He is currently a part-time lecturer at The New School where he has taught classes on sound as an artistic medium and experimental publishing methods.


Benjamin I. J. Mintzer
& Chris Eh

Deadname is a two-piece punk band from Brooklyn, New York (Chris Eh: Guitar/Bass/Programming; Benjamin: Vox/Keys). Drawing equal inspiration from 80s dance and hardcore punk, the band's sound aims to answer the question: 'What would the Jekyll-and-Hyde approach of Bad Brains sound like if you swapped the reggae and homophobia for synth-pop and radical queer consciousness?'

After releasing a handful of singles last fall, the band  is currently toiling away on their first EP and putting together a summer trek around the U.S.


Catherine Telford-Keogh is an artist currently based in Toronto, ON. Her work examines the visual and material language of objects and their relationship to the body through sculpture and video. She makes abstractions using recognizable forms such as tables and trays that act as display strategies and containers for aqueous or encrusted material and objects alluding to the body.

Catherine’s work begins from intuitive responses to ubiquitous and mass-produced objects and advertising whose aesthetics and material language override intended use or promise. She amplifies this tension though interventions in quantity, function, assemblage, scale and material to explore the absurdity of our idea of an object and its reality.

Catherine incorporates materials such as real and fake food, NyQuil and Internet images in her work. These materials change one’s mood, desire, chemical and hormonal makeup and challenge a sculpture’s purported inertia and autonomy. Caretaking is a process integral to each sculpture because perishable materials require continuous replenishment, which is an extension of their making in the studio.

Randi Shandroski is a Canadian born artist living in Boston, MA. In January of 2014, she founded LACTIC Incorporated, an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender and critiques existing power structures. LACTIC is a collaborative effort that brings together the talents of several creatives to produce runway shows, installations, photoshoots and performances.

Many of the clothes are made from discarde; advertising banners, which are thoughtfully cut up and reconfigured in a way that subverts corporate culture and underscores the absurdity of modern advertising. LACTIC believes that what you wear can have the power to affect change in the wearer and alter people's perception of the world around them.

Photo: Tommy Kha

Photo: Thibault Théodore-Babin

Photo: Katya Moorman and Karen L. Dunn

Photo: Matt Grub