Interviews by Brainard Carey

• Willie Stewart

  Willie Stewart (b. 1982, Gallatin, TN) lives and works in New Haven, Connecticut. He received his MFA in Sculpture from Yale University in 2018, and a BFA from The Cooper Union in 2016. His work has been the subject of solo and two-person exhibitions at Morgan Presents, New York (2022); Morán Morán, Los Angeles, CA (2023, 2019); Nicelle Beauchene Gallery, New York (2023, 2021); and Pioneer Works, Brooklyn, NY, with Brent Stewart (2017). Stewart completed residencies at Pioneer Works (2016), and Skowhegan School of Painting and Sculpture (2014) Willie Stewart Beasts, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic, oil and gouache on canvas over panel 80 x 64 inches 203 x 162.5 cm Willie Stewart The Last Supper, 2025 Ink on cotton board, acrylic over custom armature with hardware, acrylic, gouache, graphite and ink on canvas 67 3/4 x 80 x 12 inches 172 x 203 x 30.5 cm Willie Stewart Singers, 2025 Colored pencil, ink and gouache on cotton board, graphite, acrylic and gouache on canvas over panel 30 x 22 inches 76.2 x 55.9 cm

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• Matt Magee

  Matt Magee is an American contemporary artist known for his minimal geometric paintings, sculptures, prints, assemblages, murals, and photographs. Over a four-decade career, Magee has experimented widely with abstract and conceptual art practices. His compositions draw inspiration from personal history, numerology, and language. In his paintings and prints, he explores language through abstraction, repetition, reiteration, and the occasional tip of the hat to art historical precedents. His visual language relates to early hard-edge abstraction and finds inspiration in contemporary scientific, ecological, and technological ideas. His work is in the permanent collections of the Albuquerque Art Museum, NM; the Beinecke Rare Book and Manuscript Library at Yale University, CT; Black Mountain College Art Museum, NC; the Josef and Anni Albers Foundation, CT; Museum of Fine Arts, Houston, TX; Phoenix Art Museum, AZ; Scottsdale Museum of Contemporary Art, AZ; Tucson Museum of Art, AZ; and the University of New Mexico Art Museum, NM. Matt Magee, Grapheme: 16 Squares, 2021, oil on primed paper. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York. Matt Magee, Black Grapheme, 2021, oil on panel. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York. Matt Magee, Ryan Lee Grapheme, 2025, acrylic and pencil on canvas. © Matt Magee; Courtesy of the artist and RYAN LEE Gallery, New York.

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• Anthony Olubunmi Akinbola

  SCAD Savannah – Summer 2024 – Exhibitions – Anthony Akinbola – ”Good Hair” – Artist Portrait – SCAD Museum of Art, Gallery 109 – Photography Courtesy of SCAD Born in Columbia,Missouri, Anthony Olubunmi Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist’s signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects. His previous interview on Yale University radio can be found here. Anthony Olubunmi Akinbola recently was recently selected for the Pullman Yards Artist Residency, which will begin in early 2026. He also recently completed his residency at Black Rock Senegal in Dakar. In 2024, he was named Artist-in-Residence at Dragon Hill in France and in 2022, Akinbola was selected to be in The Artsy Vanguard, an annual feature spotlighting the most promising artists working today. That same year, Akinbola was also awarded the Silver Arts Project residency in New York. In 2019, he was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. Akinbola was also selected for the Anderson Ranch Art Center Residency in 2017. Akinbola has exhibited his work in group and individual shows at renowned institutions such as the SCAD Museum of Art, Savannah, GA; the Institute of Contemporary Art San Francisco, San Francisco, CA; Schirn Kunsthalle, Frankfurt, Germany; The Queens Museum, New York; the Randall Recreation Center, Washington D.C.; the August Wilson African American Cultural Center, Pittsburgh, PA; the John Michael Kohler Arts Center, Sheboygan, WI; the Saint Louis Art Museum, St. Louis, MO; Kunsthaus Graz, Graz, Austria; the Bruce Museum, Greenwich, CT; and the Museum of Art and Design, New York, NY, among others. Anthony Akinbola Brick “Sandstone”, 2025, durags on wood panel 48 x 48 x 3 1/4 inches. Anthony Akinbola Celestial “Space Jam”, 2025, durags on wood panel 36 x 36 x 3 1/4 inches. Anthony Akinbola Icarus, 2025, durags on wood panel panel: 72 x 72 x 3 1/4 inches.

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• Deborah Zlotsky

  Photo courtesy of Elizabeth Haynes. Deborah Zlotsky received a 2019 Guggenheim Fellowship and NYFA Artist Fellowships in Painting in 2012 and 2018. Her work is in a variety of public, private, and corporate collections in the US and abroad and she has been awarded recent residencies at MacDowell, Yaddo, the Bogliasco Foundation, and the Bemis Center. Zlotsky is represented by McKenzie Fine Art and Markel Fine Art, both in New York City, Robischon Gallery in Denver, Sandler-Hudson Gallery in Atlanta, and Bernay Fine Art in Great Barrington, MA. She has a BA in art history from Yale University and an MFA in painting and drawing from the University of Connecticut. She teaches at the Rhode Island School of Design and lives in the Hudson Valley. Deborah Zlotsky, Ghost lines 3, acrylic gouache on panel, 2025, 14” x 11” Photo courtesy of Liz Dejeuness. Deborah Zlotsky, Not a line but a constellation, oil on canvas, 2025, 14” x 11” Photo courtesy of Liz Dejeuness. Deborah Zlotsky, Tragedy plus time, oil on canvas, 2025, 60” x 60” Photo courtesy of Liz Dejeuness.

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• Simone Kearney

  Simone Kearney is a Dublin-born, Brooklyn-based multidisciplinary artist and writer. Her practice is an inquiry — as much visual as it is psychological — into how experience is a cobbled, fragile thing, shapeshifting, subject to time, configured and reconfigured through our bodies. In recent projects, she has been working with hand-carved stone sculpture, watercolor, and text, where the work starts to gather like archaeological fragments of the psyche. Dealing in the realm of what floats beneath the surface of consciousness — dreams, ruminations, and archetypal symbols — Kearney creates fields of objects that exist somewhere between rune and cartoon, between suggestive remnant and semi-emergent fact. In her playful receptivity to the raw stuff of stone, earth, pigment in water, or language itself, she explores all kinds of lively materialities. The tangible becomes an occasion for the intangible to reveal itself. Images arise from matter’s ambiguous zones of reference and into the nameable: as ovals, hands, eyes, vessels, ghosts, voids, animals, bodies. Forms are made and unmade. Kearney currently has a solo show of sculptures and works on paper entitled DIGS at Guest Gallery in Brooklyn, NY, on view from September 20th – November 8th. She also will have sculptures in a group exhibition at Koki Arts in Tokyo, Japan, this October. Some previous solo exhibitions include Putty’s Coronation, Brooklyn, NY; Undercurrent Gallery, Brooklyn New York; Artshack Gallery, Brooklyn, NY; and Annex Gallery, Lighthouse Works, Fisher’s Island, NY. She is a NYFA grant recipient and is the author of Dim, Dahlia, Violet, Stone, (ITI Press, 2024), DAYS, (Belladonna Press, 2021), and My Ida (Ugly Duckling Presse, 2017). She teaches at Parsons School for Design and Rutgers University. Hand (Riddle is everywhere/Because a grain shatters direction), 2025, alabaster, earth, pine pedestal, 11” X 11.5” X 36” Water Stone (xviii), 2024, watercolor on paper, 22” x 30” “Hole:Through (One by one, to see),” 2025, rhy ... pine pedestal, 11” X 11.5” X 35

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