Milk Group

Artist Spotlight: For Berlin-based multidisciplinary artist Anastasia Pilepchuk (), mask making begins with the need to give form to something internal, untranslatable into language. A ritual of slowing down, following texture, letting form build itself through process. Drawing from the body, natural patterns, and material repetition, her work sits
at the threshold between object and transformation.

Fast forward 1000 years and she says, “Maybe the face itself becomes a kind of interface,
something that shifts depending on context. In a way, closer to what masks already are.”

Artist Spotlight: Brazilian textile artist Raphael Dias () transforms tapestry into spaces meant to be lived within.

Originally inspired by the landscapes and modernist language of Brazil, Dias’s practice draws from nature, architecture, photography, and the emotional rhythms experienced within the spaces he traverses. During his residency at La Maison de la Chapelle () in the South of France, these influences evolved into a fully immersive installation: a handcrafted three-dimensional textile environment.

“The main learning being to trust my ability to place myself outside of my zone of control and realize it’s possible to achieve something that once seemed unimaginable. To overcome personal and professional barriers — to understand the importance of immersion in the creative process.”

Credits:
Textile Works:
Photos:
Residency & Private Stays:

About Last Night: Earlier this month, Tiffany Day () released her highly anticipated
album HALO. We pulled up to her sold-out release show at to capture the
energy from within.
Behind Tiffany’s world, and much of what led up to this breakout moment, is her best friend and
lead creative Ally Wei (). From the album artwork and eight music videos to the viral
Bassfluff set, CD and merch design, tour admat, website, logo, and wheatpaste posters, Ally
has helped shape a visual language that feels both emotionally evocative and unmistakably
theirs.
What began as a friendship has grown into a never-ending world of play, rooted in a kind of
childlike spontaneity to mess around, experiment, and figure things out together.
“Ally gives me a really safe space to create,” says Tiffany. And for Ally, the process has always
been something deeper: “When I reflect on our past work, I think more about the memories
we’ve made together than the final product we released.”

Credits:
Images: , ,
Video:
✍️

A headlong race through a world where success can be measured in engagement and tragedy has become content.

In ‘Our Hero, Balthazar,’ Oscar Boyson’s () feature directorial debut, from a script co-written with Ricky Camilleri, two neglected teenagers are thrown together by a chance online encounter. Boyson, whose background helped shape independent culture as the A24/HBO producer behind Uncut Gems, Good Time, and projects spanning Greta Gerwig, Noah Baumbach, Jay-Z, and Casey Neistat.

Privileged yet lonely New Yorker Balthy (Jaeden Martell, ), eager to enact heroism to impress his activist crush, tracks down Solomon (Asa Butterfield, ), a Texas teen posting violent threats into the void. Also starring Noah Centineo (), what begins as a misguided attempt at intervention unfolds into an unlikely bond, a journey that transforms both their lives in ways both terrifying and absurd.

Darkly comic, unsettling, and deeply reflective of a generation raised online.

Credits:
New York Premiere images courtesy of Tania Veltchev
All other assets provided by the Our Hero, Balthazar team

Selections from ‘Screen Time’, a continuation of ‘s long-standing exploration of nostalgia and the emotions alongside.

Before ‘Screen Time’, Matthew’s shift from commercial photography toward abstraction began with his series ‘Above Ground’, a collection of 35mm images made through elapsed exposures from moving vehicles. What started as a mistake evolved into a deliberate practice, its genesis in the above-ground subway lines of New York and later beyond to cities around the world.

“The beginning of my series “Screen Time” probably started most in earnest after Kendrick Lamar’s halftime performance last year. I found myself fascinated in the conversation around it, and thought this could be an interesting way of participating in the discourse. Like “Above Ground”, there was something in this work that allowed people to recall a memory, or nostalgia of the performance, even tho it had just happened. Perhaps it evoked how they felt watching the performance instead of simply what they saw.

I can’t remember two collective viewing experiences more important to people (or so close in time to each other) than Bad Bunny’s halftime performance and Alysa Liu’s Olympic triumph. So many of us watched them together, and watched them the same way. And watched them again, and again. They offered a sort of joy and inspiration that has felt somewhat unattainable lately. In approaching the body of work in a similar way I have approached ‘Above Ground’ for over a decade - allowing enough room in the imagery for the viewer to ascribe their own meaning, I’ve been finding it interesting to explore the idea not exactly of what the collective conscience is, but how we remember those moments making us feel.”

June by

“gold swinging from her neck,
catching light

the women fanning themselves,
the men in their heavy work boots,

tasted hope in a cherry

went to tell you
it was just the sun and I”

Poem by

Egg ad eggs then bread and butter by

“This project transforms our relationship to food by shifting the way we perceive, recognise, and engage with it/ treating food as something to be reimagined, invites us to reconsider our assumptions. It’s sculptural and playful (moulding butter and baking bread into the shape of an egg), whimsical but precise, minimalist (very my style). Re-contextualizing trompe l’oeil—and applying it to food.”

Credits:
Made for