Plaster Magazine Taps Mark Leckey For Their Eighth Issue
Founded by brothers Milo Astaire and Finn Constantine, Plaster Magazine is a contemporary art poster magazine that aims to speak to a youth audience. Interested in all things culture, many a star has graced the covers of its previous issues, including a debut issue that featured artist and writer Harland Miller.
Founded by brothers Milo Astaire and Finn Constantine, Plaster Magazine is a contemporary art poster magazine that aims to speak to a youth audience. Interested in all things culture, many a star has graced the covers of its previous issues, including a debut issue that featured artist and writer Harland Miller.
Out on 23 February, the magazine's eighth issue will profile artist, filmmaker, Turner-Prize winner and all-round cult figure Mark Leckey with accompanying text by writer and SHOWstudio contributor Joe Bobowicz.
Known for his world-building - sometimes shamanic - practice that brings together explorations of youth, rave, pop, and technology, it's hard to think of a better fit for the publication's cover, which is a bespoke embossed one containing original texts, an interview, and images of the artist taken in London's Alexandra Park – a place Leckey experienced a quasi-holy experience.
The eight-page issue folds outward into a unique A1 poster featuring Leckey's 2022 artwork Carry Me Into The Cave, which has been specially adapted for Plaster. Inspired by religious iconography and late-Byzantine art, the piece could somewhat be likened to the set design of the BBC's surrealist The Mighty Boosh, as both depict a semi-fantastical and otherworldly landscape situated against a shimmering sky. Not the first time the artist has explored late-Byzantine art as a theme in his work; Leckey's recent solo exhibition Carry me into the wilderness at Sant'Andrea De Scaphis, Rome, in 2022 spotlighted similar themes.
The paired interview profiles Leckey's artistic career from his youth spent in Ellesmere Port, Liverpool, to his 1999 germinal video-work he is known by best, Fiorucci Made Me Hardcore, as well as covering recent solo exhibitions at Cubitt Gallery at Tate Britain, all while exploring the artist's interest in identity, class, and his 'characteristically creepy style defined by uncanny figures and quick jumps from melancholia to ecstasy.'
