344 FALL 2023 THE ALWAYS ALREADY

The title of this fall issue, THE ALWAYS ALREADY, refers to a space that belongs to all of us — to the issue’s artists, authors, and readers. It is a space in which one can listen closely to an artwork, to the solitary and rarified thoughts that leak out. Eventually, those thoughts become a kind of literature. The entangled, gorgeously convoluted relationship between contemporary art and literature curls and spins throughout this entire issue.

Precious Okoyomon addresses the issue’s titular theme with a special production in which she has been photographed wearing Gucci in Brooklyn, New York, by Rob Kulisek. “I see myself as being in a world and lineage of ‘the always already.’ As in, what comes after is where I maintain my space and where I’ll always be situated.” In conversation with Jazmina Figueroa, the artist defines her practice as “a nonstop poem.” Since everything starts with a poem, everything is constantly leaking into everything else; her work is the syntax of love leaking.

The second cover story of this fall issue is dedicated to WangShui, who has been photographed by Inès Manai in their studio in New York, wearing Sánchez-Kane and Kuboraum. WangShui’s works are situated in a neutral zone far beyond capture — a space between the self and others or being and nothingness. As Alex M.F. Quicho states in her essay, WangShui is an artist that lives comfortably between worlds, to whom “living well means appearing as they wish – and disappearing at will.”

“Dillon’s artwork attains a beautiful aesthetic resonance as well as thoughtful reflection on deep and sometimes painful topics that are rarely explored in British and European visual art.” Walking us through Rhea Dillon’s exhibition “An Alterable Terrain” at Tate Britain, Zakiya McKenzie draws on word associations — glass/fragility, head/body, oracle/orator, uprooting/mahogany — and paths crossed with the artist. In a special production for the issue, Dillon has been photographed in New York wearing Bottega Veneta by Elliott Jerome Brown Jr.

The fourth and final cover story is dedicated to London-based art Issy Wood, whose solo exhibition “Study for No” at Lafayette Anticipations opens on October 18, 2023. In her essay, Estelle Hoy situates the artist as a central character in her own paintings, which suggest a stream of consciousness hiding something foreboding. Hoy describes Wood as a sensitive artist exploring insensitive issues, “highlighting caustic beauty ideals and socioeconomic disparities that orbit our unconscious and are so ingrained in the social fabric that it’s hardly remembered.”

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