Harpur Palate 22.2 (Fall/Winter 2024)

About our cover image: “Night Fall” by Emily Rankin

Emily Rankin was born in Riverside, California and attended university in Texas, where she received a BFA in 2011. Her body of work deals with the tangles of human emotion and understanding, the intuitive messages of dreaming and subconsious exploration. Her work has appeared in such publications as Gasher, Wild Roof Journal, Meat for Tea, Black Fox, and Rattle. She is currently based in New Mexico. You can see more of her art on Instagram and Facebook, or at eerankinart.com.

From the artist: “This piece makes up part of an ongoing series, Fluid, which seeks to capture the ways in which a fluid moment in time might be fixed in the mind. Fluid art is a representation of liminal space, an echo of the moment before the paint dried. I’m interested in the way the momentary motion of liquid paint can be captured and pinned to canvas.”

Special Issue: Ecotopia (Fall 2023)

Former poetry editor Cole Depuy curates a special issue of Harpur Palate that imagines a future where crisis turns to -topia. This issue is hybrid and ekphrastic, with both visual artists and writers responding to this call, and to each others’ work. 

Harpur Palate 22.1
(Spring/Summer 2023)

About our cover image:

“3150FFCB” by Cyrus Carlson

Bio: Cyrus Carlson is an abstract artist from St Paul, MN.

Harpur Palate 21.2 (Fall/Winter 2022)

About our cover image:
“La Derive” by Dréa

Dréa was born in 1986 and lives in Vieux-Rosemont neighbourhood in Montréal City. Her academic career vacillates between the Arts and Archives. The fruit of this work is a combination of these two passions. The archives are the basis of her works, her main source of inspiration. With the collage, she builds new links to make the fragments of the cut images speak.

Harpur Palate Issue 21.1 (Spring/Summer 2022)

About our cover image:
“She’s not like that.” by Martine Mooijenkind

Martine Mooijenkind is a self-taught collage artist currently situated in Gouda, The Netherlands. In addition to her profession as a care attendant for the disabled, she practices the art of collage making.

Her works are mostly surreal. By merging several seemingly incompatible worlds into a new universe, she tries to increase the dynamice between audience and author by objectifying emotions and investigating the duality that develops through different interpretations. Martine’s works are on the one hand touchingly beautiful, on the other hand, her works can also appear idiosyncratic and quirky. 

Follow Martine on twitter, instagram, or facebook to see more of her incredible art!

Issue 20.2 (Fall/Winter 2021)

About our cover image:
“Maps” by Jason R. Montgomery

Jason R. Montgomery, or JRM, is a Chicano/Indigenous Californian writer, painter, and playwright from El Centro, California. In 2016, along with Poet Alexandra Woolner, and illustrator Jen Wagner, JRM founded Attack Bear Press in Easthampton, MA. In 2019, JRM’s art was featured at CreativeArts Workshop in New Haven, CT, and his solo show Aqui Y Alla at the MapSpace Gallery in Easthampton. JRM completed graduate studies at the University of California, Santa Barbara’s Department of Theatre and Dance with an emphasis in Playwriting and Chicano Studies in 2006. JRM’s work for the Coalescence show at Readywipe Gallery is an exploration of the cultural synthesis intrinsic to decolonization. Using found collage and construction materials, he merges Kumeyaay, Chumash, and Chicano designs and aesthetics to explore the history of US colonization, while synthesising a decolonized motif that honors the complicated heritage of the postcolonial subject.

His work can be found at: www.attackbearpress.com

Double Issue 19.2 / 20.1 (2020)
Harpur Palate‘s
first online issue

About our cover image: “Afternoon of the Faun, Claude Debussy” by Zahava Lupu

Zahava Lupu is a modern abstract and mixed media artist who lives in Israel. A graduate of The Academy of Music, Tel Aviv, and the Avni Institute of Art, Tel Aviv. Lupu is renowned for her large-size original abstract oil paintings, and her artwork can be found among many famous private and public collections worldwide.

“How does one portray poetry? Perhaps it is impossible, but Zahava Lupu makes an effort to exhibit part of that complexity. Her paintings relate to her innermost melodies, departing from any concrete narrative. The paintings stand on their own, isolated from the world like an icon of aesthetics which derives its reason by simple existence. Like poetry, their beauty is enhanced  through the intimate bond to their creator, offering the viewer a personal insight.” (Hagai Segev, Art Historian)