In his debut solo exhibition, at Toronto’s tiny but edgy and inspiring Le Gallery, di Genova offered ink and ‘cell animation’ paint on mylar drawings that displayed his attention to artists like Twist, Futura, and DALEK.
I caught up with Altmejd for breakfast on the roof of the Armada Hotel in the old Sultanahmet sector of Istanbul the day after the opening of the Biennial. In the shadow of the Blue Mosque with a panorama view of the Bosphorus we spoke about energy generating werewolf heads, studio visits with Matthew Barney, the relationship between art and commerce, and what it means to be a French Canadian artist working in New York City.
It was already dark and all I could see to match the aggressive growl were two headlights speeding towards me at a terrifying clip, now less than a block away. As I leaped onto the curb the 1968 red Cobra flew past, the driver’s blur of blond hair swishing in the wind.