When Flo & Gaby talked, they realized that there weren’t many spaces that visually & verbally conveyed how, as they say, “materiality has been influenced by digital culture, especially in first-person, artistic responses.” So they, alongside collaborator Kellie, created something that did: Precog MAG.
“We decided that a zine would be a great form to start to play around with these issues, & started asking artists & writers we knew to respond to ideas & themes as they understand them — from super literal to tangential to extremely abstract,” they express.
And that’s still the editorial model they use today: believing that artists & writers should have a place to say what they think in whatever way interests them most. “We edit lightly for clarity and grammar, but the magazine is really a platform for artists to express themselves in new ways,” they explain.
With Precog, they create an annual independent magazine of artist projects & experimental writing that explores technology, virtual materiality, cyber-culture, gender, & feminism, published by We focus on projects made specifically for print-interaction & emphasize the experiences of women & artists of color.
“Although we’re at the stage now where we’re working on digital projects alongside our printed issues,” they add.
Every year they cultivate a theme, inviting artists to submit images, writings, or any combination of these forms as it relates to the theme. This year’s theme (for Issue 4), is "Empire Vampire."
As Flo, Gaby, & Kellie detail, the themes tend to be evocative & abstract, allowing artists to respond in ways that are personal & unexpected. For example, like Issue 4’s Angelina Dreem's riff on data mining in relation to vampiric structures of empire.
Or in Issue 3 — "Transformation" — Kimberly Kruge, a bilingual poet based in Guadalajara, Mexico, created a translation map for her piece Ambulo/Walk with different coding for form, content, & meaning. They also share another interesting collaboration was Randi Shandroski & Pat O Grady's piece "Devolution of the Y" (also in Issue 3), which combined Pat's background in biology with Randi's interest in design & gender.
Through the whole process, they’ve learned a lot; having never published anything before, every part of the process has been educational for them. And Flo & Gaby say that having those like Kellie, who revolutionized the design & layout of the magazine, has been so beneficial.
The trio also crowdfunded Precog, and as they say, “it’s a full time job!” They talk about how, in order to do it successfully, you have to do a lot of preliminary groundwork, including knowing how to utilize your contacts & networks. “We’ve learned a lot about how to expand our reach, as well as the limitations of crowdfunding as a model,” they share.
But every new step in making, publishing, & distributing a magazine is new & requires new skills. Adding that, “we’ve also learned a lot about how artists approach making work for a different medium, & how much of a difference it makes to them (& us) to be able to see their work in print.”
For them, it’s all about the purpose of the magazine, & how to provide a platform for artists to present projects that haven't yet been published; plus creating a lot of space to collaborate & work in new mediums.
“We don't typically publish work shot in people's studios or reviews,” they explain. “Rather, we encourage artists to play, try new things, to write (if they’re not primarily writers), and/or to make illustrations & diagrams (if they aren’t primarily visual artists).”
Overall, Gaby, Flo, & Kellie would like readers to see Precog as a way of experiencing different artists projects, especially through a lens of digital & material hybridity, & experimentation. Asking readers to think about, “the various & expanding ways that our bodies, the material world, & digital space combine to create our visual language & artistic interfaces.”
- - -