To read my interview Trevor Guthrie’s Black Magic Provocations from August 2025 in Whitehot Magazine of Contemporary Art, click here:

Trevor Guthrie’s Black Magic Provocations 

By Stephen Wozniak

Excerpt

Trevor Guthrie‘s studio in Switzerland feels like a throwback—long rolls of thick white paper mounted on five-meter panels, compressed charcoal sticks scattered everywhere, and old black-and-white photos pinned to the walls. But what strikes me most isn’t the remarkable works therein—it’s the steady, focused intensity that permeates the space, born from decades of working in humanity’s oldest drawing medium. The Scottish-born, Canadian-raised artist has spent twenty years developing a singular practice built around massive charcoal drawings that oscillate between the truly sublime and the almost absurd. A crocodile lounges on an unmade bed, a lobster confronts a speeding train, Jeff Koons’ polished bunny crashes and burns like the Hindenburg. Following his 2024 retrospective of 85 works spanning twenty years, Guthrie’s anti-productionist stance feels increasingly urgent in our age of algorithmic artmaking.

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