We accept artwork submissions year round.

We love to frame our words with lush, visceral artwork and seek a Feature Artist for each issue.

Please send us a black and white, low-res portfolio of approximately 20 images.

Issue 7: Lyric Prince
Virginia, USA

Lyric Prince was born and raised in Virginia, USA. She received her Bachelor in Fine Arts from Saint Joseph’s University and has recently completed a Master in Science, Technology and Society from Drexel University. She is a multimedia artist who works with digital technologies, installations and paper sculpture.

Preoccupied with symmetry, Prince arranges discarded drawings and painting fragments like a patchwork quilt, bringing order to perceived chaos. She utilises a “metaphorical funhouse of mirrors,” where meaning is reflected and exponentially germinated through repetitive pattern. Viewers are challenged by abstraction and Prince asks the viewer in return, ‘Where is the centre?’ Her lines create algorithms, mathematical rules – a guide for future and past behaviour. Interests include: social justice, Afrofuturist themes, cultural anthropology and representation of the Black body in American art.

Similar to the structuralist play in Issue 7, Prince calls out our need to recognise and identify life’s daily patterns. Her work can be found at

Issue 6: Joni Majer
Berlin, Germany

Joni Majer is an illustrator from Berlin, born in the 80s. She lives and works in Saarbrücken, Germany, where she has studied Visual Communication and currently teaches illustration. She works with magazines, newspapers and musicians.

Joni draws daily on her blog, “a cupboard of ideas”, to structure her creative life. These impromptu pictures express intimate moments in time. She searches for articles with psychological or philosophical themes, finding a simple language to visualise the content. These ideas are subverted and pared back to their essential elements. Influenced by everyday objects and their utilisation, she plays with function to create an illusion. The ‘human’ morphs into the ‘inanimate’ and back again. Hands, objects, tools and bodies are prominent, and the effect is concentrated by her minimalist use of line. There is life in the white, negative space – a haunting from the mirror world.

As with the literary themes in Issue 6, Joni’s work asks us to break free, let loose. It’s a playful collection and this is playful art, a little cheeky but simmering with intelligence. Joni’s work can be found at

Issue 5: Dan Hillier
London, England

Dan Hillier is an English artist working from a studio in Hackney. He has exhibited in galleries as diverse as the Louvre in Paris, the Saatchi Gallery in London and Think Conservatory in New York City. Hillier’s collages combine materials from the 1800s, traditional pen and ink drawings, and digital tablet design.

His work is influenced by ancient art traditions, religious iconography, spiritual practices, psychedelics and nature, as well as artists such as Max Ernst, Gustav Doré and the artisan engravers of the Victorian era. Hillier occasionally collaborates with others, most recently providing artwork for the current season at Shakespeare’s Globe Theatre and UK Brit Award winners Royal Blood for their eponymous number one album.

Akin to the writing in Issue 5, Hillier’s transcendent-esque visions echo Romantic sentiments and aesthetics, producing an intricate tapestary of words and art. You can view more of Hillier’s work at his website:

Issue 4: Lea Brousse
Berlin, Germany

The icons for this issue were created by graphic artist Lea Brousse. Lea was born in Provence, France in 1984. She has a Bachelor of Science (Industrial Technology) and a Master of Product Industrial Design from the University of Architecture in Venice. She has worked and lived in Vancouver and Berlin.

Lea is an illustrator for the German newspaper Der Tagesspiegel, in which she engages in political commentary. Her concerns are focused on freedom, feminism, education, sexuality, taboos and diversity. Angered by the Charlie Hebdo attacks, she drew more than 100 icons in three days. These images, known collectively as Flicktogram, became her first monography with 100FOR10. Many of Lea’s icons are intended to be viewed from 360° –  images receptive to multiple perspectives.

Lea evokes the Modernists with her surreal, cubist-like forms. Her work is a hybrid between ‘the primitive’ and utilitarian industrial design. Similar to the literary themes in Issue 4, Lea poses the question: Is perspective limited? We invite our readers to question their own lenses and experiences.

Lea can be reached at

Issue 3: Gui Martinez
Tokyo, Japan

The photographs for this issue were taken by Gui Martinez. Gui is a Tokyo-based photographer who was born in the south of Brazil. Aside from photography, Gui is also an art director, production designer and the founder and editor-in-chief of the independent JAGR online magazine. Gui seeks to capture the truth of a moment. He employs layering, blurring and mirroring techniques to articulate movement and physicality. He shoots with film.

We chose Gui’s work for this issue because of its evocative experimentation and fixation with the body, nature and sensuality. As editors, we are charged with curating the conversation between artwork and writing; we hope this issue challenges the viewer to draw out a meaning, memory or experience. Gui’s work is a perfect stimulus alongside the varied ideas our published pieces explore.

As one example, Gui’s veiled woman speaks to its counterpart in ‘Kneading and Burrowing’. Burns’ female character, written as an abstract and edited woman, forms the centre of a male-centric narrative. These partially-concealed women are objects of desire and yet remain incredibly sexless, as haunting figures of the uncanny. Gargouille is intended as a conscious body of work that carries these multiple interpretations and dialogues.

Gui’s photographs can be viewed on his website and on Instagram, at @guimartinez.

Issue 2: Areka Brown
Ballarat, Australia

The illustrations for this issue were created by Areka Brown. Areka is an emerging artist based in Ballarat who works primarily as a printmaker, though she also enjoys creating handmade books.

Areka is influenced by the visceral nature of dreams and the history and psychology behind their interpretation. Areka’s art plays with surrealism, psychoanalysis and shamanism. In these realms, dreams have traditionally been regarded as prophetic and an exploration of repressed desires. This series of woodcut prints is an intimate reflection and dissection of the artist’s psyche.

Areka’s art was chosen for the way in which each image is a self-contained psychological vignette that asks the viewer to consider their own inner landscape. We were thrilled and intrigued by the affective compatibility of these works with Gargouille’s literary content.

If you are interested in purchasing or commissioning artwork from Areka you can contact her at or visit her Facebook page at

Issue 1: Abby Drielsma
Melbourne, Australia

The illustrations for this issue were drawn by tattoo artist Abby Drielsma. Abby has been a tattooist for the past two-and-a-half years. As a trained graphic designer, she had never considered a career in tattooing, but soon changed her mind after finding herself behind the needle. Abby shares her love for illustration and tattooing with her 31,800 Instagram followers.

Abby’s illustrations are inspired by her collection of antique art books, engravings and woodcuts. She is drawn to these items, considering them a beautiful, lost art. Her work is thematically influenced by natural history, floral arrangements, anatomical drawings, religious imagery and ancient mythology.

Abby’s work was selected for Gargouille’s first issue for the way it merges new and old motifs and art forms, creating a dynamic aesthetic experience complimentary to our literary content.

Abby exhibits most of her work on Instagram. You can find her at @abbydrielsmatattoo.

Leave a Reply

Your email address will not be published. Required fields are marked *

1 × 4 =