COLLECT

ART
SUMMER ISSUE

VOL 47
AUGUST, 2024

Seasonal Edition
‘SUN CHASER 5’ BY RUBICA VON STRENG
Summer
Issue
S E A S O N A L E D I T I O N | V O L U M E 4 7

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 Content:
ANTONIO BUONFIGLIO 05 37 OMOIWHI IGBINEDION

GINO WONG 11 41 RIE SUTO

IRINA SALMINA 16 45 RIVER SMITH

LEWIS ANDREWS 22 52 RUBICA VON STRENG

MAKA JISHKARIANI 27 56 VIVIAN CAVALIERI

OLIVIERO LEONARDI 32

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Antonio
Buonfiglio
Antonio Buonfiglio was born in Nocera Inferiore, Italy, in 1972. After studying at
the Institute of Art in Salerno and the Academy of Fine Arts in Naples, he
settled in Frankfurt, working as a graphic designer until 1996. Since 2002, he
has collaborated with artists Bruno Ceccobelli and Beverly Pepper, working
alongside them as an assistant. In 2019, he began collaborating with the
Academy of Fine Arts of Rome.
In 2003, Antonio started his international experience with a solo exhibition
titled “Kunst im Kreisehaus” in Nordhorn, Germany. This was followed by
multiple exhibitions across Europe. He began his career as a painter and then
transitioned to ceramics and sculpture, working with various materials
including marble, stone, and different metals. His works, ranging from small to
monumental sculptures, are included in various private and public collections.
‘When queried about whether I lean more towards sculpting or painting, I often find
myself professing an inseparable bond with both modes of visual expression. The
distinction lies primarily in their emotional essence: painting is a meditative journey,
while sculpture is a visceral engagement. In each, a recurring theme emerges — the
duality of merging geometric precision with organic flow, harmonizing instinct and
intellect. Mastery and innovation stand as pillars in both realms, coupled with an
alchemical quest for experimental materials, transforming them into carriers of
profound emotional narratives. The message resonates purely on an emotional plane
through non-figurative and abstract painting. To me, whether painting or sculpting,
it mirrors composing music, where visuals simply articulate emotions.
My work involves using discarded materials like old canvases or fabrics, where stains
or dust tell stories of the past. I explore the passage of time and journey through it,
organizing that disorder—a mystical experience.’

How did your education at the Institute of Art in Salerno and the Academy of Fine
Arts in Naples influence your artistic development and approach?
My study experience at the Institute of Art in Salerno was crucial for my approach to
painting and sculpture techniques. Moreover, I was fortunate to meet friends with
whom I've shared and continue to share philosophical ideas about art over the years.
My time at the Academy in Naples was brief; I did not complete my studies because I
moved to Germany.
What was it like transitioning from working as a graphic designer in Frankfurt to
pursuing a career as a painter and sculptor?
For economic reasons and due to the challenges young artists face in making a
living from their work, I moved to Germany where I worked as a graphic designer at
a company specializing in advertising signs. Much of my technical skills and
knowledge of materials stemmed from this job. I handled everything from graphic
design to assembly, learning to work with plastics and various metals—a truly
unique formative experience.
Can you describe your experience collaborating with Bruno Ceccobelli and
Beverly Pepper? How did these partnerships impact your work?
With Bruno Ceccobelli, whom I greatly respect and consider a friend, I learned about
the intricacies of the art market. I was young and unaware of such information, but
Bruno, being a spiritual artist, taught me the essence of art— the magic of creation.
My collaboration with Beverly Pepper, which lasted longer, was more visceral.
Interpreting and realizing an artist's vision isn't easy; as an elderly woman, she
couldn't handle heavy and dangerous equipment for working with iron, steel, and
stones, so I became her hands, so to speak. One day, while working on a piece, she
told me to treat iron as if it were clay. This was her most important lesson—to have
the courage to transform hard materials like steel into whatever you envision, as if it
were clay. Another crucial aspect was gaining technical experience in creating
monumental and Land art pieces during those years.

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 En-Trance G

Mixed media,
120x110cm, 2024

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 En-Trance 1

Mixed media,
120x110cm, 2023

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How did your first solo exhibition, “Kunst im Kreisehaus” in Nordhorn, Germany,
influence your subsequent international career?
I fondly remember that exhibition, curated by my dear friend and art critic Hans
Sisoo from Amsterdam. At twenty years old, full of dreams and aspirations, it allowed
me to travel across Europe, from Germany to the Netherlands, Switzerland, France,
and more, participating in solo and group exhibitions.
What draws you to work with a variety of materials such as marble, stone, and
different metals in your sculptures?
As I mentioned earlier, the magic and alchemy of transforming matter into
something personal and unique—leaving an indelible trace of my thoughts in this
temporal passage of life.

- 0 8 - Texture G - Mixed media, 120x110cm, 2023

How do you balance the meditative aspects of painting with the visceral
engagement of sculpting in your creative process?
Painting a picture is like creating a window on the wall that looks into the inner
world of feelings and emotions. I enjoy leaving the emotional interpretation free for
the viewer—an idea that I believe originated with the avant-gardes of the 20th
century. Sculpture, on the other hand, primarily engages with the surrounding space.
The challenge lies in achieving perfect proportions in relation to the natural
environment.
Can you elaborate on your theme of merging geometric precision with organic
flow in both your paintings and sculptures?
Dualism is a kind of matrix born from my interest in Eastern and spiritual culture—
trying to accept and order chaos is akin to playing at being like nature itself.

- 0 9 - Time - Mixed media, 215.5x192x3.5cm, 2024

How do you approach the use of discarded materials like old canvases or fabrics
in your work, and what stories do they tell?
I've never started a painting on a clean white canvas. Leonardo da Vinci wrote that
in stains on walls one could glimpse unimaginable landscapes or bodies—that's how
I'm inspired by what I find; what I find is what I see.
In what ways do you see your artwork as a journey through the passage of time
and an exploration of its impact?
Since childhood, I've had an almost obsessive relationship with time, but over the
years, I've learned not to be its slave. It's one of the most difficult personal growth
challenges to resolve and control, and painting helps me exorcise this fear.
How does your work allow you to convey emotions?
Brian Eno said that when he composes music, he feels like a painter painting. I feel
like a composer of music. Music has no images, but it takes us on journeys forward
and backward in time, into unknown worlds.

- 1 0 - Double En-Trance - Mixed media, 120x110cm, 2023

Gino
Wong
Gino Wong is a Chinese multimedia artist based in London and Guangzhou.
His works have been exhibited internationally in China and the UK and
purchased by HUAWEI, With a Master’s Degree in Fine Art Printmaking and a
background in media study, his works concern the distortion and
inauthenticity brought by the mass media in the modern era and attempt to
rebuild a reciprocal relation between the human body and the living world,
creating works in printmaking, painting, performance, and writing.
‘’My research draws on phenomenology and intersubjectivity. I consider
phenomenology as a way of overcoming alienation and inauthenticity in our society
under neoliberal market economics and commodity fetishism.
I create works concerning human relationships with nature and social structure. Our
intersubjective experiences were constructed upon bodily interaction, with people
around, nature and art, we cannot, nevertheless, experience such relation in
commercial advertisement, conspiracy, and explicit or implicit political propaganda
brought by the increasingly widespread Internet and stream media. Data analysis
and algorithms which constantly pursue efficiency, have now become the underlying
foundation determining people’s mindset today, Therefore, I attempt to reconnect
the human body and the actual world we are inhabiting in.’’

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 Columbarium of the Days
Cyanotype, Letter Press,
Variable size, 2024

The artist records the trajectory of the synodic movement and the weather during the
day with cyanotype, the dates and the time of sunrise and sunset are printed to
memorize the day passed. Each frame is the cremation urn and built up a
columbarium of the past days. The work invites the audience to contemplate time,
tension between future and past, and life and death.

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Your work explores the distortion and inauthenticity brought by mass media. Can
you elaborate on how you address these themes in your printmaking and
multimedia art?
In both the context of the pandemic and the coverage of the U.S. elections, we
observed an abundance of misinformation and falsified data. Moreover, in
commercial advertising, deceptive marketing and consumer manipulation are
rampant. When media outlets align themselves with commercial and political
entities, they compromise their credibility. For the general public, discerning true and
false information in today's information age is exceptionally challenging.
Nonetheless, we cannot extricate ourselves from the digital realm, as it envelops
everyone around us.
More critically, our constant exposure to a barrage of sensory-stimulating
information alters our perception of the world. This shift is not merely in a physical
sense, such as vision or hearing, but in our manner of comprehending the existence
of people and phenomena around us. This phenomenon contributes to the pervasive
entanglement of anti-intellectualism and conspiracy theories.
In response, my practice endeavors to compel the audience's physical engagement
with the artwork, integrating them into the work and the exhibition itself. In my
mirror series, I employ mirrored materials as a strategy to challenge and counteract
the pervasive influence of information media. If viewers attempt to photograph the
artwork, they become part of the image as the photographer. Otherwise, they can
only experience the artwork through direct visual engagement, fostering a dialogic
encounter within the exhibition space.
How does your background in media studies influence your approach to creating
art, particularly in the context of modern mass media?
I am particularly interested in the theories of several media studies scholars from the
20th century, including Heidegger's critique of technology, Marshall McLuhan's "The
medium is the message," Boorstin, Baudrillard, and Neil Postman. They reflect on
modern information dissemination technologies from different perspectives. One
point they would likely all agree on is that modern information media, compared to
the oral and written cultures in the past, has made information exchange faster and
more immediate and caused a shift in political ideologies.
On one hand, it can be said that allowing every individual to express opinions on
media platforms represents a democratic advancement. On the other, all
information media serve political or commercial interest groups, and only truths
beneficial to them are not just reported but widely disseminated. As a result, the
public's grasp of the real world becomes increasingly blurred. Moreover, the public's
self-judgment becomes increasingly aligned with capital interests.
You aim to rebuild a reciprocal relationship between the human body and the
living world. Can you describe a specific piece that exemplifies this goal?
French philosopher Merleau-Ponty posits the human body as the foundation of
human existence, with embodied perception serving as the measure through which
individuals comprehend the world and themselves. In my performance piece
"Others," I endeavor to explore the concept of the other within the consciousness of
the audience by replicating their behaviors within the exhibition space. Traditionally,
in Western philosophy rooted in Platonic thought, the object or the other is an
inaccessible domain for the subject, namely, we can never access the material world.
Contrarily, opposing the conventional mind-body dualism is a central concern for
certain phenomenologists.
In this work, I strive to mimic the audience's actions, prompting them to recognize an
entity entirely distinct from themselves that moves in accordance with their own
subjectivity. My aim is for the audience to become aware of the existence of an
object external to themselves.
Your art spans various mediums, including printmaking, painting, performance,
video, installation, and writing. How do you decide which medium best suits a
particular concept or message?
I believe that my research on media has also influenced my choice of creative
mediums. Currently, in my artistic practice, I deeply consider the appropriateness of
the medium in relation to what I intend to express. Rather than having a preferred
medium, I choose the medium that I believe is most suitable for my artistic
expression.
How has your experience living and working inboth London and Guangzhou
influenced your artistic practice and perspective?
I began receiving British art education at the age of seventeen, prior to which I was
immersed in the Chinese art education system. For me, my practice is not directly
linked to identity recognition; rather, the influence of different social and educational
systems has been more significant. Living in two countries so geographically distant
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has also made me aware of the complexities of the art market. China only began
embracing contemporary art after the Reform and Opening-up policy, with a very
short history, and the public has limited knowledge of contemporary art and art
history. The art market system in the UK is more developed, whereas China offers
more opportunities. From this perspective, I am more inclined to present avant-
garde creations in China.
What is your process for integrating performance into your printmaking and
multimedia works, and how do you feel it enhances the overall impact of your
art?
I believe that printmaking is not merely a technique but a concept shaped by
technology and change. For instance, as Walter Benjamin critiques in "The Work of
Art in the Age of Mechanical Reproduction," the emergence of technology inherently
transforms lifestyles and consumption patterns. In my performances and paintings, I
often employ a printmaking mindset, a conceptual fusion of print and painting. This
might also explain my aversion to dualism, as the creation of a print inherently
involves a matrix—a primary, unique subject—and its reproductions, which exist in a
subordinate relationship to the original matrix.
Your work has been purchased by HUAWEI and exhibited internationally. How do
you navigate the balance between creating art for personal expression and art
that resonates with a wider audience?
When I first began my artistic practice, I created more conceptual works than I do
now. However, after some exhibitions and further study, I realized that this approach
was not sustainable for my livelihood, which was a profoundly disheartening
realization. Consequently, I had to cater to the audience and the market. However,
this does not mean that I have abandoned my theoretical research; I consider it a
long-term endeavor.
Can you discuss a specific work or exhibition that highlights the interplay
between printmaking and video in your practice?
The video has always been as a way for the audience to understand some of the
creation process of the artwork.
How do you approach writing as part of your artistic practice, and what role does
it play in your overall body of work?
I have only recently begun writing creatively, as my ongoing study of Heidegger and
his exploration of language and existence has deeply intrigued me. This interest has
led me to delve into poetry and research related to language. I view writing and
poetry as forms of spontaneous expression for myself. While I have not been trained
as a theoretical scholar, I find their insights to be valuable supplements to my work.
What are some of the most significant challenges you face as a multimedia artist
addressing contemporary issues, and how do you overcome them in your creative
process?
Apart from the financial difficulties that every artist encounters, I believe there are
both benefits and challenges brought about by working with multiple media.
Audiences familiar with a particular medium are more likely to understand the
artwork, whereas those unfamiliar may struggle to comprehend it. Unlike traditional
painting, which most people begin to understand through its historical context,
artworks like mine that utilize multiple media cannot easily appeal to a single
audience group. This is not something galleries typically favor. Therefore, to adapt to
the art market and sustain my career, I've had to make compromises.

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 Irina
Salmina
Irina Salmina is a multidisciplinary artist based in Tbilisi, Georgia. With a
background in Information Technology, she transitioned from Network
Engineering to ceramics, opening her own studio in 2017. Irina’s works have
been showcased internationally. Her artistic journey has expanded to include
natural stone sculptures and conceptual photography, exploring the emotions
behind her works. Irina’s artistic process is deeply intuitive, focusing on
exploring the subconscious and reflecting on the interplay between the visible
and invisible, the physical and the spiritual. Through shapes, patterns, and
symbols, she delves into the mysteries of the inner and outer worlds, making
her practice a profound philosophical exploration. Since 2019, Irina has been
organizing workshops on intuitive sculpting in clay, where the main idea is not
to teach technique but to give freedom of expression by changing perception
and stimulating creativity. She is exploring the act of playing as the most
liberating form of creativity, appreciating the process over the result. Irina
Salmina's work is an adventure beyond the known, offering viewers a glimpse
into the depths of human experience.
‘’I am interested in exploring the potential of expanding the boundaries of what is
possible, with curiosity serving as the fuel for my creative journey. I believe in
embracing full freedom of creation, embarking on adventures, and being open to new
discoveries. Each "treasure" I uncover in my journey opens the doorway to another,
making the entire creative process a spontaneous experiment or expanding game,
where I continuously learn to play better. Working intuitively, I allow my subconscious
to play an unexplored, mysterious role in dialogue with the material. I am drawn to
natural shapes that exhibit fluidity, striving to make them look alive by infusing them
with a sense of movement. The careful work on details and textures is a crucial part of
my process, aimed at creating a visual experience that invites deep contemplation. By
deciphering the creative process, I gain a better understanding of myself and the
world around me. For me, artistic practice is an adventure beyond the known that
shapes both my work and myself.’’

Origin

River stone, grey stone,

36x.20x20cm, 2024

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Can you describe the transition from your background in Information Technology
to becoming a multidisciplinary artist, particularly focusing on ceramics?
Since childhood, I've believed in the unlimited potential within each of us. While my
work in IT provided intellectual satisfaction, I felt there was more I could achieve. I
began searching for that extra something. My encounter with ceramics was
accidental but instantly resonated with me. After years of exploration, it opened the
door to a whole new world of discovery through feeling rather than thinking.
How has your experience in Network Engineering influenced your approach to art
and your creative process?
My background in IT has played a significant role in my creative journey. The
problem-solving skills, systematic thinking, ability to learn quickly, and love for
experimentation that I developed in IT have created a solid foundation for my
research and discovery process in art.
What inspired you to open your own ceramics studio in 2017, and how has this
decision shaped your artistic journey?
Opening my own studio was one of the most challenging decisions I've made, a leap
into the unknown. I felt an intense urge to create and express my inner world. The
experience has been deeply transformative, giving me the freedom to explore.
Your works have been showcased internationally. How have these diverse
cultural experiences influenced your art?
The international showcases removed borders and significantly expanded my
horizons. Moreover, I met like-minded people who played an important role in my
artistic journey.
Can you elaborate on your exploration of the subconscious in your artistic
process? How does this influence the themes and emotions in your work?
Without a background in consciously learned principles and rules, my mind couldn't
guide me. Instead, I intuitively followed my senses in the artistic process. I discovered
that even without intellectual knowledge, I could create like a child who hasn't been
taught how to play, as it's a natural way to express oneself. Intuition became my
compass. I started questioning my process and delved into researching the power of
the subconscious, which brought me from the physical to the metaphysical. Being
unconditioned liberated me in my creative experiments.

- 1 7 - Rolling light - River stone, travertine, 48x.38.5x10cm, 2024

How do you approach the balance between physical and spiritual in your art?
It happens naturally. When I began to decipher my works, I discovered the reflection
of the micro and macrocosm and realized myself as part of a universal creative force.
This exploration led me to dive into the intangible depths of creation.
What role do shapes, patterns, and symbols play in your work, and how do they
help you delve into the mysteries of the inner and outer worlds?
I believe art comes through us rather than being created by us. We act as channels,
connecting and receiving. Patterns, shapes, and symbols trigger my exploration and
open new doors.
Can you explain the concept behind your intuitive sculpting workshops and how
they help participants change their perception and stimulate creativity?
My intuitive sculpting workshops reflect my own approach to art. I’ve found that
skipping strict goals and planning opens up more creative possibilities. By
encouraging freedom of expression and removing judgment, the creative experience
becomes richer. Embracing mistakes as chances for breakthroughs promotes
innovative thinking. I use this approach to help my students exceed their
expectations and explore new possibilities.
How do you incorporate the idea of "play" into your creative process?
I see play as the most liberating act. Play is inherently free from the pressure of
achieving a specific result; it values the process, curiosity, and joy. This approach
makes the working process meditative, allowing me to remain open to any ideas
that arise. By embracing play, I explore a broader range of possibilities and retain the
magic of spontaneous creativity.
In your view, how does working intuitively and allowing your subconscious to
guide the dialogue with your materials impact the final outcome of your pieces?
Each time, it surprises me in ways I couldn't have imagined. It's as if with every piece,
I uncover a hidden part of myself and bring it to light. Completing each subsequent
work leaves me profoundly changed, with an expanded ability to perceive. In this
process, my work and I become inseparable, evolving together—any change in one
part reflects across the whole. This metamorphosis is what mesmerizes me the most.

- 1 8 - Balance - River stone, grey stone, 45x.30x20cm, 2024

 The code
River stone, travertine,
55.5x.37.5x5.4cm, 2024

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 Rise
River stone, wood,
58x17x17cm, 2024

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 Lewis Andrews

Lewis Andrews moved to Leeds in 2016 to study a BA(Hons) in Fine Art at Leeds
Arts University. After graduating in 2019, Lewis continues to work in Leeds. In
2022, Lewis completed his Postgraduate Fine Arts Degree also at Leeds Arts
University, graduating with a Masters Degree in the Creative Arts. During his
Master’s Degree, Lewis’s practice became deeply focused on the methodology
of translating information and data from sources within science into artworks.
Lewis has continued to work and build upon this method in his work
constructing a theory of working called ‘The Informative Encounter’.
Lewis has participated in exhibitions up and down the country and
internationally with many notable achievements. Lewis held his first solo show
'186,000mi/s' whilst studying at Leeds Arts University in 2018 at Wharf
Chambers, Leeds, UK. Lewis was one of the artists picked to participate in the
Aon Community Art Awards program 2019 running through till 2021 with his
oceanic sublime photography work displayed in Aon Headquarters, London. In
November 2020, Lewis was selected to participate in the Mayes Creative
Watching the Sun: Virtual Residency alongside other artists with an interest in
astronomy and ancient astrology. Lewis went on to participate in two more
virtual arts-science residences with Mayes Creative and work from the
residency was included in a publication which was then included within the
Royal Astronomy Society Archive. To name a few of his achievements as Lewis
continues to work from his studio based in Leeds, UK.
Lewis’s work acts as a conduit between the realms of art and science. The supply of
information from science fuels the production of visual material which in turn
communicates the knowledge of a scientific endeavour. In short, Lewis’s work focuses
on dealing with complex thoughts, ideas and facts within nature and science. Some
explore those in which we seem to be overshadowed and overpowered in comparison
by the vast distances, size or quantities. Others investigate moments of extreme
power, creation and rebirth on a molecular scale or on a scale comparable to that of
the universe. Questioning our relationships, place and role within the universe,
environment and natural spaces.

'SMBH' arose after working on the 'Singularity' series of artworks during the 'Scientia'
project. ‘SMBH’ connects the distant monsters hiding in the cosmos with the delicate
paradise of our pale blue dot. Astronomers managed to photograph not one but two
shadows of black holes in recent years. A great achievement of not only science but
humanity. For humanity, to photograph a black hole is not only a quest for the actual
photograph. It’s a quest to travel to the edge of the unknown at the event horizon and
to stare face to face with an object that currently turns of understanding of physics
upside down. 'SMBH' differs from the 'Singularity' works as they attempt to look at the
true titans of the cosmos hiding within the centres of galaxies. Their size becomes just
as mindboggling as attempting to explain them with our understanding of physics.
Breaking down the distance between these colossal gravitational machines and the
viewer, 'SMBH' has been created with the use of gravity on a much smaller scale.
Created using a careful set up of light, water and gravity and then through various
digital editing, the work attempts to open a window up close and personal with some
of the true titans of the cosmos. Somewhere even light cannot escape if it strays too
close.

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‘SMBH I’ - Giclee Print on Paper. 420mm x 594mm. 2023 - 2 3 - ‘SMBH II’ - Giclee Print on Paper. 420mm x 594mm. 2023
How do you balance the integration of scientific information with artistic
expression in your work, and what challenges do you face in this interdisciplinary
approach?
It depends on the work and subject matter. Quite often it’s about trying to visualise
something from large amounts of data and information which can be quite
overwhelming. However, if making the subject visual, it appears as though we can
attempt to understand it with a little more ease. The combination of scientific
information with an artwork and then trying to communicate that through an
‘Informative Encounter’ was the basis of my Master’s thesis and something which I
continue to actively work with and push the boundaries with in my practice.
- New Knowledge
- New Viewpoints / Impossible Viewpoints
- Comprehension
- Visualising Data
- Collapsing Distances
- Answering Questions
- Open Up Conversations
- Condensing Information
- A Catalyst for information
- Understanding or attempting to Understand
The ten characteristics stated are the result of investigations conducted during my
masters degree in attempting to understand ‘The Informative Encounter’ as a
methodology of working. Similarities between all of them can be made in the sense
of them all being used to try and understand or attempt to understand an entity,
process or scientific data. So much so that ‘Understanding or attempting to
understand’ is its own characteristic and I would say the basis of my artistic
expression is I’m trying to understand a subject matter just as much as the audience
through my artworks. Every piece of work within my practice conforms to one or
more of the characteristics above. However, sometimes the work itself will not be
able to communicate the entirety of the subject matter. Instead, it could offer
snippets to the viewer, enough to open up conversations that may lead them to
further research the subject matter.
Can you describe a specific piece where you explored the theme of extreme
power, creation, or rebirth, and explain how you conveyed these complex
scientific ideas through your visual medium?
The ‘Carbon-Cosmos’ series of drawings I started in 2020. Theses drawings depict the
various stages of star’s life cycle but the majority focus upon the deaths of
supergiant stars. In this moment the star collapses and explodes in a Supernova
releasing all the elements fused within it’s core out into the cosmos. During the
Supernova, additional elements are fused. All this material joins the interstellar
medium and will go on to create new stars and planets. The atom’s in our sun for
example are mix of third or fourth generation atoms. The drawings adopt Carbon so
that the bridge can be formed between it’s fusion within a supergiant star billions of
years ago light years away, the viewer being a carbon-based lifeform in the present
and linking all natural life on our planet which is also carbon-based. The ‘Carbon-
Cosmos’ is a series of work I often use as reference for this as it perfectly illustrates
extreme power in the former star and the energy released during the supernova, the
creation aspect of fusing atoms together to make a new element and the rebirth
element coming from the recycling of matter in the cosmos in the formation of new
stars like our own sun.
Can you elaborate on the inspiration behind transitioning from the 'Singularity'
series to the 'SMBH' project? What key themes did you want to explore further?
Immensity. The ‘Singularity’ works often featured smaller Black Hole subject matter.
However, the black holes that emerge from the deaths of stars (which the
‘singularity’ work is based on) are tiny compared to the monsters that hide within the
centres of galaxies or can be observed as active Quasars. These are the true titans of
the cosmos. One of the largest known, named ‘TON 618’, has the equivalent mass of
66 Billion Sun’s and is wide enough to have 11 solar systems side by side fit within it.
‘SMBH’ touches upon these by an increased scale in the final product but also having
the Black Hole subject matter increasing in scale and look far more imposing.
How did the recent astronomical achievement of photographing black holes
influence your approach to creating 'SMBH'?
The photograph of a black hole (or rather the shadow inside and accretion disk of
gas) offers and amazing chance to gaze into the edge of known knowledge. The
existence of black holes was more or less confirmed through decades of research,
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studies and observations. However, I believe theres was always still a little
uncertainty in the general public since there was no direct image of a black hole
before the 2018 Event Horizon Telescope (EHT) Image. Now however, any doubts can
be laid to rest. My ‘Singularity’ and ‘SMBH’ artworks bare a striking resemblance to
the simulations conducted by various teams across the globe trying to picture what
the end result would be when we did capture an image of the M87 Black hole.
Maybe, these artworks can generate an idea of what possibly awaits in future photos
of black holes. After all, we now have photos of the M87 Black hole and the giant at
the centre of our galaxy; Sagittarius A*.
In what ways do you hope 'SMBH' contributes to the public's understanding and
appreciation of both the artistic and scientific significance of black holes?
As well as being an image which you can easily get lost in for hours by it’s preseance
and mystery, the same could be said for subject matter which stimulated it’s
creation. We long to know and understand our planet and the cosmos. We crossed
continents and charted seas on our planet to understand our home. We sent
instruments into orbit to observe the night sky and whats out there. We crossed
interplanetary space to visit our neighbourhood we share our sun with. Now we look
further into the cosmos. We strive to observe and then to know. We observed as
previously stated for decades indications of the existence of black holes. Now we
have photographs of them both in which we glimpse at the edge of known
knowledge. Beyond the Event Horizon remains a mystery where known physics
breaksdown. ‘SMBH’ offers a glimpse through simulated images in the form of the
artworks into a rich future for our species in discovering more of these titans of the
cosmos and being able to gaze at an edge of knowledge and marvel at what may
lay beyond.

‘SMBH III’ - Giclee Print on Paper. 420mm x 594mm. 2023

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‘SMBH IV’ - Giclee Print on Paper. 420mm x 594mm. 2023 - 2 6 - ‘SMBH VI’ - Giclee Print on Paper. 420mm x 594mm. 2023
Maka
Jishkariani
Maka Jishkariani was born on March 11th, 1971, in Tbilisi, Georgia. She graduated
from Tbilisi Public School No. 61 in 1988. During the years 1986-1989, she studied
in Kutateladze’s studio. In 1989, she enrolled at the Tbilisi State Academy of
Arts, specializing in Visual Arts with a focus on Painting and Monumental
restorations. Simultaneously, she worked as an interviewer at a research
company. After graduating from the academy, she began working as an artist
at 1TV. Later, she gained experience in an advertising company, holding
positions as a designer and art director. Additionally, she taught Computer
Graphics classes at the Georgian Institute of Public Affairs. She has had two
personal exhibitions and participated in several group exhibitions.
‘’Birth is not our choice. This is a fact. So is art. You don't choose it. It is born with you
and follows you all your life. We choose only the form of expression. How to show
what we think, or feel. Finding this is a very difficult and interesting process. I think
painting is the psycho-emotional state of the author transferred to the plate
medium. It makes the moment eternal with its chosen, determined artistic form. Art's
strength is that it can go on without you. to become a part of someone else. It should
connect two people without knowing each other at all and the children of a different
era. As life is simple and difficult, so is painting. Sometimes there is a wall in front of
me and I can't seem to do anything. Then gathering strength, thinking, and solving
problems... the same is painting. I stand in front of the canvas and there is emptiness.
As if the canvas is like that wall. Sometimes the path is simple, pleasant, and
harmonious. You live as if there are no obstacles. You draw harmoniously in one
breath... But there is still one difference. I don't know how much a person beats itself
in life, but art is a complete victory over self. Perhaps all works of value are greater
than the author at that moment. If we dare and get to know ourselves and overcome
our inner conflicts, we will be able to see much more. By observing personal feelings,
we will be able to get closer to the world. That's why my main subject is self-portrait. I
think this is the most correct way, not only to live but also to prepare for the inevitable
transition to eternity.’’

Self-Portrait - iPad drawing, 2023 - 2 7 - Self-Portrait - iPad drawing, 2024

Your journey in the arts began in Kutateladze's studio. How did this early
experience shape your artistic vision and style?
Friends and Parents of fellow students were almost all artists. For them, this
environment was natural, but for me, it was something new. I remember when I
went to the studio workshop, they gave me a still life to draw in pencil. I asked how
big I should draw, and the answer was to fully fill and leave small fields. I got up and
drew a jug the size of the entire sheet. From this point of view, I love the purity and
innocence of this child. So I literally started with a clean sheet.
Can you share more about your time at the Tbilisi State Academy of Arts,
especially focusing on Painting and Monumental restorations?
They talk a lot about the 90s. I also had to study during that period. At that time,
everything was newly awakened, so more attention was paid to restoration. I chose
this profession more objectively than by heart. I knew it would work out and it really
did. I remember that in the workshop, following all the rules, we painted murals, and
we intentionally damaged them so that the students could restore them later. It's
fun to watch your work being restored in your lifetime.
Working as an artist at 1TV and in an advertising company must have been vastly
different experiences. How did these roles influence your approach to art?
Yes, work in this field has a great impact. An experienced eye will notice the visual
lightness characteristic of advertising in the works. I feel like I'm mixing the
superficiality of advertising with the depth of painting. Being on this edge is very
interesting for me.
Your statement mentions that art is born with us and follows us throughout life.
Can you elaborate on a moment when this realization became particularly clear
to you?
Art is thought. All the more modern art. As we think, so is our life and therefore our
creativity. Awareness comes with age. Perhaps it takes time and experience to be
able to give everything its own name.

Self-Portrait - iPad drawing, 2023

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You taught Computer Graphics at the Georgian Institute of Public Affairs. How did
teaching influence your own artistic practice?
My studentship coincided with a difficult period. Therefore, the quality of teaching
was also very low. This heartbreak follows me all the time. It is a crime when you
enter a room full of students and do not spend your energy. That's why I didn't think
about myself at that time. On the contrary, if I have added something to the
students, I am very happy with it.
In your view, what is the significance of the psycho-emotional state of the author
in painting? How do you capture this in your own work?
It's very important. But the form, how you convey it, is also very important. The work
should not resemble art therapy or mandala coloring. An interesting form should be
found. This is what makes painting difficult.
You describe painting as both a simple and difficult process, comparing it to
overcoming life’s obstacles. Can you discuss a specific piece where this analogy
was particularly evident?
This is the part of a painting that I find difficult to convey. It doesn't always work for
me to put my feelings into words. It breaks my heart to not be able to share verbally.
Your focus on self-portraits is central to your work. What insights have you
gained about yourself and the world through this practice?
Listen, believe, and give rights... liking yourself is not easy.
How do you think art connects people across different eras and cultures, as you
mentioned in your statement?
For people in all eras, the main thing that connects us is emotions and feelings. But
the forms of expression are changing. If earlier, before modern times, a person had
an almost ready-made thinking pattern, now it is no longer the case. Every author
has his own new language to think of. Such are the modern tasks.
Can you describe a moment when you felt a complete victory over yourself in
your art? How did this impact the final piece?
Yes, when you look at your own work nothing bothers you. When it becomes a
harmonious part of you.

Mirrors ‘Maenads’ - Mixed media, wood, 170x70cm, 2022

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Fruit vase - Mixed media, wood. 44x38x9cm, 2024

Flower vase - Mixed media, wood. 44x38x9cm, 2022

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Your career spans various roles and mediums. How do you balance these different
facets of your creative expression?
I love it when they surprise me, I love it when I surprise myself. There is a lot of novelty
in surprise. It's like you've never seen anything like this before. It's good if I find it
sometimes. The main thing is to have an idea, I will adapt it to the media.
The transition from visual arts to monumental restorations and then to teaching
and working in advertising shows a diverse skill set. How do these different
disciplines inform each other in your practice?
You know, it was a transitional time. It was necessary to survive. Many had to give up
their favorite profession. I am glad that I could stay in this space. There was no
access to the information. There wasn't even a book. We had to figure everything out
on our own. It took a lot of time. The Internet also appeared much later. Now this is
really unbelievable. I remember my heartbreak when I went to GIPA and containing
more than ten years of work practice in three months.
What do you believe is the role of the artist in society, and how do you see your
work contributing to this?
The role of art is certainly very big and important. It will be difficult for an individual
artist to make significant changes to society. This should be the will of the state. In
this regard, there are problems in our country.
You mentioned that art is a way to prepare for the inevitable transition to
eternity. Can you share more about how this philosophy influences your day-to-
day artistic practice?
The better we know ourselves, the deeper we can go, the better we can see the
environment, and the better we can get to know the world. Without it, art would be
beyond belief. I think this is a difficult path. Instead, it simplifies life and prepares us
for the inevitable eternity.

Ceramic plates from the series ‘ Emotional dinner’

Ceramics, 23cm, 2021

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 THE DEVIL VISITS THE DOVE WOMAN
Painting on steel, 100x70cm, 1982

Oliviero
Leonardi

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Born into a family of master ceramicists, Oliviero Leonardi (1921 - 2019) was an
Italian painter and sculptor based in Rome and Paris. He was largely
recognized in the 1970s/80s as one of the leaders in painting with experimental
materials on steel plates baked in an oven at high fire (at 900 degrees Celsius).
His artistic research focused, among others, on the subject of cosmogony. He
was partially influenced by futurism, surrealism, cubism, and art informel.

EXPRESSION OF A POWER BEYOND SPACE-TIME LAST GREETINGS OF ACHILLES AND BRISEIDES

Painting on steel, Painting on steel,
100x70cm, 1978 100x70cm, 1976

In the 1970/80s, he had more than 25 collective and solo exhibitions in major
art galleries in Italy, France, Spain, Monaco, Germany and Luxembourg. He
exhibited with a collective of artists including Giorgio De Chirico, Salvador Dalí
and Joan Miró during the 1975 Contemporary Art Exhibition in Fiuggi, Italy. His
work was also exhibited at the Maschio Angioino, the Centro di Cultura Italiana,
the Saarland Museum, the Van Gogh House Museum and the Limoges
Biennale, and commissioned for public spaces including the metro in the city
of Rome and the Pan-American headquarters in New York.

Following two decades of successful exhibitions, Oliviero Leonardi detached

from the world of art on his own, and slowly started creating art for himself
from the 1990s until his passing few years ago. His efforts, art, beliefs, innovative
art techniques, numerous exhibitions, ideas, friends, and critics, namely his
work and art as a whole, were almost completely forgotten.

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THE DEATH OF DON QUIXOTE - Painting on steel, 100x70cm, 1976

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DYNAMIC ABSTRACT- Painting on steel, 70x100cm, 1985

ASTRONAUT FROM AN ICE PLANET - Painting on steel, 70x100cm, 1981

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During his exploration phase on the island of Capri, Oliviero Leonardi
discovered the potential of steel as an artistic medium. After Capri, he traveled
to Florence, Venice, Palermo, Rovereto, and Ravenna to perfect his knowledge
of the artistic forms. In a post-WWII context, he became passionate about
studying the origin of our universe and, in the broader sense, human existence
and condition.
WAR IN THE DESERT- Painting on steel, 70x100cm, 1982

His work captures the great scene of the world where the artist’s vision evolves

artist’s vision evolves to

the heart of known and
unknown spaces. The
art of Oliviero Leonardi
tells a sacred story, the
origin, a primordial
event that is created by
firing colors on steel
plates at high
temperature. Time is
not a continuous
concept in Oliviero
Leonardi’s art. He
looked into unraveling
“memories of vanished
entities of immemorial
times”.
ODYSSEY OF THE UNIVERSE
Painting on steel, 70x100cm, 1980

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Omoiwhi
Igbinedion

Birds Eye view

- 3 7 - Acrylic on canvas, 30x30cm, 2024
Omoiwhi Igbinedion is an abstract artist from Edo state Nigeria who started
her online art gallery 5years ago and made it a business by registering it has a
company 1 year ago and started helping other artists have solo exhibitions
distributing wall hangings for hotels and interior companies her love to paint
pieces that evoke emotions since childhood where she started making
drawings in abstract form .Throughout there artistic journey with a diploma in
fine arts and drawing form Udemy omoiwhi has honed their skills and explored
various artistic mediums from hosting pop up selling art on shoes to Djing Afro
house in Lagos Nigeria . Omoiwhi aims to collaborate with other galleries with
a strong belief in the power of the artistic community to create impactful
events that celebrate the beauty of art .

260 Owl
Acrylic on canvas, 60x60cm, 2024

What inspired you to start your online art gallery five years ago, and what
challenges did you face in transforming it into a registered company?
The pandemic had me questioning so many things about life I started to ask myself
what was my purpose and what is one thing I can never lose interest in. And it was
Art I started looking online how to run an art gallery connected with a few artists and
that was it. For me I didn’t face any challenges for the registration only waited a
couple of days for the process.
How has your background in abstract art shaped the mission and vision of your
gallery, particularly in helping other artists have solo exhibitions?
I try to focus on what I am good at which is abstract the vision of the gallery is to
have a wide range of audience so all types of arts are accepted hosting exhibitions
for artists has been able to help me work and bring in more artists.

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Can you describe your creative process and how you go about creating pieces
that evoke emotions?
One thing I can say is since childhood I’ve always loved to draw i could fail all
subjects back then and only get an (A ) in fine arts or technical drawing. once I get
hold of a pen & paper I always draw things even I myself can’t explain It is almost
impossible for me to have drawing materials in front of me and not want to draw or
paint anything.
How has your upbringing in Edo State, Nigeria, influenced your artistic style and
the themes you explore in your work?
Growing up in Edo state I was always surrounded by art, my grandad is one of the
biggest art collectors I know of asides being a collector he usually gets gifted
sculptures & paintings from local traditional artists in the various communities.
Around my peers we gather around with drawing books most times to draw and
debate on whose drawing is best, mine always stood out typically because I was
surrounded by a different kind of art growing up.
What was your experience like studying fine arts and drawing on Udemy, and
how has it contributed to your development as an artist?
My experience at Udemy was like a recap from high school got me to understand
fine arts it gave a detailed definition of these drawing techniques.
In addition to your work as an artist, you also DJ Afro house in Lagos, Nigeria.
How do you balance these two creative pursuits, and do they influence each
other in any way?
I love to play music I can hardly stay relaxed without music whenever I paint I love to
hear the bass, and new tracks, being a DJ I get to share music with people and they
listen gets me excited.
Can you tell us more about your efforts in distributing wall hangings for hotels
and interior companies? How do you select the pieces for these collaborations?
I get to work with interior companies and hotels we work together based on the
commission also I get to see the space and show design samples and they settle on
which suits them best.

Tanned
Digital drawing, variable sizes, 2023

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What do you believe is the importance of community in the art world, and how
do you aim to foster this sense of community through your collaborations with
other galleries?
Art for me brings people together be it through music, paintings, or crafts by getting
to know each art &artist by working with more galleries I get to learn about more
arts and each collaboration can foster more business opportunities and promote
peace amongst others by simply bringing them together to share a common
interest

Could you share a memorable experience from

one of the solo exhibitions you helped
organize for another artist?
A memorable experience was how happy the
artist got when people started to engage the
artist about the works it's always an amazing
experience.
What future projects or collaborations are you
excited about, and what impact do you hope
they will have on the art community and
beyond?
I am excited about my next exhibition in Tokyo
in November. Getting to see and learn about the
art world and connect by sharing ideas and
experiences that will impact the community
gets me excited .

Aqua mafia
Ink on paper, 1'’x1’’ on drawing paper, 2021

Storm
Digital drawing, variable sizes, 2023

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Rie Suto

Rie Suto was born in Japan. She moved to the UK in 1996 and in 2008 she
joined the local contemporary artists group SoTArt. In 2014 Rie started working
with Etruria Artists. From 2022 She is regular Artist at Arts and Mind Gallery and
Etruria Industrial Museum. Rie is presently a freelance artist, working on
exhibitions, hands-on workshops at galleries, museums, and outdoor events.

Shallow Water
Paper,
21x29.7cm, 2022
Torn papar collage. Summer's day, children play in shallow water at a beach.

‘’I am interested in myths, science, and the relationship between nature and
human existence. My work reflects ideas ranging from day-to-day events to
the origins of our physical and spiritual being.
I work in the context of words. I receive a word to make art, then I interpret the
word in art, what I’m thinking at that moment or what I’m interested in
generally. My work can be a clay sculpture, mixed-media sculpture, lino print,
watercolor/ acrylic painting, pastel/pen drawing, and paper collage.’’

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Your work spans a variety of mediums, including clay sculpture, mixed media, lino
print, painting, drawing, and collage. How do you decide which medium to use for
a particular project?
Which medium to work with - when my idea comes up already the medium is in my
vision, unless there is a request for the medium, I will use what I see. Sometimes it
depends on the timescale for the exhibition.
You mention that you create art in the context of words, interpreting them into
your work. Can you describe your process of translating a word into a visual
piece?
Words have their meanings so, I check the meaning of the word, even if I am familiar
with it, though often when I see the word I already know what I like to draw/paint,
and then I make a story that makes connections and gives a sense to the word.
Sometimes, I don’t have anything for a subject to paint, a word helps me to start off
with.
How have myths and science influenced your artistic practice, and can you share
an example of a piece that embodies this relationship?
I sometimes draw or make figures of ancient gods or monsters from all around the
world, often the topic comes from bioscience, physics, quantum theory, or a parallel
universe; my interest in hybridity and metamorphosis has roots in world mythology.
Sound, light, and color frequencies, from a cell to the universe. My Mystical series has
a few examples of these sources.
Having moved from Japan to the UK, how have your cultural experiences in both
countries shaped your artistic perspective and creations?
I grew up in Japan, my sensibilities are still Japanese, in the UK I acquired some new,
often dissimilar conceptual thinking skills. On my journey to self-discovery and my
coming to maturity as an artist, including my degrees in Fine Art in Stafford and in
London, I had much exposure to a rich texture and experience of art – a new
language. However, sometimes I feel when I speak less, I become visually more
perceptive and capable of expression.

Rudyard Laker

Acrylic,
20x20cm, 2022
Rudyard Lake in summer.

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You’ve been involved with several artist groups and galleries. How have these
collaborations influenced your work?
SoTArt group came together after a dozen or so graduates from the Art course,
continuing as contemporary artists collaborated from time to time. We met
regularly, discussed our work, and mainly worked individually following our interests,
2-3 times a year offering a joint exhibition. My main focus at the time was on 3D,
installation, and site-specific work. Etruria Artists is a less cohesive group. When there
are art events around the city, we engage local people including children in hands-
on art activities. My work is in clay and consists in guiding my audience in their
creative journeys. My daily art practice is mostly detached from other people,
however, Etruria artists bring me in contact with the audience. Arts and Mind Gallery
mainly houses saleable/commercial work. I exhibit my paintings, small tactile
objects, and collage work. The Industrial Museum sells local, seasonal art, souvenir-
like objects, cards, and paintings, and my products sell well - that is partly the reason
my work has extended to a variety of media.
Your art explores the relationship between nature and human existence. How do
you convey this relationship in your pieces?
In my art, there is often an audience’s point of view, including emotions such as love
or relaxed joy, amusement, or feeling unsettled. In a landscape, I often include a
man-made structure or object in my work, such as a ship, a road or a field, a wall, a
house, or a footprint in the snow.
Can you tell us about a specific word you received that inspired a notable piece of
your work and explain the resulting artwork?
The words that inspired me a lot are Invisible, Motion, and Transparent. I have been
interested in invisible phenomena. In my work on the Invisible, I was thinking about
the spirits of a tree looking after some children. Unseen by them, the spirits are
camouflaged as part of the tree, resulting in artwork using a collage cut out from a
magazine.
How does the setting influence the work you create or the way it is received by
the audience?
My work is often an installation and can be site-specific. I go to the venue to see how
my work could be exhibited and what type of material would be suitable for the
place, the light, the atmosphere, and the audience. I am aware some people like to
read about the concept of the work, on the other hand, some simply see the art and
relate it to themselves. I try to connect with both. I engage with the audience on
opening nights and during the hands-on workshops.

Sky Line - Acrylic, 30x25cm, 2022 - 4 3 - Invisible - Paper collage, 19x15.5cm, 2023
What themes or ideas are you currently exploring in your art, and how do they
reflect your thoughts or interests at the moment?
I am working on 2D media mainly now, with a focus on atmosphere. If the viewer
senses the ambience and the temperature of my work, it would be some success.

As a freelance artist, what have been

some of the most rewarding and
challenging aspects of your career,
and how have these experiences
shaped your artistic journey?
A challenging aspect is dealing with
the commercial, digital world, such as
NFT art buyers or scammers. In the
digital world I cannot see my
audience, it can feel like living in
virtual reality. The most rewarding
moment is when people respond or
react to my work. I feel I should be
true to what makes me excited and
inspires me because the audience
can respond to my energy level and
feel it.

Pond
Mixed media,
50x50cm, 2023

Plenty of Apples ( Expectation)

Acrylic,
40x50cm, 2023

- 4 4 -
River Smith

You don’t let people get a word in edgeways

Paint and carpet on carpet.
79x55.5cm, 2023

- 4 5 -
Born out of my own relationship with poor mental health and the causality of
childhood experiences, psychology, specifically child psychology has become
the central focus of my practice. This theme is explored through a diverse
range of media including sculpture, installation, and drawing. Each work is
often realized with various modes of making; focus is given to process, form,
and materiality. Part of what my work attempts to do is to confront the
comfortable and soothe the uncomfortable. Central to the work is the
question; ‘how can the audience's discomfort be used as a tool to evoke
change, understanding, and empathy?’ I am currently studying at The
Manchester School of Art in the Fine Art MA program.

‘’The focus of my current body of work-in-progress is the creation of ill-suited,

non-functioning, physically or emotionally dangerous children's toys. Some of
the preliminary sketches, and one sculpture are included in this submission
portfolio alongside other complimentary works all centered around the idea
of childhood trauma. The ongoing studio collection, entitled NSFC (not
suitable for children) originates from personal experience and study into the
effects of chronic invalidation in childhood, the works are born of the self but
also attempt to consider the greater underlying systemic issues.
It doesn’t seem as simple as “You said or did things which fractured my sense
of self and that was bad.” Because why did you do those things? Did you do
those things because they were done to you? Or perhaps because you too are
trapped in a

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patriarchal system of colonialization under which your only purpose is to continually
contribute to the growth of capital, feeding those at the top of the pyramid whilst
desperately trying to claw away enough for yourself?
To experience the fullest range of your emotions under that system would be
problematic, and often discouraged. How could you convince yourself to spend your
entire life slaving away to make the rich richer if first you didn’t gaslight yourself into
believing you’re okay with it? It’s a circular system in which we as people are often so
disconnected from our emotions, bodies, and minds that we don’t realize we are
traumatizing our children the same way that we were once traumatized.
Parents unable to process and regulate their own emotions, disconnected from them
as most of us are, are then unable to cope when the child fails to respond as desired
in certain situations. Modeling maladaptive ways of coping with negative emotions
to their children. Their unprocessed, traumatic experiences become the maladaptive
tools with which we attempt to live our lives.
Ideally, having healthy age-appropriate experiences, safe loving environments,
emotional validation, and adults we trust to protect us in childhood would allow us to
develop a strong sense of self with robust tools for life. But, if our caregivers developed
faulty tools, they are going to pass those down to us, because it’s all they know how
to do. These tools, often given with the best attempts at love, do not work and cannot
offer the child what they need. Either because the tools are impractical, dangerous,
or ill-formatted. The child doesn’t know any different, only that these are the tools it
has been given.
Generations pass down similar versions of the same, not quite right tools unless the
cycle is broken. Without therapy, self-reflection, and healing those tools become an
intergenerational pattern of childhood trauma and maladaptive coping strategies.
These works are metaphors for this cycle of inherited, intergenerational trauma
responses, offering me the space to process certain emotions, traumas, or
experiences for which I don’t have words. Explorations of trauma patterns are not
uncommon in art, and my hope is they will connect with those who need to feel
heard, speaking to their own unique experiences, whatever those may be.’’

Good Enough
Monoprint on paper, 15x21cm, 2012

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How did your personal experiences with mental health and childhood trauma
influence your decision to focus on child psychology in your art practice?
It’s a theme that first started appearing in my work back in 2012, at the time I had
just finished my third inpatient treatment for an eating disorder. So it came about
kind of organically I guess. There was a period of time in my undergraduate degree
where I played around with some other concepts, like environmentalism and
connectivity, but I always seem to find myself curious about some element of
psychology and return to focusing on trauma and mental health. I think in part It’s
so I can better understand my own experiences, and partly because I don’t think as a
society we prioritize our mental health and recovery as much as we should. We are
all traumatized in one way or another and I think finding understanding, release,
and self-expression for those experiences is important for our growth and peace as
humans.
Can you describe the process of creating your ill-suited, non-functioning, and
dangerous children's toys? What message are you trying to convey through these
pieces?
The work came about through an interest in understanding why we often repeat the
same traumatic patterns with each new generation. Our caregivers learn certain
‘tools’ for emotional regulation and managing life, whether healthy or maladaptive
then they pass those on to us. These ‘tools’ when maladaptive result in patterns of
intergenerational trauma. I wanted to find ways of using metaphor and symbology
to represent those maladaptive ‘tools’ (a.k.a trauma responses). My hope is that for
the audience, experiencing and participating in these works provides an opportunity
to bond in a shared experience and to better understand the roles they play in
creating trauma for others.
How do you choose the materials and forms for your sculptures, installations, and
drawings? What significance do they hold in relation to the themes of your work?
Most of my material choices are intuitive, I play around with different textures to see
which feels right. That being said with my current body of work I’ve been leaning
heavily towards materials from my childhood like crayons for drawing, and then
contrasting industrial materials for the toys. I’m really digging the combination of
bright neon plastic against tough brutal materials like plaster or steel.

Space hopper a sketch Hula hoop a sketch

Mixed media on wallpaper, 76x53cm, 2023 - 4 8 - Mixed media on wallpaper, 76x53cm, 2023
I love you but I don’t like you
Mixed media on canvas,
79x55.5cm, 2023

- 4 9 -
What role does the audience's discomfort play in your work, and how do you
hope it will lead to change, understanding, and empathy?
Some art is uncomfortable and hard to experience, it does not shy away from
evoking that which is difficult. It acts like a mirror to our hard feelings, our discomfort,
our fear. Encouraging us to be in it, to allow it to happen, to stick with it, to learn from
it, to grow with it. I think to use art as a way of exacerbating conflict and drawing out
fear is not a bad thing, in-fact it could be an agent of social change, perhaps it can
invite us to consider our own place within the system of violence we enact against
each other. The probability of ending that cycle of violence is low and I don’t suppose
my work to be the solution, instead my hope is that by simultaneously holding both
safe and unsafe space within the work it may evoke discourse and self-reflection
within the audience.
Can you share more about the concept and development of your ongoing studio
collection, NSFC (Not Suitable for Children)?
When work is focused on trauma it becomes by default pedagogic. Trauma is
uncomfortable, it is non-verbal, non-linear and inherently vulnerable. Art, like
trauma, is somatic. It makes people feel, that is the point, it’s purpose is to connect in
an emotionally embodied way. With my current studio works I am trying to connect
with those who have experienced trauma and to encourage both myself and the
audience to evaluate the ways we perpetuate the traumas we have experienced
onto others. I learn and I grow with each work I make, both as an artist and as a
person. It develops as I understand more about my own part in the cycle and try to
reach a place of acceptance and change.
How do you incorporate your studies and insights from
child psychology into your artistic process and
themes?
At the moment I’m interested in the idea
of safe spaces and their place within
art. Barbara Stengel, a philosopher
and research who’s work on the
relationship between safe
spaces and fear I find
fascinating, posits that our
attempts to avoid interacting
with things we deem fearful in-
fact reaffirms and distorts the
original narrative of fear.
Essentially, we assume a new
‘big bad’ will always happen,
and in trying to avoid it, the fear
gets bigger. For those who have
experienced trauma, this model
of habituated fear becomes
deeply engrained. My current
studio work is centred in this
idea that we perform the act of
avoiding fear but perhaps more
could be gained if we were to
instead perform the act of
experiencing fear.

Lamp a sketch

Mixed media on wallpaper

76x53cm, 2023

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What challenges do you face when exploring deeply personal and systemic issues
through your art, and how do you overcome them?
A lot of my work tries to hold the space in between fear, discomfort and pedagogic
intent, offering my audience the chance to sit with their uncomfortable feelings for a
short time, before releasing them back into safety. Whilst I don’t believe it is the role
of the artist to protect the audience from fear, exposing them to challenging
concepts does bring with it a certain amount of social responsibility. Navigating this
is hard, take my upcoming performance ‘as yet untitled’ for example. The work
explores the impact of domestic violence and weaponised fear during childhood, the
work itself, the performance, probably will only last a minute or so. A minute or so of
feeling uncomfortable or alarmed. But to warn my audience of the impending
violence offers them a sense of safety which may detract from their ability to sit with
the discomfort. Children are not given warnings before being abused. Humans are
not given warnings before being traumatised. A warning implies the option to avoid
the trauma. I know I run the risk of upsetting them, of them hating it. A negative
response to being unwillingly subjected into an experience they didn’t like. But that’s
kind of the point of the work I suppose, socially we can’t ignore the experiences
unwillingly forced upon other humans.
How does your current work-in-progress at The Manchester School of Art's Fine
Art MA program contribute to your overall artistic journey?
Enrolling in the MA program was an ambition of mine for several years, I had
reached a point in my practise where I felt stuck, in a rut. I needed a jolt to shake up
my practise. I’m almost at the end of it now, only 2 months until our final MA show
(September 27th if you’re interested), and the work I’ve been making is my best so
far. Spending this past year working in the studio, without interruption, gave me
space to allow my ideas to develop; to test things out, have them fail, try out new
processes, and bounce of the energy of my peers and mentors. I’m incredibly grateful
and I’ve been able to put myself in the position where I have the next two years or so
of work rolling around in my brain and sketchbooks waiting to be made.
What do you hope viewers take away from your work, particularly those who may
have experienced similar traumas or emotions?
There’s a quote by Cesar Cruz, “Art should comfort the disturbed and disturb the
comfortable” which perfectly sums up my hopes for the audience.
How do you see your work evolving in the future, and what new themes or
mediums do you plan to explore as you continue to address the complexities of
childhood trauma and mental health?
The end of my MA course in September will bring out big change for me, I’m going to
be leaving Manchester and travelling. I’m going to spend the next few years
exhibiting and attending residencies across Europe. Initially I will be continuing to
explore the fabrication of ill-suited toys, I’m really interested in adding interactive
play elements to my work. I’ve got a few installations on the back-burner too so I’d
love to see them to fruition. Considering I’m going to be on the road a lot I see more
performance pieces in my future too, the downside to object creation is then you
have an object you need to find a home for, and vans’ are only so big!

- 5 1 - Bike a sketch - Mixed media on wallpaper, 76x53cm, 2023

Rubica von
Streng
Rubica von Streng graduated from Berlin’s University of Arts UdK as a
masterclass student in 2018. Her works, such as the paintings of the
monumental “PortLand” cycle, have found a place in highly recognized art
collections in Germany and abroad. They often deal with the beauty of nature,
biodiversity, and the future of civilization.
Abstract portrait and landscape painting enter an exciting liaison in her
oeuvre. Her multi-layered, aesthetically composed oil paintings appear
watercolor-like and radiate an unexpected lightness, however heavy and
complex the subjects. The artist achieves this balancing act by means of her
self-developed so-called arpeggio painting technique: wafer-thin layers of
highly diluted oil paint are applied one after the other, creating a powerful
ensemble of overlapping color spaces and forms that interact with fragments
of varying shapes. “Von Streng’s works are profoundly intelligent, well-founded,
and responsible,” says René Spiegelberger, CEO of Hamburg-based
Spiegelberger Foundation. “They open a new chapter in abstraction. Her way
of dealing with highly topical themes manifests itself in an impressively
stringent manner”.

The series “Sun Chaser”

Oil on Japanese paper,
32x24cm, 2022

The five works of the “Sun Chaser” series belong to Beyond PortLand, the third part of my
PortLand cycle, and were created in 2022. The paintings relate to the sun, but without it being
immediately recognizable. Instead, the works are composed in such a way that the sun
appears to be the light source according to the color values. Viewers can get the impression
that the pictures are sun-drenched landscapes.
By the way, the paintings are based on photographs that I had already taken during my art
studies in summer 2013. Thanks to the refined arpeggio painting technique, I was able to
create multilayered paintings based on these photos, with the application of color in line with
the other works of the PortLand cycle.
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 Sun Chaser 1

Oil on Japanese paper,

32x24cm, 2022

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How has your work evolved over time, and what factors have influenced its
evolution?
My artistic focus has shifted significantly, especially since 2018, when I started the
PortLand cycle of works. Prior to PortLand, I was more interested in fundamental
concepts, such as life and death; nowadays I'm exploring conceivable ideas that are
related to the present civilization and its imaginable future. PortLand has brought
me to the conclusion that the deeper I delve into the underlying principles of „how
everything works and how it could possibly work in the future“ – and the better I
understand the structure of this imagined, yet not impossible, place –, the clearer the
image that emerges in my mind of what I want to put on canvas or paper.
Perhaps a pinch of Schopenhauer's ideas on causality resonates here – in the sense
that the result, i.e. the picture, is preceded by a specific cause. For me, this cause lies
in identifying correlations; it is a cognitive process that requires intensive research. In
addition, the later paintings in the cycle, more than the earlier ones, also depict
moods – moods of the times. In order to be able to express this pictorial dimension, I
have developed my painting technique even further.
What role does experimentation play in your artistic practice?
Experiments play an important role. Without experiments, I would not have been
able to develop my painting technique to such an extent. Sometimes I try and vary
until something new emerges that fits conceptually and compositionally. Or I
occasionally have to change the density of the applied paint – it's therefore not
uncommon to experiment beforehand. I usually do this on scraps of canvas that are
cut into small squares.
How do you stay motivated and productive in your studio?
I usually work on a painting until it's finished and only then start a new one. However,
if I realize that I'm not getting anywhere with the current canvas, I may work on
another painting at the same time – or actually start a new one. I'm mostly
motivated, but not always productive. I make sure that I'm not distracted from the
painting process and that I'm really undisturbed. By putting the phone on silent,, for
example, in other words by not being available to others, I can focus completely on
the painting process.

Sun Chaser 2 Sun Chaser 3

Oil on Japanese paper, Oil on Japanese paper,

32x24cm, 2022 32x24cm, 2022

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Can you discuss the importance of storytelling in your art?
As I mostly produce abstract works, storytelling follows other rules than in
predominantly figurative paintings. The nature of my works, specifically those of the
PortLand cycle, allows for subtle narratives that are hidden in their structure, i.e. in
and between the many layers of paint that are applied one after the other. However,
my paintings don't tell conventional stories that offer bold answers to questions the
viewers might have. Instead, they pose questions and encourage viewers to search
for possible answers themselves.
How do you approach the business side of being an artist, such as marketing and
selling your work?
To be successful as a visual artist today, it is not enough to create outstanding works.
You also have to be able to present yourself on the market, avoid being manipulated
by the industry, understand business contexts – and, as a woman, break down
patriarchal structures. Nobody teaches you any of this when you study art at a
university or academy. At least not here in Germany. So you have to be proactive. In
an increasingly complex art market, which is at the same time undergoing extreme
fluctuations with respect to varying trends and buyers' liquidity, some people may
lose their sense of direction. To avoid this from the outset, I started working with an
artist manager early on, who is responsible for communication, gallery and museum
contacts and many other organizational tasks. This allows me to fully concentrate on
my artistic creative process.
How do you decide when a painting is finished?
A painting is finished when I no longer want to add or change anything. That is a
very important moment, sometimes a kind of tightrope walk, because you can
quickly kill a painting if you don't stop working on it at the right time. Additionally,
there are various technical criteria that have to be met. It would carry us too far
afield to name them in detail, though.
Can you describe a day in your life as an artist?
Why don't you come and visit me? The daily routine can look very different:
Sometimes I build frames, sometimes I stretch canvases and prime them using a
rather elaborate method. But often the day also consists of thinking, reflection and
research. Researching the content of a picture doesn't just take place in the studio. I
often go out and visit places to absorb their moods. All of this belongs to my artistic
process. Of course, the exchange with people interested in art, networking and other
social activities are also part of the daily program.

Sun Chaser 4 - Oil on Japanese paper, 32x24cm, 2022 - 5 5 - Sun Chaser 5 - Oil on Japanese paper, 32x24cm, 2022
 Vivian
Cavalieri
Vivian Cavalieri is a visual artist with a studio on Chincoteague Island, Virginia.
Her three-dimensional miniature scenes prompt conversations on a range of
global issues including immigration and social justice. Her work has appeared
in numerous exhibitions in the US and abroad, including London, Paris, Athens,
Venice, and Rome. Six of her assemblages were included in WOVEN 2023,
curated by Ciara Hambly of the Hambly & Hambly Gallery. After six weeks at
the Sasse Museum in Los Angeles, the exhibit travelled to France. Cavalieri was
short-listed for the 2024 John Richardson French Residency Award. Her art is
featured in the December 2023 issue of Suboart, the February 2024 issue of Art
Seen, and on the Al-Tiba9 website. She is represented by Hambly & Hambly,
Northern Ireland, UK. Cavalieri graduated from Harvard University (BA, Fine
Arts) and the New York University School of Law.

Transformations (From
Bibendum to The Michelin
Man)

Mixed media,
10'’x14'’x4'’, 2021

Using posters of the Michelin

Tire icon to reflect changes in
society over the years.
Originally named Bibendum
and now known as the
Michelin Man, this iconic
symbol was designed to be
terrifying to represent the
toughness of the company’s
tires. As Michelin shifted from
producing bicycle tires to
manufacturing car tires, the
image of the icon changed
along with society. Miniature
of "Bibendum" chair
designed by Eileen Gray,
mirrors, dollhouse
miniatures, modified
Michelin Tire posters, art
board, custom wood frame
with museum glass

‘’I am a conceptual artist whose three-dimensional mixed media scenes

unexpectedly prompt conversations on topics such as immigration, climate change,
and social justice. While an international upbringing predisposes me to select
universal topics and to incorporate references from other cultures, my palette and
sense of design strongly derive from my Venetian heritage.
I incorporate a segment of a necklace I designed into a scene crafted with
commercially manufactured items such as dollhouse miniatures, fabrics, and mirrors.
While seemingly impersonal, the items selected are symbolic, the mix is eclectic, and
the resulting perspective subjective. Just as the assemblage incorporates various
components, construction of the scene necessitates a variety of techniques including
sewing, painting, photography, and woodworking.
My assemblages do not criticize or preach; rather, they invite dialogue to foster
awareness and empathy. I encourage viewers to approach with an attractive, small-
scale scene. The custom wood frame reaches outward to embrace the viewer. I
frame using museum glass because its clarity creates the illusion that the viewer is
present at the scene, further encouraging dialogue.’’
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How did your background in law influence your work as a visual artist,
particularly in addressing global issues such as immigration and social justice?
Practicing law trained me to create order from chaos. It taught me how to navigate
an assortment of complex, haphazard facts and to distill the essence of the issue at
hand. This training influenced my unique presentation, transforming complicated,
amorphous issues into highly structured, small-scale scenes with a clear, if symbolic,
visual narrative.
What inspired you to create three-dimensional miniature scenes, and how do
they help convey the messages you aim to communicate through your art?
My choice of format allows me to translate cerebral issues into attractive, tangible
scenes that make those issues more accessible and impactful. The three-
dimensional aspect of my art and framing with museum glass facilitates a
conversation between art and viewers, encouraging them to move closer to gain
new perspectives and insights they may have.
Can you describe the process of developing one of your miniature scenes, from
initial concept to finished piece?
Each assemblage is a combination of intuition and technical skill. I first select a
necklace and derive from its colors and textures both an emotion and a sense of
place. Together, they inspire a topic. I create a visual metaphor, relying heavily on
fine dollhouse miniatures and lush, textured fabrics because they pair well with the
rich components in the necklace segments. Specific items hold a symbolic,
sometimes covert, meaning.
My design process, too, is both intuitive and technical — the initial design may fail
because of the laws of gravity or its size (I contain all my works within the same size
frame), or it simply may not be as powerful as I had hoped. When this happens, I turn
back to my large studioinventory of fabrics and miniatures, realistic models of
animals, found objects, mirrors, paints, and a broad range of craft supplies. At times,
I have had to learn a specific technique to complete an assemblage. Consequently,
my artworks contain a unique and eccentric mix of elements combined using
multiple techniques, including sewing, photography, painting, and woodworking.

Art Seeks a Viewer - Mixed media, 14'’x20'’x4'’, 2023

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How has your experience with international exhibitions in cities like London,
Paris, Athens, Venice, and Rome shaped your artistic perspective and practice?
Though raised in Manhattan by an American-born mother and a Venetian-born
father, I spent many childhood summers in Venice and traveling through Europe.
Our Manhattan apartment was decorated with French and Italian furnishings,
which heavily influenced my taste and style. I have heard that my art resonates
most with other Europeans. I am delighted to contribute to the ongoing artistic
dialogue in such historically significant art cities and to absorb influences from fellow
artists there.
What was the significance of having six of your assemblages included in WOVEN
2023, and how did this opportunity come about?
When I met Ciara Hambly of the Hambly & Hambly Gallery through friends, she was
organizing WOVEN 2023, an international exhibition of visual, musical and
performing arts. My inclusion in the exhibit and participation in related events in Los
Angeles and Dampierre-sur-Boutonne, France, exposed me to several new locations
and enabled interactions with prominent Irish artists in various creative disciplines
that challenged the way I think about and create art. I returned to my studio eager
to create and to explore new themes and processes.
Could you share your thoughts on the impact of your work being featured in
notable publications such as Suboart and Art Seen, and on platforms like Al-
Tiba9?
Being featured in such high-profile publications and platforms gives me the
confidence to pursue my unique form of expression as it introduces my work to a
broader audience of art enthusiasts, collectors, and fellow artists. This promises to
lead to exciting new opportunities for collaborations, exhibitions, and networking
within the art world.
How has working with Hambly & Hambly Gallery influenced your career, and what
role do you believe representation plays in an artist's professional development?
The role of representation varies enormously depending on the kind of support
provided. Working with Hambly & Hambly has provided me with emotional support
by validating my artistic vision and process, increased my visibility by offering me
access to a new and sophisticated international audience, and afforded numerous
opportunities for me to engage with fellow represented visual artists as well as artists
in other disciplines.

Second Chances - Mixed media, 10'’x14'’x4'’, 2021 - 5 8 -

What was your reaction to being shortlisted for the 2024 John Richardson French
Residency Award, and how do you think this recognition will impact your future
projects?
Being short-listed was exciting and validatin, and gave me the confidence to apply
for other international residencies and competitions.
Living and working on Chincoteague Island, Virginia, how does the local
environment influence your art, and what unique challenges and inspirations
does it present?
While I currently reside in Washington, DC, I create art in my studio overlooking our
family oyster farm on Chincoteague Island. Located in Virginia’s remote Eastern
Shore, the area is known for its natural beauty, marshlands and wildlife. These
surroundings influence my palette, textures, and themes. I am constantly aware of
the effects of climate change on the area and the changing seasons, triggering
reflection on human interactions with the environment and feelings of
impermanence. While the island’s relative isolation fosters focus and creativity, it
presents challenges in terms of networking opportunities, opportunities for artist
talks, and regular contact with a broader art community.
As an artist who addresses complex and often challenging global issues, how do
you hope your work will influence viewers and contribute to ongoing
conversations around these topics?
My art highlights issues by engaging viewers in a private conversation on a
potentially provocative theme. Presented in an attractive work and in a non-
threatening manner, my art encourages communication and permits the
conversation to linger in the viewer’s mind long after moving on from the
assemblage. In contrast to much conceptual art that is so large or so powerful that
a viewer is unable or unlikely to want to live with it, I design small-scale assemblages
that people will want to display at home, where they remain a constant reminder of
the topic addressed.

- 5 9 - War & Peace - Mixed media, 18'’x22'’x4'’, 2024

 Hope (The Guiding Light)

Mixed media, 14'’x14'’x4'’, 2023

Two Tarot cards to highlight the plight of refugees. The sadness inspired by the hunched figure of the Six of Swords is balanced
out by the Hermit, who holds a source of light, here symbolizing the possibility of a brighter future. The cards are placed
against scrapbook paper showing old maps to indicate the problem exists worldwide. A necklace I previously designed with
citrine, Murano glass and freshwater pearls represents the sea, with a fish swimming beneath, suggesting danger lurking
beneath. Tarot cards, ribbon, Murano glass, citrine, miniature frames, ribbon, paper, freshwater pearls, custom wood frame with
museum glass.

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 Memories from the Attic

Mixed media, 16'’x13'’x4'’, 2019

A visual representation of the “memories that come spilling out” when you see an object that takes you back in time. The
vieille rose shade of the velvet backdrop suggests a bygone era and a slight sadness at its passing. Carnelian, freshwater
pearls, Murano glass, fabric, dollhouse miniatures, craft materials, acrylic paint, custom wood frame with museum glass

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S U M M E R I S S U E | A U G U S T , 2 0 2 4 | C O L L E C T A R T