WINTER

ISSUE
SEASONAL EDITION

December 2024
NO 56
Tbilisi, Georgia
On the cover ‘No.2202’ by Iris Lingyu Zhang

WWW.COLLECTARTWORK.ORG
Winter
Issue
S E A S O N A L E D I T I O N | V O L U M E

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CONTENT:

Ann Dunbar 05

Ayan Aziz Mammadova 10

Aylal Heydarova 13

Biba Duffy-Boscagli 17

Capitana F 22

Lewis Andrews 67

Marcia Brown 73

Mariaceleste Arena 76

Maro Zacharogianire 80

Nika Genesis 84

Nóra Bézi 88

Nowshin Prenon 92

Cesar Mammadov 27

Chengyu Yao 30

Danning Xie 35

Dimitri Antadze 40 Oliver Hurst 96

Elsa Murray 45 Paul McCloskey 100

Etienne Marquis 49 Richard Eveleigh 105

Eve Finlay Miller 50 Roman Shtein 109

Iris Lingyu Zhang 56 Rubica von Streng 113

Kristýna Nejedlá Bujárková 61 Wei Lin 117

Laura Candet 66 Yixue Yang 121

Ann Dunbar
Ann Dunbar, originally from England, was born in Faberstown, Hampshire in 1953. She currently
resides and works as an accomplished painter in France. With three decades of artistic
experience and aesthetic exploration, Ann has honed her skills in the delicate art of watercolor,
seamlessly blending the rich tradition of English embroidery onto paper canvases. Her unique
approach involves layering fine threads of cotton and silk alongside paint, imbuing her artworks
with an added dimension, creating a captivating interplay of colorful reflections that dance with
changing light and the viewer's gaze.
Ann's journey through the world of art began with a degree in Education from the University of
Southbank in London in 1975. She then pursued her passion further, graduating with honors
from the School of Fine Arts at Surrey. Her dedication to the arts extended into the realm of
education, as she served as a professor of applied arts in England for an impressive 16 years.
Notably, Ann Dunbar has been recognized and included in the prestigious Larousse directory of
artist ratings since 2005. Her professional artistic journey continues to flourish in France,
marked by numerous publications and official accolades. Among her recent achievements, she
was awarded the Vermeil Medal by the Academy of Arts, Sciences, and Letters in Paris in 2022.
In 2016, her exceptional work earned her the Gold Medal at the International Artcomexpo.com
exhibition in Oslo, Norway. Ann's masterpieces can be admired at several esteemed galleries
across the globe, including the Shoalhaven Gallery in New South Wales, Australia, and the
Trevisan International Gallery in Italy. Her unique fusion of watercolors and embroidery
continues to captivate art enthusiasts worldwide, leaving an indelible mark on the world of
contemporary art.
Conconceal & Reveal Conconceal & Reveal 2
50x50cm, 2024 50x50cm, 2024

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 “My embroidery creates a wonderful marriage of
texture, intricacy, and color over ethereal, evocative
watercolor paintings". Would you have believed that
the evolution of this idea came from an old Victorian
postcard? I found an 18th-century technique and
revived it in an exciting contemporary way. The
captivating element was the combination of a
painting with exquisite and luxurious texture. I use a
sewing machine and hand embroidery to embellish
my paintings on paper which are adhered to canvas
or board. Magic happens when two techniques
converge and the rich but harmonious scene
transmits a compelling experience or tells a story
that links humanity with our relationship to the
surrounding fragile environment. I want to stir
awareness of the grandeur of nature, its hidden
properties, and the innate qualities that symbolize
importance to our everyday lives. I intend to create
poignant, positive art together with a distinctive style.
We need to reconnect to our environment and be
aware of its inherent powers. My mission is to
transmit positive and uplifting moods- to
Drooling, 40x30cm, 2024
communicate with the power of art to transform our
Dancing in the water, 40x30cm, 2024 general emotions and attitudes. It is the route to
heal, to understand and to contemplate our passage
of life”

Forsaken Beauty, 120X120cm, diptych, 2020

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Your artistic journey spans over three decades. the focus of attention. The ideal way is to balance the
Can you share how your approach has evolved composition with both media, the background
over the years, particularly as you blended painting provides the ambience and emotive feel, and
watercolor with embroidery? the enhancement with embroidery is applied for
Over the three decades of artistic development, I texture and intricate detail where it is needed.
found my approach changed as I became more You mention wanting to "stir an awareness of
proficient and at ease with the principal basic nature’s grandeur" and its hidden qualities.
techniques of both embroidery and mixed media. The How do you capture these often-overlooked
water colour washes are applied very spontaneously, elements of the environment in your artwork?
my palette stronger in contrast and value and the I particularly love wild and abandoned landscapes,
embroidery more refined and complex. The result of secretive pockets of nature where one has to look
traveling and exhibiting internationally opened my closely and observe nature’s miracles. To capture
eyes to further progress in my presentation and skill these areas in painting, I take part in art residencies
in achieving a polished finish. Expertise and practice or seek out in nature the elements that stir curiosity
helped with develop a personal style and overcome and wonder. It may be the play of light on moving
the technical problems encountered. The variety of water, the texture of the weather-beaten rock, a
new threads on the market also brought new effects grouping of flowers that have a remarkable shape or
to experiment with. form, or an array of striking colors. Nature’s
The Victorian postcard was a pivotal grandeur is forever changing a fleeting moment, and
inspiration for you. Could you tell us more an ephemeral vision.
about how it sparked your interest in With your work involving both machine and
combining painting and embroidery, and how hand embroidery, how do you decide which
you revived this 18th-century technique for aspects of a piece require the precision of
contemporary audiences? machine embroidery versus the personal touch
After six years of university education, armed with an of handwork?
arts degree in textiles, I spent ten years searching for Most of my art entails using machine embroidery
my voice and expression, particularly combining the because it can express direction and flow of line,
skills I acquired in both painting and in textiles. The build exciting texture, and add the final detail which
idea of marrying embroidery with painting came needs more definition. I occasionally employ hand
from my mother’s collection of postcards: I just loved embroidery when the thread is especially delicate
the three-dimensional effect of the embroidery such as hologram thread, or the thread is too thick
compared to the painted background. Stitching on and a stronger line is asked for.
paper was unusual and as far as I knew, not known What do you hope viewers feel when they
until I researched that it was practiced in the 18th engage with your art, and how do you think art
century. The challenge of presenting this combo into can serve as a vehicle for healing?
a contemporary practice was not easy. I gave up Having taken part in many solo shows, I have
many times but experimented with different papers personally experienced the power of art as an
and threads. I was aiming for something original and emotive and healing force. The feedback and
beautiful with a luxurious feel to the final art pieces. responses from these shows in the visitor’s book
Your work masterfully blends intricate indicate how engaged they are. From youngsters to
embroidery with watercolor, adding depth and the elderly, their reactions are similar. For example,
texture. How do you balance the delicate an elegant lady looked around with her mouth wide
interplay between the threads and the paint to open, she appeared in a trance and looked closely at
achieve the harmony seen in your works? the details, and then from afar, she asked if I was the
The blending of embroidery to my painted artist, and when I nodded, she ran out in haste
background comes very naturally. It is in fact the saying that she would return. She came back in a
background colours and composition that determines couple of days, armed with gifts that she had made
how much embellishment of different stitching is for me. She was a freelance writer and she was so
applied. I simply add texture and detail only where moved, uplifted, and inspired to present me with a
the subject is in the foreground or where I require scrapbook of poems and writing she had prepared on

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 on how my art spurred her childhood memories and As an artist and former professor, how has
the appreciation of nature. She hugged me saying to teaching influenced your artistic process, and
keep on creating and making magic through my eyes how do you hope to inspire the next generation of
and heart. I had touched someone’s soul and that in artists to explore unconventional techniques?
itself is the best encouragement and reward. My As a former teacher, my artistic practice has been honed
visitor’s book is a testament to public engagement in by studying and working with students, particularly in
my art. Accolades and statements such as “your art is the history of art and artists. I have a romantic spirit and
an enchantment that releases a joy for life and gives a penchant for beauty, therefore I seek elements in
way to dreams”. Nature and connection with nature nature that capture immediate emotive feelings such as
are known to restore mental breakdowns. During the the play of light or sensory textural surfaces that stir the
pandemic, my connection to Art in nature kept imagination of course these senses are attributed to the
depression at bay. impressionists, Monet being my mentor, William Turner
Having earned significant recognition, like the the master of light and Van Gogh’s powerful marks and
Vermeil Medal in Paris and the Gold Medal in brushstrokes. I also appreciate Odile Redon’s dreamy
Oslo, how have these accolades impacted your flower compositions, those ethereal wisps of color to
approach or perspective on your art? great effect allowing one’s mind to wander around the
Being an artist is a lonely and intensive journey and canvas. I would encourage young artists to experiment
winning awards has given me personal, and external and learn the basics so that the rules can be broken
recognition and validation from curators and jurors, later. Seeking original ways of artistic expression comes
Academicians, etc, and is a huge recompense for through being inquisitive and searching for a unique
hard work. This acknowledgment from peers, critics, voice that comes from within.
industry professionals, etc, is very satisfying and
confidence-boosting, confirming that the awards help
Pebble beach, 20X20cm, 2024

one to move to the next level of professionalism.

Your statement emphasizes humanity’s
connection to the fragile environment. How do
you see your art contributing to environmental
awareness?
My mission as an artist is to communicate complex
environmental concepts and to make them accessible
to a broader audience. Sensitivity and recording of
how fragile nature is represented by spotlighting
issues such as disappearing species of plants, and
how the landscape is responding to human
interaction. Through art as a means of
communicating nature’s beauty and hidden inherent
properties, I hope to initiate thinking, start a
dialogue, inspire action, or provoke thoughts about
our future and our relationship to our environment.
Bringing awareness of our impact on this planet, art
can engage people emotionally, leading to deeper
understanding and a call to reflect and take
Pebble pool Purity, 20x20cm, 2024

responsibility. Issues such as the acidification of

corals, the disappearing hedgerows on wildlife,
dramatic temperature changes portray the impact of
environmental degradation; artworks can stimulate
awareness leading viewers to question their
behaviors and choices related to the environment.
Witnessing beauty and seeing how it can quickly
disappear is a strong motive.

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Sparkling Droplets, 30X30cm, 2024
Ayan Aziz
Mammadova
Ayan Aziz Mammadova was born in Baku, Azerbaijan, ever since she was little, she remembers
spending a lot of time in her father’s workshop, watching him passionately work on his paintings and
dreaming that one day she will find her passion. These are her earliest childhood memories, which
inspired and shaped me into the creative individual she is today.

Being surrounded by vibrant and talented artists from a young age had a great influence on her
artistic formation. However, as she grew and matured, her artistic style changed, and she acquired a
host of expressions, emotions, and moods that capture feminine warmth, sensitivity, and emotional
complexity.

Autumn Life - Oil on canvas, 25x30cm, 2018

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Universe - Mixed media on canvas, 120x100cm, 2012
Ayan lives in her inner world, from where solar prominences splash imagination onto canvases and
she is not bound by any conventional forms of artistry. In her works, she showcases a host of
expressions, emotions, and mood swings that are captivated by a feminine nature, and a rhythmic
undertone. Ayan’s creativity lies in the mirror of one’s soul. She uses the colors of her works to assign
rhythm and deep meaning to an abstract ornament, as well as saturated patterns that can be found
hidden in still life or landscape.

Evil Eye II - Oil on canvas, 80x90cm, 2012

The language of art is an unparalleled force of her expression, the freedom of visual expression where
even the most paradoxical ideas can touch and be united is the underlying concept that she creates.
Ayan primarily works with oil on canvas however she has experimented with mixed media and various
other techniques.

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Aylal
Heydarova
Aylal Heydarova is an emerging Azerbaijani painter whose works span a variety of artistic styles and
creative techniques including pointillism, modernism, and abstract.
Strongly influenced by her family roots and the vibrant culture of Azerbaijan, Aylal began painting
from a very young age in her father’s workshop and has since led an invigorating career creating
world-class artwork and showcasing them in international galleries, exhibitions, biennales, and art
competitions. Born and raised in Azerbaijan and strongly influenced by cultural roots.

Old town, Baku

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Experiments with Nature Summer

Oil on canvas, Oil on canvas,

125x50cm, 2019 125x50cm, 2018

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Autumn Winter

Oil on canvas, Oil on canvas,

125x50cm, 2018 125x50cm, 2018

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‘’I have a global vision of the world guided by the cosmos of my sensitivity towards nature, culture, and
human values. In my art, I deliver an abstract conceptualization of reality that aims to connect people
through the colors, techniques, and emotions I deliver in my artwork.
I constantly strive to reinvent the way I create artwork so that the boundaries of established laws are tried
and given a new meaning and perspective.’’

Charming Qabala The Old City and The Flame Towers

Oil on canvas, 125x50cm, 2018 Oil on canvas, 125x50cm, 2018

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 Biba
Duffy-Boscagli
Biba Duffy-Boscagli is an American painter based in Paris, France. Though formally trained in mixed
media sculpture and photography, her primary medium is acrylic on found canvases. Satisfying colors,
ambiguous imaginary characters, and surreal environments with sinister undertones characterize
Duffy-Boscagli’s painting practice. Duffy-Boscagli grew up in California and graduated from Oberlin
College in 2023 with a degree in Art History.
‘’Inspired foremost by children’s artwork, my artistic practice deals with self-reflection through a surreal lens.
Painting allows me a framework in which I play with the intersection of imaginative characters and the
confrontation of self. The harsh impact of those worlds colliding results in my use of color, texture, and
experimentation with proportion, often revealing something dark and vulnerable carefully buried in surreal
scenes.
Repeated motifs such as the fish,
tooth, shooting star, and house
link each of my artworks visually
and symbolically. Initially repeated
doodles, each motif represents a
moment of great change in my
personal life. To paint them
alongside images of my parents or
friends or in a surreal environment
represents a beacon that I invite
the viewer to return to a visual
marker of protection and
assurance among strong colors, or
sinister visual cues.’’

Tooth sister prayer wish

Acrylic on canvas,
60x45cm, 2024

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Shiny things make me cry

Acrylic on canvas,
60x45cm, 2024
 Here are my parents

Acrylic on canvas, 115x80cm, 2024

Your paintings feature recurring motifs like fish, teeth, shooting stars, and houses. Can you share the
personal significance of each, and how they serve as symbols in your work?
In May 2023 I was undergoing drastic change and creating art. College was coming to an end, two major relationships
in my life shifted drastically, and above all, I was preparing to move to a new country alone. I was also producing a lot
of artwork, doodling, taking photos, and working on a stained glass piece. Especially in my drawings a series of
symbols emerged and recurred until I was drawing them in a way that reflected my artistic style. The fish, rabbit,
house, and tooth, among other motifs, became familiar visuals that I would draw at the top of my notes or render in
glass to cast protection and comfort I was creating.
Your work is deeply inspired by children’s art. What aspects of children's creativity or perception of the
world do you try to capture in your paintings?
I worked as an assistant in a community mural organization called Kulturelia two years ago. I assisted in facilitating
neighborhood murals in and around Paris. The murals were often filled with children’s paintings, and I was always
inspired by the kid’s approach to the wall. There was absolute liberty and confidence in the way children would paint.
Every choice, from color to shape felt like an experiment and I rarely witnessed doubt or questioning regarding what
would be created. I try to approach color that way and experiment with forms and materials in my painting.
Surrealism often allows artists to access deeper, sometimes unsettling truths. What draws you to
surreal environments, and how do they enable you to confront self-reflection?
My painting titled Shiny Things Make Me Cry is a good example of self-reflection, a surreal environment, and unsettling
truths. The portrait and apples are based on pictures I took and I developed the composition with the portrait as the
focal point. I aim to only have a couple of realistic figures in each painting and aim for ambiguity in the animals, space,
or objects that complete the rest of the piece. In Shiny Things, the dog and the shadows, for instance, were my final
touches to the painting. As I aimed to make something visually pleasing based on a selfie of me crying, I developed a
personal narrative of facades in the painting. Masking something sad with something visually pleasing, something
rotten (the apples) with something shiny (the painting of apples), or something violent (the dog) with something that
can’t harm (shadow puppets) made sense to me because of the evolution of self I felt I was undergoing in my own life
at the time. I doubt the same narrative jumps forward for someone seeing the painting for the first time, but the
presence of the fish, and the apples in the painting once again marks the personal, tumultuous narrative with familiar,
comforting motifs. In short, self-reflection emerges during the painting process, but I’ve developed a visual language
that requires confrontation of self that always results in a collage-like composition of bizarre motifs, ambiguous
animals, and recognizable figures.
How does the history or texture of a found canvas influence a new piece?
I paint found canvases because new canvases are too expensive, but I do find that painting onto an abandoned canvas
does a few important things for my process. First, it takes the pressure off of starting something entirely new. Second,
because I’m often painting on top of an image printed on canvas, I feel like the painting I make is part of a much larger
narrative that I’m contributing to now and I imagine others could one day contribute to as well.
There’s a clear interplay between vibrant colors and dark, sometimes sinister undertones in your work.
What motivates this contrast, and how do you see it impacting the viewers?
The process of creating something I find visually satisfying and narratively compelling often results in a balance
between bright colors and unsettling visuals. By working with intense colors I aim to bridge the gap between the figures
on the canvas and the emotions the paintings evoke. I’m happy the contrast between dark undertones and bright
colors is visually evident, and I always hope my work sparks curiosity if not a more personal emotion in the viewer.
You mentioned painting as a way to explore “dark and vulnerable” parts of yourself. Could you talk
about any specific personal experiences or reflections that have shaped this aspect?
My painting practice is process-based in that as I develop a work, I grow more attached to the narrative that unfolds.
When painting realistic figures, I tend to depict moments of great change or emotion–my best friend after surgery, and
my crying face when I prepared to move out of my apartment in France. Pairing those real moments with recognizable
motifs, or imagined environments draws out a new narrative, one that often demands self-reflection. Suddenly that
crying selfie is in conversation with a pile of ridiculously shiny apples I pass by at the market on my way to work every
day. My moment of change comes into conversation with my daily routine. The vulnerable part of myself revealed
through my work appears not only in the recognizably dark or unsettling imagery but in the process of making the
work as well.

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Imaginary characters are central to your art. Who are some of these characters, and how do they reflect
parts of yourself or your relationships?
I developed a world of animals with my brother, Francesco, under the name Bongles, and my attachment to the rabbit
and ambiguous animal motif stems from there. A lot of the animals also come from children's books I grew up with–
notably the Richard Scarry universe. Some of the others represent major relationships in my life, my family in the house
for example, but I find that the shooting star, house, and fish, along with the others, take on characters of their own.
They exist to cast protection, like a hex, over the vulnerable moments or harsh memories enclosed and sealed in the
more realistic visuals I include.
How has your background in sculpture and photography influenced your approach to acrylic painting,
especially in terms of texture, proportion, and spatial awareness?
Film photo and sculpture are very tactical, often precise, and technical artistic processes. To deviate from the routine is
to experiment. I’ve enjoyed developing a personal process with my painting and then similarly finding ways to
experiment, whether that be layering oil pastels, painting over paintings to create texture, or playing with perspective. I
also know that the many failures I experienced with film photography and darkroom printing directly translate to my
eagerness and confidence in reconfiguring or painting over my work and starting again when faced with failure.

Having studied Art History, how does

your academic background inform the
themes or aesthetic choices in your
work?
My mom is from Italy and I grew up going to
Tuscany every year. There, I had an incredible
education in Renaissance art from my parents,
who took us to every possible museum, abbey,
and church. The motifs I repeat and the way
they cast a sense of comfort and protection
over my work nod directly to ecclesiastical
icons that represent religious values in
European Byzantine and Renaissance work. Of
course, I’m also inspired by a long list of
contemporary artists, namely Cathleen Clarke,
Rachel Hayden, Mimosa Echard, and Sun Yuan
and Peng Yu to name a few that I return to not
only for visual or conceptual inspiration but
also inspiration in career, artistic process, and
the way these artists discuss their work.
In what ways do you hope viewers relate
to the symbols or environments you
create?
I aim to create a familiar visual language
between my paintings. Different renditions of a
house, a shooting star, and an ambiguous
horse become invitations for the viewer to
recognize and reflect on why those motifs
reappear. I aim for curiosity but can’t ask for
more from any viewer, what they glean will
rely on their circumstances.

I’ve hexed you to feel safe everywhere you go

Acrylic on canvas,
100x70cm, 2024

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Capitana F
‘’The beginning of my video performances, 2005, can be understood retrospectively as a reaction to the
expanding virtualization of social reality. Subsequently, under „masking“ in the broadest sense, I developed
various types of medium/form relations. This also applies to those works in which, in addition to various art-
immanent topoi painting is negotiated as a dispositive in the dispositive of art. My interest in screen printing
follows the fact that it revolutionized painting. My hand-pulled silkscreens are always to be understood in
the context of the performative: concept, reflective attitude, “poetry of action” (Henri Focillon).
The motif on the stencil is a screenshot – taken with open source software – with a detail of ‚Judith
Beheading Holofernes‘ (c. 1620) by Artemisia Gentileschi. The stencil copy was exposed using UV radiation
from the sun. Via Hard Fork, in the algorithm of my printing process, I make a new unit. By rotation, each
color (Yellow – Magenta – Cyan) is printed at a different angle, using the same frame with only one stencil.
Each work is unique.’’
Capitana F was born in 1976 in Munich. The artist lives and works in Vienna since 2020. Previously in
Berlin from 2006 to 2019. She studied at the Academy of Fine Arts in Munich (Olaf Metzel), the
Hungarian Academy of Fine Arts in Budapest (Intermedia Department, János Sugár), and the Academy
of Fine Arts in Vienna (Heimo Zobernig). In 2007 she was awarded the art prize of the Tisa von der
Schulenburg Foundation.

Artemisia Gentileschi, Judith Beheading Holofernes_028 Artemisia Gentileschi, Judith Beheading Holofernes_027
Silkscreen print on paper, 65x50cm, 2023 Silkscreen print on paper, 65x50cm, 2023

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Artemisia Gentileschi, Judith Beheading Holofernes_032 - Silkscreen print on paper, 65x50cm, 2023

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Artemisia Gentileschi, Judith Beheading Holofernes_010 - Silkscreen print on paper, 100x70cm, 2023
Your early video performances, starting in 2005, reacted to the virtualization of social reality. How do you
feel this shift has evolved, and how has it influenced your more recent work in printmaking and screen
printing?
In 2005 people just had simple mobile phones without a camera and internet access, what we call “smartphone” did not
exist. “AI” was not part of life. Today a great amount of internet traffic is created by bots and social media has become a
platform for personalized advertisement. In my work in printmaking I start with screenshots - taken with an open-source
program - using an open-source web browser, run on a computer with a Linux system. DuckDuckGo is a search engine
that does not track you, the logo appears in my CMYK masked blue chips-series, as well as another logo that looks like a
little bird. In the meantime, this little bird was - metaphorically spoken – killed, crossed out, deleted, and replaced by a
letter that looks like a cross.
Masking seems to be a recurring theme in your work. Can you elaborate on how you interpret "masking"
across different mediums and why it resonates with your creative vision?
Masking includes ambiguity. Different mediums have different possibilities.
You’ve studied under influential artists across Europe. In what ways have their teachings or critiques
shaped your practice, and do you incorporate aspects of their approaches into your current work?
My diploma was in 2005. I started screen printing in Berlin after my studies.
Screen printing has revolutionized painting, as you noted, and you incorporate a performative element in
each print. How does your approach to screen printing balance between the traditional technique and
your performative, conceptual process?
The traditional printing techniques are manual printing processes. These Artistic printing processes of relief printing,
intaglio printing, planographic printing, and screen printing and their hybrid forms have been part of UNESCO's
Intangible Cultural Heritage since 2018. My performative, conceptual screen printing process is manual work with a
hand-pulled squeegee and so offers possibilities for an experimental approach.
You reference Henri Focillon’s concept of the "poetry of action" in your hand-pulled silkscreens. How does
this idea of "poetry" play into your artistic process, particularly when using stencils of iconic works like
Gentileschi's Judith Beheading Holofernes?
I do not plan the process and do not know in advance what each unique will look like. I just do it. The stencil with
Gentileschi's “Judith Beheading Holofernes” is a detail with URL and drapery. A single stencil that I use to print yellow,
magenta, and cyan at different angles. My printing process is playful and more like painting. Sometimes I choose a small
squeegee to pull a freestyle move. It is not an edition with identical prints, that would be a different way of working.
As an artist who has worked in multiple locations—Munich, Berlin, and now Vienna—how have these
diverse environments influenced the direction and themes of your art?
Themes in my art are general.

Artemisia Gentileschi, Judith Beheading Holofernes_023 Artemisia Gentileschi, Judith Beheading Holofernes_004
Silkscreen print on paper, 70x100cm, 2023 Silkscreen print on paper, 70x100cm, 2023

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With each color rotation—yellow, magenta, cyan—printed at a different angle, each print becomes
unique. How do you decide on these variations, and what role does chance or unpredictability play in
your work?
From the beginning I make variations. I have some idea and then spontaneity, chance and unpredictability, and
playfulness, play a role, as well as my experience to decide how to go on within the process of making.
Your technique involves a Hard Fork in the algorithm of your printing process, forming a new unit each time. How does
this computational approach intersect with your background in fine arts, and what inspired you to
combine these methodologies?
I work with different media and all of my work includes a concept. An algorithm can be analog as well, like the concept
of my artistic working process. Making a Hard Fork is making a decision and so change the algorithm. Computational,
about a blockchain, a Hard Fork has the power to change even the blockchain. To make a new one out of it, it is not
carved in stone.
Can you talk about your choice to use Gentileschi’s Judith Beheading Holofernes as a recurring motif?
What does this piece signify in your work, and how do you feel it interacts with the themes of action and
performance?
Gentileschi’s “Judith Beheading Holofernes” tells the story of a woman who got away. And it is about solidarity and
sisterhood. Gentileschi’s work is the voice of an artist who lived 400 years ago. Very early in her life, she was interested in
biblical stories in which women stood up to men's injustice. Gentileschi’s “Susanna and the Elders” is a motif that points
to situations that today are discussed with #MeToo. From the beginning action, performance and video art are fields of
feminist artists.
Reflecting on your recent exhibitions, such as at Site Gallery and Kunsthaus Kaufbeuren, how do you view
the global reception of your work, and are there any recurring themes or interpretations from audiences
that have surprised you?
I appreciate that very much. It is not always possible for me to travel where my work is shown. Everyone has their own
interpretation depending on personal backgrounds.

Artemisia Gentileschi, Judith Beheading Holofernes_033 Artemisia Gentileschi, Judith Beheading Holofernes_030
Silkscreen print on paper, 65x50cm, 2023 Silkscreen print on paper, 65x50cm, 2023

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Cesar
Mammadov
Cesar Mammadov, born in 1988 in Baku, Azerbaijan, stands as one of the most prominent young
brush masters from the region. His artistic journey began at an early age, fuelled by a passion for
colors and shapes that immersed him in the world of imagination. The influence of his father, the
renowned Azerbaijani painter Sakit Mammadov, played a pivotal role in shaping Cesar's artistic beliefs
and encouraging him to express himself uniquely.
Formally educated at the Art School A. Azimzade and the Academy of Arts of Azerbaijan, Cesar
Mammadov's artistic prowess has been showcased not only within the borders of Azerbaijan but also
on international platforms. His works have graced renowned exhibition venues, revealing his
distinctive approach to capturing the essence of ordinary moments and celebrating life's simple joys.

French Motive - Oil on canvas, 25x25cm, 2019 Paris - Pastel on paper, 65x45cm, 2019

London - Oil on canvas, 60x90cm, 2019

27
Early Morning - Oil on canvas, 25x35cm, 2018

Sunset - Oil on canvas, 30x40cm, 2019

Caspian Sea Boats - Oil on canvas, 70x110cm, 2011

Fishermen Boats - Oil on canvas, 70x110cm, 2011

 Chengyu Yao

Chengyu Yao was born in Zhejiang, China in 2002, and is currently studying at Goldsmiths in London
for her undergraduate degree in Fine Art. Chengyu Yao's work focuses on marginalized groups and
mysticism, using her own experiences as a starting point to connect with all kinds of forgotten people,
events, and objects, Chengyu Yao explores and expresses the voices and stories that have been
neglected or forgotten by the society through her art practice. With her unique visual language and
profound ideological connotation, she reflects her concern for the marginalized groups in society and
her exploration of mysticism.

Misery Actuary Misery Actuary

Charcoal pencil, digital painting on fabric, Charcoal pencil, digital painting on fabric,
114x200cm, 2022 123x200cm, 2022

Pain is because our blood, tightly bound yours with mine, does flood. These two artworks from the series are dedicated to honoring the innocent
lives lost in the artist’s hometown during the Zero-COVID policy from 2019 to 2021, offering a gesture of solace to their souls.

‘’In my field of artistic exploration, traumatic experiences and paranormal experiences are the basis for my
creation of alternative worlds. My creative practice encompasses cross-media applications including
installation, video, and painting. I invite the viewer to plunge into a new world that is full of contradictions
and provocations. Through my work, I aim to construct a space full of opposing elements where trauma and
the paranormal intersect, challenging the viewer's understanding of reality and perception. My artistic
practice is not only an expression of personal experiences but also an exploration of the deeper layers of
human emotions and psychology.’’

30
Away - Oil pastel on paper, 80x80cm, 2021
Your work explores the intersection of trauma and paranormal experiences. How do these themes come
together to create the alternative worlds you invite viewers into?
The core of my artwork lies in revealing the intersection of trauma and supernatural experience, this isn’t simply about
layering two emotional states; it’s about using art to dismantle and reshape the viewer’s understanding of reality.
Trauma leaves deep often repressed marks on our psyche, forming an invisible force, while supernatural experiences
open a door to the unknown, blurring the boundaries between reality and illusion. Together, trauma and the
supernatural create a transitional space—one that invites viewers to pause their habitual ways of thinking and immerse
themselves in self-awareness, a space for exploration and projection. I hope this artistic experience becomes a state that
hovers between illusion and wakefulness, guiding them to reconsider the meaning of life and to confront the often-
overlooked corners of their inner world.
Marginalized groups and forgotten stories are central to your practice. How do you connect your personal
experiences with these broader societal narratives in your art?
For example, my installation piece Urban Orphans is deeply rooted in my own experience as a left-behind child. Out of
curiosity, I initiated an open call on social media and was unexpectedly met with stories from many volunteers—people
who, like me, felt that their childhoods had been forgotten by society, so much so that they had nearly forgotten the
trauma of it. I wove these stories together, extracting symbolic images from the flood of words to create this piece.
Through this work, I hope to convey a sense of collective loneliness and neglect, inviting viewers to resonate with and
reflect on the lives of marginalized communities.
Mysticism plays a significant role in your work. What draws you to this subject, and how do you
incorporate mysticism into the visual language of your installations, videos, or paintings?
The significance of mysticism in my work stems from personal experiences rather than mere curiosity; a series of
uncanny coincidences gradually made me aware of my sensitivity to the unknown. One day in 2020, I repeatedly saw a
message in black text on a white background in my mind: Your family member will die—which I initially dismissed as a
psychological disturbance, but after a few weeks, the message vanished, and six months later, my uncle passed away.
Similar occurrences have happened repeatedly, and through conversations with Chinese spiritual mediums, I came to
realize that I may have an unusual sensitivity—so, in a way, mysticism found its way to me, rather than me seeking it
out. Through my diverse artistic expressions, using ambiguous symbols and mysterious lighting effects, I aim to draw
viewers into an indescribable space of the unknown, allowing them to touch a dimension of perception that lies beyond
everyday reality.
You mention that your art is full of contradictions and provocations. Can you share an example of how
you create this tension within a specific piece?
In collaboration with musician Sourlyx, I created an interactive online visual game, NOT PROVIDED, a surreal exploration
of an otherworldly school documented through a fictional archive, where viewers wander through a dark and eerie
environment, uncovering unsettling historical stories. During the creation process, I gathered around 20 cases of
teenagers, aged 14-17, who had taken their own lives in my hometown, receiving stories and support from over 80
volunteers. I delved into the systemic issues behind these real events, reinterpreting and weaving them into the game to
form a powerful critique—and perhaps a provocation—against the hidden violence within the oppressive educational
systems of my hometown and Asia as a whole. Each image text in the game is based on true stories, using both words
and surreal visuals to reveal the profound psychological suffering caused by educational pressures, creating emotional
and intellectual tension in viewers and prompting reflection on deeply rooted societal issues.
Your art spans multiple media, from installation to video and painting. How do you decide which medium
best suits the themes or emotions you want to express in each project?
My choice of medium is guided by an intuitive judgment rooted in the depth of theme and emotion, rather than by
technical preference. Installation art’s inclusivity breaks the boundary between the viewer and the work through spatial
experience, inviting the audience into the physical and emotional space of the piece, allowing them to experience
suspended emotions or isolated existence and evoking a deep internal resonance. Video art, as a metaphor for the flow
of time, uses gradual imagery and immersive sound to blur the line between reality and illusion, allowing emotions to
unfold and dissipate over time as the viewer enters a dreamlike psychological space, delving layer by layer. As for
painting, my core practice, captures complex, unspeakable inner experiences in symbolic form, freezing emotions in a
moment of stillness, offering the viewer a glimpse into the abyss of feeling through a brief but intense gaze.

32
In constructing spaces where trauma and the paranormal intersect, what challenges do you face in
making these abstract or intense concepts accessible to viewers?
When constructing spaces where trauma and the supernatural intersect, I trigger emotions and the subconscious,
allowing viewers to step outside the rational understanding of linear time and feel these concepts through resonance.
The interplay of light, texture, and sound creates an atmosphere that is both familiar and unsettling, guiding them into
an elevated state of consciousness beyond the everyday. The metaphors and symbols within my work remain open-
ended, not directly expressing meaning but instead evoking deep personal emotions and memories within the viewer.
How has your academic environment influenced your artistic direction?
Goldsmiths offers me a truly liberating creative space, where there are no strict divisions between mediums, and the
choice of medium is unrestricted; the focus is on expressing each person’s authentic voice. The college provides us with
independent studios and two annual opportunities to exhibit our work, allowing students from all years to freely
exchange ideas, gain diverse feedback, and develop a multifaceted perspective. The flexibility of the curriculum grants us
the freedom to focus intensely on creation, enabling me to independently explore and deepen my research direction.
This open and inclusive environment encourages me to delve into marginalized voices and mystical imagery, drawing
inspiration from various perspectives, intertwining personal experiences with societal issues, and ultimately achieving a
richer, more layered form of expression through art.
How do you engage with the viewer’s emotional responses?
In Sun Rise, I used an automatic painting technique, abandoning my dominant right hand for my left to channel the
subconscious onto the canvas; through meditation, I connected my consciousness with a higher spirit, allowing my
subconscious to freely guide the creation. During the painting process, I completed half of the work and then mirrored it
symmetrically, creating a structure that isn’t merely a formal repetition but an invitation for the viewer to enter an
alternate space, awakening a dual awareness of the inner and outer worlds. The radiating colors and tense lines suggest
a light rising from the depths of the subconscious, guiding viewers to connect with their inner power----not just a natural
sunrise but rather a projection of the soul, symbolizing the collision and merging of human consciousness and
subconscious. Through this visual and psychological tension, I hope to prompt viewers to reflect on their own inner
“sunrise”—an exploration of self-revelation, unresolved emotions, and repressed spiritual forces, allowing them to sense
a profound awakening and renewal in the stillness.
Sun Rise - Gansai Tambi, watercolor, oil pastel, printing on fabric, 109x200cm, 2023

33
Can you talk about a specific experience that has directly influenced your recent work?
My recent supernatural experiences are embodied in the video work Kong Wang, created with musician Xiaoran Han; the
title from a concept in the I Ching symbolizes disappearance, non-existence, and weakened forces—often seen as
ominous. This resonated deeply with my experiences in a villa where I encountered numerous supernatural occurrences,
leaving me with a profound sense of emptiness and loss of control. To materialize this, I used Unity software to replicate
the villa and embedded scenes of daily nightmares, creating an independent game as the foundation for a narrative
mockumentary. This video presents my journey into mysticism, evolving from initial fear to gradual understanding and
release, serving not only as an experiment in the "ninth art" of gaming but also as a profound encounter between reality
and another realm, seamlessly blending digital storytelling with spiritual exploration.
With your focus on marginalized stories, what role do you believe art plays in giving a voice to those who
have been forgotten or neglected by society?
I have always believed that art is not only a tool for personal expression but also a catalyst for social resonance and
change; for those forgotten or overlooked by society, art can become their unheard voice, breaking down invisible walls
and rebuilding their presence. My work carries a unique power—regardless of the medium, it can transcend language
and cultural barriers, delivering an irreplaceable visual impact that reaches deep into the viewer’s heart, bringing the
pain, hope, and struggle of society's hidden corners into public view and prompting viewers to confront these overlooked
realities. Through multidimensional artistic forms, I construct spaces woven with trauma, spirituality, and real
experiences, spaces where viewers can actively participate and resonate with the work. I create a powerful and lasting
resonance for marginalized voices, encouraging viewers to understand and rethink their narrow perspectives, ultimately
becoming agents of change, because we have all been forgotten at times; now, I reclaim myself and invite you to
resonate with me once again.
I just wanted to make you something beautiful, 2022

This project was born out of the young artist's confrontation with social misfortunes and her ego, an intense experience of her as an individual
looking inward and questioning. In these uncertain times, she has witnessed the spread of war and pestilence, while a family member has lost his
job and her friend has died. All this was a precise descending blow for her, and although she was abroad, the disorientation of being powerless to
do anything about her home was excruciating. Every night, lying in bed, she imagines herself as an embryo, not yet removed from its mother's
womb, curled up in the amniotic fluid; a way of escaping from the terrible reality and waiting for the next day's sunshine. Perhaps it is precisely
because of this confrontation with the insignificance of the body, the loneliness of the human being, and the history of repetition that one is more
eager to communicate with one's senses. So the artist aspires to create a unique sense of history, time, and life, reject the cultural reproduction of
art, reject the destruction of the only spiritual world left by the outside world, and rethink the identity of the times and art to create. music by:
Industries of Blind

34
 Danning Xie
Danning Xie is a ceramic artist who grew up in Beijing and is currently based in London. Her work
focuses on sculptural ceramic objects, often infused with a distinct female perspective. She draws
inspiration from the rich tradition of Chinese ceramics while exploring global and cross-cultural
influences on the medium. In addition, she enjoys experimenting with the fusion of ceramics and
other traditional crafts, expanding the possibilities of her artistic practice.
Your work often involves reimagining historic forms, like Tudor portraits and traditional Chinese vessels.
What draws you to these particular historical and cultural references?
I first encountered portraits from the Tudor era at the Tate Britain Museum, and they left a profound impression on me.
Specifically, the figures in these Tudor portraits often appear stiff, with standardized expressions and even similar facial
features. However, their clothing is intricate, ornate, and highly decorative, giving me the impression that the people in
the paintings resemble objects.
Regarding traditional Chinese vessels, I believe that my extensive museum visits, combined with the critical thinking skills
I developed at UAL, have given me a renewed understanding of Chinese history and culture. My works reflect my
reverence for and appreciation of classical Chinese art. I aim to recreate these traditional themes while offering a fresh
perspective.
In your series based on Tudor-era female portraits, you humorously objectify the women depicted by
transforming their garments into vessels. How do you think humor changes the viewer's perception of
gender roles in your work?
After researching and thinking about those paintings, I formed an interesting opinion. Specifically, the paintings reflect
those noblewomen of that era used clothing and jewelry to display wealth and status, suggesting that personal choices
within this social trend might involve a kind of 'self-objectification.' Thus, I transform these 2D images into 3D objects,
which is also a form of 'objectification.' However, I don’t intend for the work to come across as harsh criticism; rather, I
want viewers to see and reflect on this phenomenon. That’s why I chose a subversive—or even humorous—approach to
present these figures. I hope this will make people more open to engaging with the questions raised by the work.
You’ve noted that your work challenges the hierarchy between “fine art” and “decorative art.” How does
this idea influence your creative process and the way you present your ceramic pieces?
Yes, essentially, I want to make the work more engaging. Traditionally, painting is considered fine art, while vases are
viewed as decorative art. Therefore, in the creative process, I chose not to transform the portraits into busts; instead, I
omitted the figures' bodies, turning them into 'vases,' which are characterized by being hollow. This further emphasizes
the concept of ‘objectification.’
How does your background in Chinese ceramics and your experience in London inform your perspective
on the cross-cultural fusion evident in your art?
I actually began working with ceramics during my studies at UAL: Chelsea College of Arts. It is widely known that China
has a rich tradition in ceramic art, and I believe this cultural affinity sparked my interest in historical Chinese ceramics
from a young age. Coming to London broadened my perspective; the museums here first expanded my view to
encompass all of East Asia, where I found the ceramic arts of Korea and Japan both fascinating and familiar. Ultimately,
this experience led to a broader interest in classical art from civilizations around the world. London's museums have
provided me with a new perspective, showcasing classical art from different civilizations and eras, which has fostered a
cross-cultural comparison in my mind. I hope to reflect this sense of cultural fusion and mutual influence in my work.
How do you approach combining distinct traditions into a cohesive piece?
My references to ancient Roman pottery primarily focus on materiality. I use a type of red clay commonly known as
Terra-cotta, which was widely employed in ancient Greek and Roman cultures. Additionally, I aim to achieve the high-
polished effect characteristic of ancient Roman red pottery (Terra sigillata). The shapes of my works draw inspiration
from elements of Chinese culture, such as the Hill Censer from the Han Dynasty (starting in 202 BCE) and tripod pottery
from China's Neolithic period.
The use of Urushiol lacquer and polishing wax instead of traditional ceramic glazes is distinctive in your
work. Could you share what motivated this choice and how it enhances your pieces?
The techniques for achieving the high-polished effect of ancient Roman pottery remain a mystery to me, so I am
exploring alternative methods to realize this effect, hoping to develop my unique working processes along the way. I was
inspired by the technique of polishing marble tiles with wax, which led me to experiment with this material.
Regarding Urushiol lacquer, its use originated from a suggestion by another artist, Xiaoyu Li (Sho-Woo Lee), who also
provided technical support for this body of work. Urushiol lacquer is a traditional natural material from East Asia,
commonly referred to as Japanese lacquer, Korean lacquer, or Chinese lacquer. I prefer the term "Urushiol lacquer" for
its universality. I chose this material to reflect my respect for traditional techniques and natural materials, and its
refined translucent amber color enhances the textures I create on the surface of the clay.

36
Can you describe the significance of the tripod form in your art and how you relate it to femininity and
female embodiment?
I believe it’s the cultural significance of the shape that I want to share. Tripod vessels are highly representative in Chinese
culture. Firstly, tripod pottery was popular in northern China during the late Neolithic period (c. 3000 BCE), and this
tripod characteristic was inherited by bronze ritual vessels from the Shang Dynasty (c. 1600–1046 BCE). By the Song
Dynasty (c. 960–1279 CE), this shape became common in the design of incense burners. There has always been a
connection between this shape and ritual vessels.
From a design perspective, I have noticed that the more primitive tripod shape somewhat resembles the curves of
female breasts, and I emphasize this feature. I enjoy incorporating elements of femininity into my work.
In your mushroom-inspired vessel, you incorporate a lava glaze that’s untouchable and fragile. How do
you see this detail contributing to the piece’s ritualistic feel?
Lava glaze is very fragile and possesses an untouchable quality, creating a sense of distance between the object and the
viewer. I apply this glaze only to the interior of the containers, establishing a relationship between people and the object
that is characterized by both closeness and distance. This dynamic mirrors the relationship between humans and
nature.
You’ve expressed a fascination with ceremonial vessels, such as those used for incense burning. How does
the concept of ritual influence your work, and what role do you believe art plays in creating new rituals?
I am fascinated by rituals because they often carry associations with spirituality and mystery. Rituals depend on their
cultural context and era; while we cannot truly recreate certain rituals, we can reproduce and reconstruct the objects
associated with them. In fact, museums and archaeologists sometimes play a similar role by removing objects from their
original context and placing them in display cases or in people's homes.
I am unsure whether art can create new rituals, but it primarily attracts people to observe. In modern times, people can
view a wide array of objects from around the world and throughout human history, while artists continue to create
more captivating items. This suggests that the act of viewing itself may evolve into a new form of ritual.
How do you decide which aspects of femininity or identity to incorporate, and what effect do you hope
these choices have on the viewer?
I think the essence of these symbolic meanings is to express the beauty of the female body. I appreciate and resonate
with these beautiful qualities, and I aim to convey them to the audience through my work. I choose elements that are
either similar in shape to the artwork itself or thematically aligned.

Organic Container
The form is inspired by stinkhorn mushrooms (Clathrus ruber), with its root reimagined as a vessel. Using ancient hand-building ceramic techniques, I aim
for this vessel to evoke a sense of ritual significance. The internal lava glaze is fragile and untouchable, filling the inner space like a living entity.
30x23x23cm, 2024
Glazed stoneware,

Emergence

30x22x22cm (excluding base), 2024

Glazed stoneware,
Expansion

37
 New Ritual Vessels

This series of work aims to explore how to position representative ceremonial vessels from traditional Chinese culture in
a contemporary context. Specifically, I will select ceremonial vessels that embody a unique Eastern spirituality and use
their forms as a base to combine with artistic elements from other civilizations or cultures. Additionally, I will integrate
imagery of the female body into the designs. For these two particular pieces, they incorporated the appearance of a type
of ancient Roman pottery: terra sigillata. For materiality, I use low-fired earthenware ceramics and adhere to hand-
building ceramic techniques. Innovating in surface finishing by abandoning traditional glazes or slips. Instead, I decorate
the surfaces with Urushiol lacquer (a natural tree sap from East Asia) and polishing wax.

New Ritual Vessels: Tripod Hill Censor

This work is a ceramic sculptural object that pays homage to a traditional Chinese vessel form — the hill censer, which can be used for
burning incense as a ceremonial vessel.
The hill censer ( 博山爐, "universal mountain censer") is a type of Chinese censer traditionally made of bronze. When incense is burned,
smoke drifts out from the mountain-shaped lid, symbolizing the Chinese cultural aspiration for sacred mountains inhabited by
immortals.
As a ceramic artist, I am fascinated by the rich history of ceramics across different cultures around the world, which provides me with
endless inspiration. I am particularly struck by the red-gloss wares of ancient Rome (sometimes referred to as Terra sigillata) and
ancient Greek pottery. These demonstrate that ceramics can achieve a glossy sheen even without glaze, which contrasts with the
extensive use of glazes in the Chinese ceramic tradition. On the other hand, the tripod form has been widely used in vessels throughout
Chinese and other civilizations. I associate this form with the curves of the female breast.

Black Shoulder Tripod Jar Tripod Hill Censor

Lacquer and wax on earthenware Lacquer and wax on earthenware
42x23x22cm, 2024 42x23x22cm, 2024

38
 Apparel Figure Frances Howard, Countess of Kildare
Glazed stoneware, textile with filler, 54x54x19cm, 2024

Transforming Tudor-era female portraits into ceramic vases,

this series of work reimagines elaborate garments as vessels
and uses textiles or rubber balls to represent the female
body. In this process, I have humorously objectified the
women in the portraits. The appearance of the sculptures is
a fusion of a vase and a bust. The core intention behind my
work is to reconsider the interaction between gender, history,
and modern society. The portrayal of women during the
Tudor period has continuity with today’s societal
expectations of female appearance and identity. By
contrasting history with the present, my work explores the
evolution of gender norms. Additionally, the series also
involves the transformation of the traditional concept of fine
art into ‘decorative art’, reflecting a questioning of the notion
of hierarchy in art.
Queen Elizabeth I
Glazed stoneware, rubber balloons, 47x65x27cm, 2023

Lady Darcy of Chiche

Glazed stoneware, rubber balls,
60x45x19cm, 2024

Unknown Pregnant Women

Glazed stoneware, textile with filler, 54x48x30cm, 2023

39
Dimitri
Antadze
Dimitri Antadze is a renowned Georgian artist, distinguished by his imaginative depth and fairy tale
influences. Through his unique style, he opens up a world of free perception. Born in 1963 in Tbilisi,
Georgia, Dimitri began his artistic education at the Nikoladze School of Arts, where he earned a
teacher’s degree in drawing and received an Honors Diploma for his final work. Afterward, he
continued his studies in monumental arts at the Tbilisi State Academy of Arts, where, in 1988, he
graduated with the highest honors diploma and later joined the academy as a lecturer from 1991 to
2005. In addition to his painting, Dimitri has contributed to theatrical and scenographic designs for
Georgian and Turkish theaters, including stage adaptations of works by renowned playwrights such as
Tennessee Williams, Molière, and Alexey Arbuzov. During the challenging 1990s in Georgia, Dimitri
moved to Japan, where he held nine solo exhibitions between 1994 and 2006. His years in Japan
profoundly impacted his art, influencing his style in subtle and meaningful ways. Dimitri works with oil
painting, mixed media, and traditional Japanese Washi paper. His oil paintings are known for their rich
textures and vibrant colors, while his mixed media pieces incorporate diverse materials to create
layered, intricate compositions. The use of Washi paper, influenced by his time in Japan, adds unique
texture and depth to his works. Dimitri Antadze’s art has received international acclaim, establishing
him as a significant figure in the global art scene. His paintings have been exhibited in numerous
countries, including Japan, France, the Netherlands, Turkey, Belgium, and Georgia. Throughout his
career, Dimitri has presented solo exhibitions in renowned galleries worldwide, including Tokyo’s
“Kubota Gallery”, “Gris Albion” in Cannes, and “Goda Gallery” in Amsterdam. In addition to his solo
exhibitions, he has participated in group shows in major cities such as Paris, Vienna, Philadelphia, and
others.
In recent years, Dimitri has
focused on large-scale
canvases. He constantly
experiments with new
textures and layering, letting
the materials guide his
creative process. Dimitri
continues to reach new
audiences with his recent
exhibitions on the
international stage. In June
2023, his works were
displayed at Palazzo Sant’Elia
in Palermo, Italy. This was
followed by an exhibition at
the Library of Congress in
Washington, DC, in October
2023. The Mediterranean beauty - Oil on cardboard, 73x112cm, 2023

40
Your artistic journey began in Tbilisi, Georgia, but you’ve traveled and exhibited globally. How has your
Georgian heritage influenced your creative perspective, and how have your international experiences
shaped your work?
My journey into painting began during an era when the official education system was saturated with the propaganda of
socialist realism. Despite the circumstances at the time, teachers at the Academy of Arts (to whom I express my great
gratitude) were able to introduce us to the innovations in contemporary art.
Fairy tales and imaginative depth are central to your art. Can you share how these themes first became
significant to you, and how they continue to evolve in your work?
In my opinion, fairy tales and mythological themes are relevant for all ages, and their language, artistically speaking, is a
ticket to another dimension.
Your time in Japan had a profound impact on your artistic style. How did the culture, materials like Washi
paper, or artistic traditions of Japan influence your approach to creating?
I believe Japan is a country with truly unique traditions. For artists, it offers a fascinating opportunity to expand their
creativity and explore their artistic vision from a fresh perspective. The influence of Japanese culture may not be
immediately visible in my work, but I can confidently say that this experience has profoundly and positively impacted my
profession, particularly my form of expression.
You’ve worked with a range of materials, from oil paints to mixed media and Japanese Washi paper. What
drives your material choices, and how do they contribute to the storytelling in your pieces?
In art, nuances are of great importance to me. Often, for me, the material is perceived as a creative co-author and it
determines the final result of the work. It is worth noting that working on a Japanese Washi paper was a very pleasant
and interesting experience for me.
Coquette - Oil on canvas, 70x100cm, 2006

41
Night Dance - Mixed media on paper, 53x35cm, 2004
As someone who transitioned from creating traditional paintings to experimenting with large-scale
canvases and layering techniques, what excites you most about working on a larger scale?
It’s hard to analyze exactly why I favor large formats, but perhaps my early experience working on frescoes taught me
that, given the artistic task, it is often better to give preference to a large format.
Your involvement in theatrical and scenographic design brings a multidisciplinary aspect to your career.
How has working in theatre influenced your understanding of space, texture, and narrative in your art?
Theatre, by its very essence, involves a collective creative collaboration between various professions. For an artist, I
believe it’s a particularly interesting experience.
You’ve exhibited in cities worldwide, including Tokyo, Cannes, and Washington, DC. Can you share a
memorable moment from one of your exhibitions that deeply resonated with you as an artist?
I believe that my 2007 solo exhibition at the Kubota Gallery in Tokyo was, to some extent, a summary of the experiences
I gained during my time living and working in Japan.
Your artistic practice spans decades and diverse cultural environments. How has your vision of art
changed over time, and how do you keep your work relevant in today’s global art landscape?
The advancement of communication technology has enabled us to stay informed about the latest trends in global art.
On one hand, this has broadened our expressive possibilities, but on the other, it has made contemporary art more
eclectic, often focusing solely on the quest for originality in form. In my view, modernity and relevance in art are more
about the emotional exploration of a subject’s essence, rather than just the pursuit of an original form.
Large-scale exhibitions like those at Palazzo Sant’Elia in Palermo and the Library of Congress in
Washington, DC, bring your art to new audiences. What messages or emotions do you hope these
audiences take away from your work?
If a work enables the viewer to become an emotional co-participant in the painting, rather than just an evaluative
observer, I believe the artist’s creative goal has been successfully achieved.
Autumn - Oil on cardboard, 73x112cm, 2023

43
As an artist and former

White – Mixed media on Washi paper, 63x46cm, 2007

lecturer, what advice
would you give to young

Grey – Mixed media on Washi paper, 63x46cm, 2006

artists who want to
explore imaginative and
layered storytelling in
their own creative
journeys?
I believe the purpose of art is
to allow a person to
experience and feel the
diversity of both their inner
world and the external world.
With that in mind, I find the
illustrative poster form of
expression to be less
emotional for me personally.

44 Conversation - Oil on canvas, 100x120cm,2001

Elsa Murray
Elsa Murray is a 20-year-old trans-non-binary artist based in Duluth, Minnesota. Since childhood, Elsa
has been immersed in the world of art, having learned to paint from their grandmother, whose
influence remains a profound source of inspiration. After her passing, Elsa rekindled their passion for
painting as a means of coping with grief and exploring their identity. Elsa's work serves as a powerful
form of activism, rooted in themes of queerness, love, gender, and the search for belonging.
Through acrylic paint on canvas, they create vibrant, emotive pieces that reflect their experiences with
mental illness, loss, and the complexities of family and history. In addition to painting, Elsa also delves
into music and poetry, allowing for multifaceted expression of their inner world. Balancing a full-time
college education with their artistic practice, Elsa navigates the challenges of young adulthood while
processing their identity and caring for their inner child. Their work invites viewers to engage with the
nuances of identity, time, and place, ultimately advocating for liberation and self-expression.

Levels of Elevation, 1 Levels of Elevation, 2

Acrylic on canvas, Acrylic on canvas,
15'’x7'’, 2024 15'’x7'’, 2024

45
‘’As an artist, my work is a journey through the landscape of my identity—navigation of queerness, love, and the
intricacies of family and history. Each canvas is a reflection of my experiences, a testament to the power of art as
activism and expression. I create to reclaim my voice, to honor the memories of those I've lost, particularly my
grandmother, who instilled in me a love for painting. Her teachings guide my brush as I confront grief, mental illness,
and the search for belonging. My art is not just a reflection of who I am; it’s a dialogue about liberation and the ongoing
quest for identity. I often find solace in the colors and textures of acrylic paint, which allow me to explore the
multifaceted nature of gender and selfhood. Each piece serves as a space for vulnerability, a place where I can process
my feelings and connect with my inner child. In addition to visual art, I explore music and poetry as complementary
forms of expression. These mediums provide further avenues to articulate my journey, inviting others to witness and
reflect on their own experiences. I hope my work resonates with those navigating similar struggles, fostering a sense of
community and understanding. Art is my way of making sense of the world and my place within it. Through every
brushstroke, I aim to inspire others to embrace their own identities and stories, to find strength in vulnerability, and to
celebrate the beautiful complexity of being human.’’

Like a Prayer
Acrylic on canvas,
22'’x28'’, 2024

46
Your grandmother had a profound influence on your artistic practice. How does her legacy continue to
shape the way you approach painting today?
I mean it’s thanks to her that I’m doing this at all. I would say that I’m a self-taught artist, except that that isn’t true.
Almost everything I know was taught to me by her, both in terms of technique and love for the craft, at a very young age.
Now, as a young adult, I only began reconnecting with it in a significant way after she died, about a year and a half ago.
Can you describe how your emotional experiences, particularly with loss and mental illness, are
expressed through your work?
In many ways, my practice is a form of art therapy, which is a very legitimate type of mental health care. For me, it
creates space to explore and communicate things that are otherwise difficult to express., which is so valuable to me
because there is so much healing that comes from the ability to simply share things with people.
How do you use color and texture to explore aspects of your identity on canvas?
I love this question, these aspects of visual art can evoke powerful emotions, and therefore create an immersive
experience. Hardness, smoothness, polished tranquility, and the grittiness of imperfection are all parts of life. Straight or
gay, cis or trans, it doesn't matter, the sharpness and softness
inside us and between us exist with great vibrancy. These are
tools used to represent things that can’t quite be said with
words.
What role do you think art plays in advocating for
liberation and self-expression, particularly within the
LGBTQ+ community?
I understand that in many ways I say this from a very privileged
place, but in art, one can carve out a space that exists despite,
and outside the control of, their oppressor. Art is a space for
exploration and expression, that is safe both from the forces of
the outside world and from the blocks and confines of our
minds. It is a tool for in-group communication of the oppressed,
for conveying complex experiences, and for the movement to
better understand itself.
In addition to painting, you also create music and poetry.
How do these mediums complement your visual art
practice?
I don’t view art as being separated by genre or medium. I
understand those labels as tools that are helpful for
communication, but music, writing, and painting all feel like the
same practice to me. They feed one another’s inspiration, and
engaging with each one helps me understand the others better.
Can you talk about the concept of "caring for your inner
child" and how it influences your creative process? How
do you visualize this inner dialogue in your paintings?
It is a process of finding spontaneity, playfulness, and wonder in
the every day, and most importantly, doing it in a safe space,
one that invites the individual to trust themself and trust their
surroundings to hold and celebrate what they have to offer.
Many people don’t grow up with this as a continual opportunity
many people may never find it, which makes the process of
creating that space for oneself even more necessary. For me, art
is a process by which I can do this. It’s less so a matter of
visualizing an inner dialogue, but instead relearning how to act
on instinct, without that intermediate judgment or redirection of
the dialogue.
The Sandhill, The Mother - Acrylic on canvas, 30'’x15'’, 2024

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Your work reflects the complexities of family and history. How do you balance honoring your past while
also forging your own identity through your art?
The past informs the present, which informs the future, which also informs the present, which also informs the past.
These relationships are fascinating and complicated and rich and valuable, but they can start being a problem when
you become so fixated on one that you begin to lose sight of the others. Sometimes I feel very comfortable healthily
managing these perspectives, but it’s also true that it's very easy to lose myself. This is something I often talk about in
therapy, and it’s something I’m still practicing as I get to know myself better.
As a full-time college student and artist, how do you navigate the challenges of balancing academic life
with your artistic practice? Has your education influenced your artwork in any way?
The relationship between art and formal education is complicated, on one hand, the understanding of the world around
you that education can afford can be extremely valuable to the creative process, yet at the same time, formal
constraints, requirements, and rules can be constricting to any artistic and personal ideological freedom you hope to
achieve. Balancing this with the need to prioritize my other responsibilities, which by all means have more real-world
consequences than whether or not I get to spend a day painting, can be a tenuous exercise. Ultimately, both serve
different purposes in my life, I don’t think I could ever do only one or the other, the combination is what’s fulfilling.
What kind of conversations or emotions do you hope to evoke in those who view your work?
I can’t be everything to everyone, I simply hope that someone can access this work and find what they need. I hope that
viewers may find one thing that comforts them, or one thing that discomforts them, whichever they need in that
moment. Think about it, maybe even talk about it, try to share it with someone in some way. That is what I want people
to do with this.
How do you create spaces within
your work where both you and your
audience can confront difficult
emotions, such as grief or isolation,
and find strength in them?
I’ve grown up viewing this world as a place
where it’s normal for us to hide things
from one another. There’s no specific
person that I can blame that on, and
there’s no specific place that I can go to fix
it. Art is one place I can go to challenge the
urge to hide. I hope that by consuming this
work others can start to challenge that
too.

The Swallow, The Daughter

Acrylic on canvas,
20'’x16'’, 2024

48
Etienne
Marquis Le Petit Prince - Oil on linen, 60x50cm, 2024

49
Etienne Marquis is a Channel Island-based artist whose work delves into the twisted and visionary
world of contemporary surrealism. It embodies a gateway between the physical realm and that of the
mind alongside the shifted landscapes of his upbringing in the Channel Islands to his independence
on the Cornish coast. He recently graduated as a first-class honors student of Fine Art at Falmouth
University, where he simultaneously worked as a painting assistant and freelance artist. He has
conducted painting workshops, been cited in several art publications, and showcased work in
exhibitions throughout England and the Channel Islands.

‘’Queer Surrealism describes an alternate reality created through the conjunction of mind and matter. It is the projection
of queer psychic energy on the heteronormative world. This newfound reality that weaves between the psychological and
physical world, provides a sanctuary where queerness exists removed from its subservient role to hetero-normativity. For
me, Oil painting is such a refuge, A window into a world of queer surrealism where my psychic world can take physical
form. Gaining the ability to transport both the artist and the viewer. I take from traditional academic techniques such as
the chiaroscuro which allows me to illuminate a world of my creation. A warped realism that blends the lines of my
physical and psychological worlds. Many of my artistic inspirations derive from biblical social and cultural iconography
which I appropriate and weave into the narrative of my work.’’

How has growing up in the Channel Islands and later moving to the Cornish coast influenced you?
Growing up as a creative on a small island that greatly favors finance and ‘traditional’ forms of work, I often felt a great
disconnect from my peers and outcast from social circles as art was considered a lesser and unobtainable career path.
However, attending university in Cornwall allowed me to explore my identity, sexuality, and approach to work in ways
that would have been unimaginable back in Guernsey. My current work explores this journey and the flowing narratives
of freedom and exploration contrasted by the internal conflicts of my mind as it adjusts to these new ideas and feelings.
This contrast and internal conflict allow me to create work with a surreal undertone with complex narratives and twisted
symbolism.
You define ‘queer surrealism’ as a fusion of mind and matter, creating an alternate reality. Can you
describe how you bring this vision to life on the canvas?
As a coping mechanism brought about by internalized homophobia which I developed through my youth, I found myself
creating surrealist spaces in my day-to-day life where I would allow myself to express my queerness without the pressure
and shame of not conforming to heteronormativity. Through my independence at university, I began to expand these
pockets of reality as I grew more comfortable with myself and my surroundings. This allowed these narratives and queer
surrealist energy to bleed into my work.
What drew you specifically to oil as your primary medium?
Oil paints are very versatile and can be reworked to your preferred texture, opacity, and drying times through mediums
and thinners. This is one of the main reasons I gravitate towards them, they allow you to take full control over the
medium, to finetune it to your preference. I work very methodically and prefer to take my time with precise steps which
is only possible through oil paints slow drying times. I also find that oil on canvas in particular provides an excellent
texture that helps to push the illusion of skin and clothing which I often illustrate through my work.
You mention using chiaroscuro to illuminate your work. How does this technique help you blend the
physical and psychological aspects of your art?
The chiaroscuro technique of working from single light sources evokes an emotive response from the viewer as the piece
beckons you forward through the curiosity of the unseen. Not only does the technique reflect the confusing and surreal
contexts of the work itself by building insight and curiosity, but also provides me with control over the viewer's
perception. It allows me to light the work in a way that guides the viewer's eye. To produce a narrative and provide a
story for the viewer to follow as their eyes wander through the work.
How do you decide which symbols to use, and how do they shape the narratives of your Paintings?
As someone who enjoys history, literature, and the process of essay writing. I find the initial planning stages of a painting
very exciting as it allows me to immerse myself in connecting narratives and ideas into a final product. I often start with
the idea for the piece and then I identify contextual iconography and narratives that support elements of its design.

50
As a queer artist, what role does your identity play in your surrealistic work, and how do you hope it
resonates with viewers from different backgrounds?
Creating surrealist work comes quite naturally to me as a queer artist as it allows me to warp and alter aspects of the
world to fit my vision which I often find myself doing in my day-to-day life. I write of a concept called queer surrealism
which describes when an individual's identity or sexuality is not recognized as the norm or perceived as subservient or
politicized by the global majority. The individual is forced to create their alternate reality by transforming spaces of the
physical by imbuing them with psychic energy. In this space, they can exist removed from their subservient role and
without societal pressures to conform.
Many of your pieces seem to create a sanctuary for queerness, detached from heteronormative
structures. What impact do you hope this space has on the viewer?
With queer work in particular, I often find that there is a commonality and understanding among queer people who can
identify and relate to the work in ways that are inaccessible to a hetero-sexual audience as they can see themself in the
work. However, my paintings allow for the visualization of these pockets of reality. Opening a window of consciousness
for any audience to step into. To experience this world of queer surrealism by proxy.

Boy of Kernow - Oil on linen, 60x70cm, 2024

51
Your artistic journey includes roles as a painting assistant and freelance artist, as well as conducting
workshops. How have these diverse experiences shaped your approach to your practice?
I often find that the responsibilities of being an artist in the modern day extend far beyond just creating art. As someone
who has only just begun my artistic journey, I have pushed myself to adapt to what is required of a contemporary artist
which includes a diverse array of experience, production, forming connections, and sharing knowledge. Not only have
these experiences provided a greater insight into pursuing and jump-starting a career as an artist, but also shaped my
practice and encouraged me to produce unique work while fostering a supportive network of creatives.
How do you approach balancing the visionary elements with grounded Techniques?
I often view my work as a marrying of the old and the new. I take from historical and traditional processes and
references which I adapt to reflect contemporary narratives. I believe that this way of referencing what has come before
us, with ideas about the current world and future, illuminates a human connection that stretches through time. It
showcases the overlapping ideas, feelings, and emotions that artists have been expressing throughout history. Art is
often a gateway into imagining a better future by illustrating an image of which we can not yet see.
As an artist just starting your career, are there new themes or mediums you are excited to explore?
My work often visualizes aspects of homoerotism and a queer perspective yet there remains a consistent contrasting
force of melancholy or unsettling imagery. I often consider these elements to be aspects of the outer world inflicting on
the bubble of queer surrealism. Although I enjoy visualizing and reflecting these feelings in my work, I feel as though my
comfortability in my identity and sexuality is developing beyond the need for queer surrealist bubbles. Or perhaps these
spaces of comfortability have expanded to the point where internalized homophobia and a need to conform no longer
affect them to the same extent. In any case, I have begun to develop ideas for exploring radical queer joy. This idea came
as both a consequence of my changing worldview as well as an observation of the media and society's obsession with
queer misery. Although queer misery's methodology of emotive storytelling increases the social acceptance of queerness
within the heterosexual world. Queerness and queer individuals begin to exist as a lesser. Queerness is looked down
upon with a condescending sympathy. In a society that seems adamant about representing queerness through a lens of
misery and suffering. I wish to open up a new discussion that explores the euphoric joy and happiness of day-to-day life.
From these ideas, I wish to illustrate snippets of life, faces, and memories that glimmer through my mind. A time
capsule of mundane and extraordinary moments that will extend a branch of hopefulness to young queer individuals
and normalize queerness and queer relationships within heteronormative society.

Head of the Buck

Oil on linen,
130x85cm, 2024

Joab

Oil on linen,
60x50cm, 2024

52
with Eve Finley Miller
Interdisciplinary artist from Leeds

Your work spans multiple mediums, from ceramic sculpture to immersive installations. What draws you
to such diverse forms of expression, and how do you balance them?
Part of the reason I work through many different media is that I get an idea in my head, and it becomes like an “idea
worm.” I can’t stop thinking about how I could create that idea. It’s not a matter of thinking, “This is the medium I have,
so what can I make from it?” Instead, I start with a concept that could be sparked by an interaction, a radio program,
something I’ve read, a color, or a sound, and then I think about how I can translate that into a piece of art. Working this
way can be challenging, as it stretches my resources, but it also allows me to challenge myself and the viewer by showing
different materials and ways of making. This approach naturally leads to immersive installations, which help me bring
all my ideas together and fully immerse the viewer in my world. My creative practice is about incorporating different
elements I’ve been developing. For example, I often work in clay because it is a versatile medium that can be molded,
shaped, and transformed from soft and malleable to something hard and heavy. I can also transition into painting by
applying painting techniques to my ceramic sculptures, or create multiple ceramic pieces that build upon one another.
All these elements come together to communicate my ideas.
What is it about clay that resonates with you, and how do you think it helps you bring your ideas to life?
I like working with clay because of its transitional materiality. It changes from something soft and malleable to
something solid, heavy, and permanent. Clay also undergoes a transformative process during firing, where you can’t see
the colors you’re working with until after it’s fired. I find this both challenging and exciting because sometimes my work
surprises me—it turns out slightly different than I expected. Clay also helps bring my ideas to life because I can sculpt
abstract forms. I can create something architectural, with straight lines, or something organic, with soft, rounded
shapes. Applying glazes further adds to the effect, allowing me to explore different finishes, like a glaze that makes a
piece feel otherworldly—something you might imagine seeing on another planet.
Can you elaborate on how you choose colors and how you think they impact your viewers?
Color is really important to me because of its emotional significance. I often associate specific colors with people or
memories. For example, I’m drawn to electric blues because they remind me of my mum, who wears blue a lot. During
the Covid lockdowns, when I couldn’t see her, blue became a comforting color. I’m also attracted to bright, punchy
oranges because orange reminds me of my partner. As I grew in my relationship with him, orange became a more
prominent color in my work. Color plays with emotional links for me, and I hope that when viewers see certain colors, it
sparks something personal for them—perhaps reminding them of a loved one, a specific time of day, or a season.
You often incorporate light and sound into your installations, creating immersive experiences. What role
do these sensory elements play in shaping the viewer’s interaction with your work?
I enjoy working with light and sound because they help articulate my ideas and create a sensory experience for the
viewer. For me, when I have an idea, it’s not always something I can easily put into words, but more a feeling or a sense.
I work very instinctively and intuitively, and incorporating light and sound supports this way of working. It’s something I
want to develop more in the future. I believe that sensory elements enhance the viewer’s interaction with my work and
ensure that I’m communicating the essence of my ideas, which are often feelings or intangible concepts. Light and sound
can bring viewers into the space I’m creating—a space of peace or self-connection.

53
Your work is informed by phenomenology, focusing on the relationship between the viewer and
architectural space. How do you go about designing spaces that foster presence and grounding?
I relate to Marina Abramović’s work, especially her piece "The Artist is Present," where she sat and stared into the eyes of
her audience. I found that piece powerful because it conveyed her feelings through presence alone. Even though I work
primarily in installations and sculpture, I feel a strong connection to performance art. Abramović speaks about how the
mind often distracts us through overthinking, while the body is wiser. I relate to that when I work instinctively—my body
knows how to create, but my mind sometimes overthinks the process. So I try to lean into that instinctive process.
Spontaneity seems to be a key part of your process, starting with instinctive drawings. Can you describe
how your creative ideas develop from these initial moments of spontaneity to finished pieces or
installations?
Philosophy, especially phenomenology, influences my practice. Phenomenology examines the nature of subjective
experience and seeks to describe the universal aspects of consciousness. I’m drawn to this because it acknowledges that
everyone’s experience is different. I bring this idea into my work by creating abstract pieces, allowing viewers to connect
to the work in their way. For me, if a piece is too direct, it might limit how someone can engage with it. I like giving
viewers the space to form their interpretations, and I prefer to avoid creating something too literal—like a flower that is
just a flower. Instead, I like to distill what I find beautiful about a flower and create something else entirely that speaks
to that beauty, allowing viewers to find their connections and comfort in it.
You've worked on socially engaged projects and teaching workshops. How does your engagement with
the community influence your artistic practice, and how do you hope to make art more accessible?
Spontaneity is a key part of my process because, in many areas of my life, I tend to overthink things, which can cause a
lot of unease. However, when I create spontaneously, I feel free, and I often like the results. Of course, spontaneity can
sometimes lead to problems, but troubleshooting those issues can result in something amazing. In reality, even though I
work spontaneously, I spend quite a bit of time thinking about what I want to create or how I envision an installation
while doing other things, like quick sketches or brainstorming. So, while my drawings may be spontaneous, they are also
supported by periods of planning.
For instance, I’ll often have bursts of drawing activity, followed by breaks where I don’t draw at all. I think it’s important
to have pauses between periods of intense creativity and making. It helps you to reengage with the process when you
return. For me, creating art is like warming up—spontaneous drawings act as my warm-up, helping me get into the flow
before I dive into larger projects.
Your installations offer a space for calm and reflection. What role do you believe art plays in providing
moments of contemplation in today’s fast-paced world?
Another significant part of my practice is engaging with different communities through teaching workshops. I love
working with people from all walks of life, whether they are adults or children. Teaching workshops allows me to see
how others from various backgrounds and experiences approach art and the creative process. It’s inspiring and often
informs my work. I believe art should be accessible to everyone, and sometimes all it takes is giving someone some
paper and pens to spark their creative expression. Art can be both simple and complex, but offering someone the
opportunity to engage with it can make a big difference in their life, especially if they’ve never had that chance before.
In your exhibition "Perspective" for ArtWalk Wakefield, you created an immersive experience. Can you
share some insights into the concept behind this work and how you approached its design?
In my installations, I aim to create moments of calm and reflection. I believe that art has the power to bring us back to
ourselves as creative beings, and that’s what I want to offer viewers through my installations—a space to pause and
reconnect. For example, my exhibition "Perspective" for ArtWalk Wakefield was all about creating an immersive
experience. The idea was to explore the different perspectives offered by the height variations in each piece, the contrast
in colors, and the lighting cast upon the work. The installation was set in an old chapel, and the contrast between this
historic space and the abstract, contemporary sculptures added another layer to the audience’s experience. It played
with multiple facets of perspective—from how people perceive the work itself to their individual preferences, whether
they liked it or not.

54
You’ve mentioned collaboration as a source of inspiration for you. How do you navigate collaborations
with others, and how do these partnerships influence your work?
Collaboration is another essential aspect of my work. I find it incredibly inspiring, as it pushes me to step out of familiar
patterns or ways of thinking. When I collaborate, I get excited by the creative freedom it offers—two minds working on
an idea, two bodies executing the work. Collaboration also brings limitations, but I love that! I think restrictions in art
can open up more possibilities because they force you to be more concise and focused. Sometimes, having unlimited
ideas or possibilities can feel overwhelming, but collaborating with others helps refine those ideas. It also expands the
potential of what we can create by drawing on both our skill sets and perspectives. Collaboration allows the work to
evolve into something greater than what either of us could have achieved alone.

Shapes of my Clay

Ceramics, various sizes, 2023

This sculpture is from Shapes of My Clay installation. Made

from earthen-wear clay.

55
Iris Lingyu Zhang

No.2202 - Sculpture, 20x20x20cm, 2022

56
Iris Lingyu Zhang is a multi-media artist and researcher based between London and Beijing. Her work
spans digital art and multimedia contemporary practices, focusing on feminism, social issues, and
auto-ethnographical researching method. Iris holds a Master of Research in Communication from the
Royal College of Art, and a Bachelor of Arts in Advertising from Beijing Institute of Fashion Technology.
She has exhibited internationally, including shows at Hundred Years Gallery and IKLECTIK in London.
Drawing from psychology and philosophy, her immersive environments invite introspection,
challenging perceptions of identity and space while bridging cultural boundaries.

‘’My work as a multi-media artist is rooted in an exploration of the intricate relationship between body and space.
Drawing from my background in psychology and philosophy, I use auto-ethnographic research to delve into the
emotional and spiritual layers of human experience. Through my art, I invite viewers to reflect on the often unseen,
subtle connections between our inner worlds and the spaces we inhabit. By blending a range of mediums, I seek to
create immersive environments that encourage introspection and challenge conventional perceptions of identity and
existence. My practice is a bridge between cultures, transcending the boundaries of the physical and metaphysical,
inviting a deeper understanding of the self in relation to the world around us.’’

CSI
Experimental video, 2023
CSI is a behavioural detection intelligence system for use by government agencies, introduced in 2053. It will
rely on all electronic devices through listening and audio-visual technologies to monitor drinking behaviour.
It quantifies and ranks a range of behaviours by analysing a large database, and then measures people’s
behaviour patterns. Without the factor of cognitive changes due to social influences, changes in behaviour
and attitudes become untraceable and point to sudden, malignant events, so that if people deviate from
their daily drinking patterns, CSI will assume they are involved in a suspected criminal act.

57
Your work blends psychology, philosophy, and auto-ethnography. How do you integrate these fields into
your artistic process, and what role do they play in shaping the immersive environments you create?
Auto-ethnography is at the core of my creative process; it lets me root my work in personal experience while observing
myself from an external perspective. My work often starts with a micro-level exploration of an emotion or phenomenon,
then expands through psychological and philosophical insights to give it richer meaning. Psychology helps me
understand the deep mechanisms of emotion and memory, while philosophy allows me to dig into fundamental
questions about existence. Together, they let me find a balance between emotion and thought, so my work resonates
both deeply and meaningfully. For example, in ‘Sleeping in the Wood’, I draw on Heidegger’s concept of “Dasein” to
create an immersive sculptural piece that connects the self to space in a poetic way. This setting invites viewers to join in
a shared experience of “Mitdasein,” or shared presence. In combining psychology, philosophy, and auto-ethnography,
my work becomes a space for exploring memory, identity, and emotion, both for myself and my audience.
In your artist statement, you mention the "subtle connections between our inner worlds and the spaces
we inhabit." Could you elaborate on how you visualize or interpret these connections through your
multimedia approach?
To me, the relationship between our inner worlds and the spaces around us is layered and interconnected. Merleau-
Ponty’s idea of “lived space” influenced this perspective, and in my work, I use multimedia to bring out these
connections. For instance, in ‘The Tent’, the piece is both a reflection of my life in London and an extension of my
personal, private space. I use symbolic imagery within a digital bedroom to build an otherworldly space made of
memories and emotions—a surreal blend of intimacy and foreignness. Through this environment, I try to reflect my
experiences as an immigrant woman in a new city. I hope viewers can see their own inner worlds in relation to their
surroundings and feel inspired to rethink how their memories and identities shape their perceptions of space. Using
symbols, sound, and lighting, I want to challenge the idea of real versus imagined connections and explore how we
construct these personal spaces.
Feminism and social issues are central to your practice. How do these themes manifest in your work, and
how do you navigate the intersection between personal identity and broader societal narratives?
Feminism and social critique are at the core of my work. I use deconstruction and reassembly to explore female identity
and cultural colonization. For example, in ‘Polyhedron’, I use symbolic items to represent the pressures and constraints
that East Asian women face within cultural traditions. Auto-ethnography allows me to start with personal experiences
and expand them to broader historical and social perspectives. Many struggles and emotions I experience are also
universal, and I find resonance with the work of other female artists like Tracey Emin and Helen Chadwick, who explore
the position of women in social power dynamics. My work often becomes a point of intersection between the individual
and the collective, allowing viewers to experience both the personal identity of women and the larger gender structures
that shape their lives.
Auto-ethnography is a unique research method in art. Can you explain how it informs your creative
process, and how do you balance the personal with the universal in your work?
Auto-ethnography is both a tool and a mirror in my work, helping me turn individual stories into something that others
can connect with. It lets me explore my own narrative and, from there, connect it with broader social and cultural
structures. In my ‘Traces’ series, for instance, I combine personal items and stories to explore the relationship between
self and environment in a way that resonates on a more universal level. Auto-ethnography allows me to dive deeply into
personal stories while reaching out to universal themes that others can relate to. This balance is essential in creating a
space where individual experience and collective understanding can coexist.
Your art often challenges conventional perceptions of identity and existence. What are some of the key
philosophical questions or concepts that you aim to explore through your pieces?
Identity is a central theme in my work, especially the fluidity between self and environment, subject and object, and our
fundamental ideas of existence. Depending on the project, I explore identity within different contexts: as the self, as it
interacts with the environment, and as part of a collective. In ‘No.0-PI De-sanctified Symphony’, for example, I look at
identity as a decentralized, ever-evolving construct through plant intelligence, which challenges rigid identity
frameworks. Growing up in Beijing, I often felt a silent social pressure shaping who I was, which made me long for true
mental freedom. My art acts as a tool—a hammer of sorts—to break the boundaries placed on me by society and
myself, pushing me towards a liberated form of self. I hope my work can inspire viewers to reflect on the relationship
between identity, freedom, and the structures that confine us.

58
Exhibiting internationally, how has the cultural exchange between London and Beijing influenced your
approach to art-making?
The cultural exchange between London and Beijing has had a major impact on my work, especially in terms of how
environments shape personal identity. In Beijing, I focus more on collectivism and personal sacrifice, while in London,
my work often explores individualism and self-expression. This shift is also reflected in how I connect with the stories of
first-generation immigrant women, as I respond to the emotions and reflections that each city evokes in me. I adjust my
work depending on where it’s exhibited, considering how the local cultural context may shape the audience’s experience,
while also exploring the multifaceted identities that emerge in different spaces.
Your work spans digital art and multimedia practices. How do you decide which medium or combination
of mediums best serves the conceptual goals of a particular project?
I often find a core concept or keyword in my research that guides my choice of medium. For example, in ‘Comet Tail’,
“movement” became the key word, representing historical journeys, cosmic narratives, and even dimensional shifts. This
made digital art the ideal way to explore dynamic connections over time and space. In ‘The Tent’, it was a different story.
Initially, I tried to create a digital environment to show my connection to London, but it wasn’t capturing the depth I
needed. So, I went back to my research and found the keywords “fading” and “fusion,” which brought me to
performance and film as ways to show myself becoming part of the city. Choosing a medium is part of experimenting
and evolving with each concept, allowing me to explore my ideas in multiple dimensions.
Can you discuss a specific project or exhibition that particularly challenged your ideas about the
relationship between body and space? How did that experience shape your subsequent work?
‘The Tent’ really changed my understanding of body and space. This was my first performance piece, and I walked
through the crowded streets of South Kensington in an enclosed tent. At first, I felt tense, but as I adapted, the tent
became a private, secure space that gave me an unexpected sense of calm. This experience made me think deeply about
the tension between intimate and public spaces, and how our bodies interact with these spaces. It pushed me to explore
my own body as a personal space, which I’ve continued to develop by examining how physical scars and bruises become
material elements of my inner world. This exploration is ongoing, and I’m always finding new ways to express the
connection between body and space.

The Tent

Experimental video
2024

The Tent is a research-based multimedia artwork that uses autoethnographic methodology. It addresses the struggle of female subjectivity
against the Big Other in the context of cultural colonialism and sexualisation. The artist conducted a long-term third-perspective observation of
her own dating life, integrating emotions into intimate spaces through poetic graphic narrative. Using the method of integration in self-archiving
and invoking psychoanalytic theories to parse the textual graphics, the artist attempts to find a connection between the environment and herself,
thus removing the sense of dislocation and alienation caused by the dramatic environmental change. In the process, the self-narrative paradox of
hysterical discourse is revealed. The emotional stories symbolised by the structure are built into the in-between world. It actively interprets both
the intimate space and the individual, isolating the individual from the environment, but at the same time reconstituting a new way of connecting
the individual to the environment. The tent, as part of the artist's body, becomes a daydream made of the body, but covering it, where the visible
and the invisible happen simultaneously, interpreting the situation of the divided female subject. She exists in the city, she disappears in the city. It
is grotesque and must be interpreted by others.

59
How does your background in advertising influence your
artistic approach, especially when considering the
communicative power of visual language in both
commercial and artistic spaces?
My background in advertising has given me a strong understanding
of visual language, especially how it can quickly convey emotions
and narrative. In both commercial and artistic contexts, visual
language is essential for engaging viewers, and I apply this to create
immersive experiences that invite interaction. This experience also
taught me how to balance aesthetic appeal with emotional depth,
allowing me to create a unique style that expresses my own
exploration of self and identity. I often hear my work described as
“creepy” or “charged,” which resonates with me because it captures
the intensity and tension I feel in my self-exploration. I think of my
work as a reflection of my inner journey, constantly challenging and
redefining what it means to be human.
Your work often invites introspection and reflection from
the viewer. What kind of emotional or intellectual responses The Body in Blue
Experimental video, 2024
do you hope to evoke, and how do you design your
environments to facilitate these experiences? The Body in Blue is a multi-media work that explores the
I hope my work allows viewers to see parts of themselves in it and to close connection between the physical body and the
divine body within a feminist theoretical framework. The
reflect on their own place within social structures. As a woman, I
artist symbolizes the body trunk and alienates it into an
often feel like life’s “game” wasn’t designed for us, yet we continue to abstract vessel for divinity and spiritual rituals. In this
adapt. I want my work to help viewers step out of these frames and process, the body forms a distorted vortex, while the
see themselves in new ways within their surroundings. I design spirit plunges into this blue abyss.

environments to encourage emotional responses by using intuitive

visual and auditory elements that bypass pure rationality. This open-
ended narrative allows viewers to engage with the work on their own
terms, finding their own meanings and connections. This emotional
resonance is essential, allowing each person to take away a unique
experience.

Comet Tail
Experimental video, 2024

The comet's tail retraces and

reconstructs memories into
prophetic symbols. Using
uncaptured, hidden, fragments of
memory in the environment, the
artist explores the potential
destinies predetermined by
astrological images moulded from
immediate trajectories of
movement. We symbolise the
Flânerie archive in a female
perspective through the
methodology of arichieving in the
later years of Warburg. Using
them to reinterpret the
Huainanzi's Astronomical
Disciplines and to critique the
taboos and regrets of women in
the margins of history.

60
Kristýna Nejedlá Bujárková
Untitled - Oil on canvas, 70x60cm, 2024
‘’I explore various themes in my art, focusing on nature and intimacy. Through painting, I capture the
intricate beauty of the natural world, drawing inspiration from diverse landscapes. I aim to convey a sense
of wonder and respect for the environment. My work also delves into intimacy, examining the emotional
connections between individuals and their surroundings. I believe that a deeper connection with nature
enhances our understanding of ourselves and our place in the world. In my Nature and Intimacy series, I
blend natural motifs with intimate themes, gradually revealing emotional and erotic nuances. I use colors
and textures inspired by nature to provide a subtle glimpse into the often-taboo topics of sex and intimacy. I
aspire to use art as a catalyst for societal change, encouraging empathy, understanding, and acceptance of
diverse personal narratives. By showcasing these paintings, I aim to create a space where taboo subjects can
be openly explored and celebrated as part of the human experience. I want my paintings to fill the room
with warmth and invite viewers to experience the atmosphere of Amsterdam's Red Light District while
standing in front of a simple piece of nature.’’

Flower buds - Oil on canvas, 100x120cm, 2023

62
 Kristýna Nejedlá Bujárková is a Czech visual
artist who completed her studies at the
Ladislav Sutnar Faculty of Design and Art,
University of West Bohemia, specializing in
painting. During her studies, she also spent
time at the Facultad de Bellas Artes in
Cuenca, Spain, which broadened her
artistic experience. Her work has been
featured in both solo and group exhibitions
internationally. Notable solo exhibitions
include her 2024 shows at Rinitawa Art +
Histories Galleries in New Zealand and
Popocafepetl Gallery in Prague. She has
also participated in significant group
exhibitions, such as "Portrait" at Cica
Museum in South Korea, "Frida" at Galeria
e Artit Tiranë in Albania, and the "Graphic
of the Year" at Goma Gallery of Modern Art
in Bethlehem Square, Prague. In addition
to her exhibitions, Kristýna has taken part
in several international art residencies,
including EcoSuites in Greece and Rinitawa
in New Zealand. These experiences have
allowed her to expand her practice and
explore new creative approaches. Her work
is included in notable collections, such as
the Zdeněk Sklenář Foundation in the
Czech Republic and the ecoSuites collection
in Greece. Her career has been shaped by
diverse international experiences, including
off-grid eco projects in France and
participation in art fairs and festivals across
Europe, contributing to her growing
presence in the contemporary art world.

Roots - Acrylic & Oil on canvas, 140x60cm, 2023

63
You've studied and exhibited in multiple countries, including time spent in New Zealand, South Korea,
Albania, and Greece. How have these international experiences influenced your artistic vision and
practice?
My residencies in Greece and New Zealand have been transformative experiences. Exhibiting internationally has
contributed greatly to my artistic growth, but the ecoSuites Art Residency at Tristinika Beach, Greece, in 2023 had a
particularly deep impact. There, I learned how valuable collaboration is in the art world and met amazing artists who
supported me and whose experiences I still rely on. Being part of an artistic community helps us connect and learn from
one another, which is essential for our growth.
Nature and intimacy are central themes in your work. How did you arrive at the intersection of these
themes, and how do they inform each other in your paintings?
Nature and intimacy are central themes in my work, intertwining through my exploration of organic textures and
structures. This emphasis on nature allows me to create a dialogue about intimacy, inviting viewers to engage with the
subtle beauty of their surroundings. In my paintings, intimacy is not just a personal experience; it reflects our connection
to the natural world and fosters a deeper understanding of ourselves and our environment.
Could you walk us through the process of developing your art pieces?
In my Nature and Intimacy series, I focus on the connection between natural forms and emotions, exploring how these
motifs can reflect intimacy and even eroticism. A clear example is my painting Tulip, which evoked strong reactions. I
discovered that colors and shapes profoundly influence our perception of beauty and intimacy: the tulip’s pistil has a
naturally phallic shape, and with the addition of red hues, the entire painting took on an erotic tone. Through this piece,
I wanted to show how natural elements can effortlessly evoke deeper, personal associations related to intimacy.
How does spending time off-grid on eco-projects shape the way you depict nature in your work?
Even after years, my experiences off-grid are vivid because of their intensity. In France, for example, I was surprised
when a farm owner offered me a 'cappuccino,' which turned out to be fresh milk frothed directly from the goat into my
coffee. It was one of the best cappuccinos I've ever had and gave me a new perspective on simple, direct interactions
with nature. Moments like these show the beauty in basic connections to the environment.
Hope I - Oil on canvas, 70x50cm, 2024

Hope II - Oil on canvas, 70x50cm, 2024

64
You describe your work as creating a dialogue around taboo topics like sex and intimacy. What reactions
have you encountered from viewers, and how do you hope these themes impact them?
I’d like to describe the reactions I’ve already experienced with my pain rather than imagining what could happen. For
example, I found it interesting to see how, even during the creation process, the works prompted questions that often
pushed viewers out of their comfort zones—some would blush or weren’t sure how to ask what they wanted to know.
However, as they saw more of my work, the conversations gradually became more relaxed and open. I hope viewers will
share what they see in these pieces, even though they often depict simple details of nature. These can evoke new
associations, inviting them to a more open and honest conversation.
Could you talk about your experiences with art residencies, such as EcoSuites and Rinitawa?
My works created during the art residency in Greece involve UV "painting" with sunlight, allowing me to transfer olive
leaves directly onto the canvas. This process incorporates an aspect of recycling by using materials such as former hotel
curtains, shifting the intention of capturing the surrounding landscape onto recycled canvas, and minimizing additional
waste. From New Zealand, I brought back the Pāua series, which studies the unique patterns and layering of the nacre
from a sea snail found along the country’s coastline. This series helped me transition into more abstract painting.
How do you balance contrasting atmospheres, and what do you hope viewers feel experiencing it?
I work with natural shapes and structures to create a moment of surprise, similar to what someone might feel in the Red
Light District. It’s fascinating to see how these innocent natural lines can transform into an intense, almost intimate
experience, offering new ways to perceive nature. In my thesis work, these motifs were more explicit, but now I’m
focusing on abstracted forms and the essence of conception and intimacy, aiming to convey it without relying on overtly
sexualized elements.
Your works are included in notable collections like the Zdeněk Sklenář Foundation and ecoSuites. How do
you feel about your pieces being preserved in such collections?
I appreciate this support because it opens new doors for my work and gives me chances to grow. It strengthens my
commitment to creating art that connects with viewers and sparks important conversations. Knowing that my pieces are
included in significant collections gives me a real boost.
Can you tell us about your upcoming projects or exhibitions?
My upcoming project is part of the exhibition Fabulae de Monte Cuthna, curated by Radka Zahradníková, which
celebrates the 30th anniversary of Kutná Hora's inclusion on the UNESCO World Heritage list. Together with artists
Martina Minařík Pavelková and Nina Kirk, I’ll be presenting a multimedia installation that explores one of three central
medieval tales tied to the history of this remarkable city.
I’ll focus specifically on the legend of Melusine, expressing it
through paintings and a video art piece. This exhibition will
transform the Czech Museum of Silver into an interactive
space where visitors can engage all their senses, creating a
unique blend of history, art, and legend. The exhibition
opens on May 13, 2025, and runs to November 9, 2025, at
the Czech Museum of Silver in Kutná Hora.
How do you see art as a tool for societal change, and
what role do you think artists play in facilitating
difficult conversations?
Art can be a powerful tool for societal change, creating a safe
space for exploring difficult emotions and experiences. In my
work, the themes are not always directly expressed, yet they
remain clear and relatable. My goal is to encourage visitors
to confront personal desires and challenges—often those
they may find hard to share. For some, my work may prompt
self-reflection, while others might find comfort in realizing
they are not alone in their experiences.

Strawberry
Acrylic & Oil on canvas, 20x18cm, 2023

65
 Laura Candet
Laura Candet, born and raised in the post-communist era of Romania in the early 2000s, creates
fragments of identities often reflecting the constantly changing experience living in the Romanian
cultural society where we live in a constant state of grasping the western culture. Thus, her reflections
on identity distortions and fragments begin with experimenting with oil painting and New Media art.

Contrejour in the woods To the slaughterhouse for the winter

Oil & Pastels on canvas, 40x50cm, 2023 Digital edit, 120x150cm, 2024

Your background is deeply rooted in post-communist Romania—a complex cultural landscape. How has
this shaped the way you approach identity in your work?
Growing up in the post-communist era of Romania in the early 2000s really impacted my art and my views on
childhood. Identity can be shaped by multiple prospects and the cultural identity of today is really shaped by the
childhood of many visual artists of today. In perspective, what truly impacted my art growing up in those particularly
challenging times for a child.
You describe your art as exploring 'fragments of identities' in a society striving toward Western ideals.
Could you share some examples of how you visually depict these fragmented identities?
I think the best way to describe this defragmentation is not how I `depict` it, but how the viewer has no choice but to try
to piece together fragments to create coherent images. Thus, I believe this is also how we form our identity, constantly
grasping new notions and hoping to create a whole piece.
Having worked across both traditional media like oil painting and New Media art, how do you decide
which medium best represents your current ideas and themes?
As a contemporary visual artist, I see mediums as the only tools with which I explore ideas and concepts. I don`t think I
am tied up to any medium, but constantly challenging the boundaries of art. Mixing and matching mediums is only the
beginning of creating art.
In your project Venetian Solitude exhibited in Venice, you touch on themes of isolation and belonging.
How did the setting of Venice influence this series, and how did it connect with your Romanian identity?
Truly, Venice for me was a completely transformatory experience. I was studying there at the Academy of Fine Arts in the
middle of the Covid-19 pandemic, making it only a city of ghosts and memories. From a beloved city known for its
tourism to not a single soul in sight for months at a time. This struck me and I saw Venice as something I believe no one
will ever see again. This project you`re referring to depicts the struggles I have studying in a foreign country and how
much I truly missed home.

66
 Puppets in the winter
Oil & Pastels on canvas,
120x100cm, 2023
You've received prestigious awards like the Grand Prize from the Union of Fine Artists of Romania. How
have these recognitions impacted your perspective on Romanian art's place in the global art scene?
For me, it is truly amazing how the community can impact the art scene and how we can grow if we are recognized for
your hard work. It is an honor for me to be selected to represent my country and my field and I think it all started when I
truly believed that my job was not to just create painting but to nurture souls. In the global scene, I see Romanian artists
such as Adrian Ghenie and Dan Perjovschi who make a difference and who inspire a lot of Romanian artists to push for
a better place in the art world.
Your projects like Generative Art x Painting push into experimental territory. What inspired you to
combine generative art with traditional painting, and what challenges did this fusion present?
I am terribly grateful for so many opportunities that exist in the Romanian art scene and that I can also create them
myself. This collaboration with the Painting Department from the National University of Arts `George Enescu` is very
important to me because it impacts the view that students have in their art. Pushing boundaries and creating new
perspectives is the core of visual art and by doing this we challenge concepts, ideas, people, etc.
Reflecting on your work in group exhibitions across cities like London and Bucharest, what unique
insights have these international showcases provided regarding identity and cultural perception?
What can I say for certain is that every city and country may have different aspirations, cultures, and perspectives, but
what ties us together in the end is the inspiration. As different and unique different art scenes are, the human race
bonds with understanding each other, with empathy. What we are looking for in a successful exhibition is not only the
cultural impact or the identity it forms, but forming a connection with a piece of art.
You’ve worked with various institutions through creative camps and production camps across Europe.
How has this exposure influenced your creative process and the narratives you bring into your work?
I believe that these projects and camps don't provide the exposure people assume they do, but they challenge you to
become a better artist, a better creator, and a person. It`s important to know people from your field and this can create
multiple opportunities further down the line, but what it truly does is expand your knowledge.
Your solo exhibition Behind the Curtain suggests an exploration of what lies beneath the surface. Could
you tell us more about the themes in this series and how they relate to your exploration of identity?
My first ever solo exhibition, `Behind the Curtain`, is an exploration of the sketches and work behind a single artwork.
Thus, by understanding what lies beneath, the spectator can understand the process of art, the study, and the
knowledge that goes behind it. I was still in university when I had this idea, a rather simple concept.

Volunteering and academic engagements

seem to be integral parts of your artistic
practice. How do these experiences in
mentorship and community engagement
influence your personal and creative growth?
It is true that in art you cannot grow without your
community, we live in a rather complex society
where being alone doesn`t suit your growth. I think
volunteering for a great cause is essential for you as
a person, not only as an artist. It allowed me to see
firsthand how things are done, how an exhibition is
created, what are the steps of a Residency program,
what we are looking for in an artist, etc.

The rebirth
Oil on canvas,
100x120cm, 2023

68
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 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.

Titanic Collision VIII Protostar I

Indian Ink on Watercolour Paper, 21x29.7, 2023 Indian Ink & Watercolour Paper, 21x29.7cm, 2022

69
 Merge I, II, III, IV, V
Indian Ink on Watercolor paper,
21x29.7cm, 2022

Touching upon the deaths of stars that already passed away

thousands or millions of years prior, 'Merge' focuses on the
collisions between neutron stars. Spiraling in on each other,
eventually colliding neutron stars cause another immense
transient astronomical event called a 'Kilonova' (also known as
a macronova). 'Merge' offers the viewer an impossible front-
row seat viewpoint into one of these titanic collisions.
During this event, more heavy elements are fused and ejected
into the cosmos. It is theorized that most heavy elements have
originated from collisions between neutron stars. so it is
possible that not only did a star have to die in a supernova to
create the elements that would one day create our planet and
ourselves. It is also possible that the corpse of that star had to
collide with another corpse to create some of the elements
within ourselves and our civilization.

70
How do you balance the integration of scientific learn about a subject matter in the process. The
information with artistic expression in your work? additional bonus is I then get to display that artwork in
It depends on the work and subject matter. Quite often it’s either an exhibition or publication like this one.
about trying to visualise something from large amounts of Nature and our place within the universe seem to
data and information which can be quite overwhelming. be recurring themes in your art. What draws you to
However, by making the subject visual, it appears as explore these subjects, and how do you hope your
though we can attempt to understand it with a little more audience will respond to them?
ease. The combination of scientific information with This aspect of my work can be traced back to myself asking
artwork and then trying to communicate that through an myself constantly ‘What’s our place within this cosmos?’.
‘Informative Encounter’ was the basis of my Master’s thesis Honestly, I don’t mind if the answer turns out to be
and something which I continue to actively work with and something like we are insignificant, it’s the asking of the
push the boundaries within my practice. question that’s the fun part for me due to all the learning
- New Knowledge involved to get to the answer (which will probably never be
- New Viewpoints / Impossible Viewpoints answered). When it comes to the audience, this is a
- Comprehension question I like to leave open, what do they feel their place
- Visualising Data is in our cosmos?
- Collapsing Distances Moving to Leeds to study Fine Art and completing
- Answering Questions your Postgraduate Degree there must have
- Open Up Conversations influenced your artistic journey. Can you share how
- Condensing Information your time in Leeds has shaped your artistic vision?
- A Catalyst for information 100%. My studies for my Bachelor's and Masters's Degrees
- Understanding or attempting to Understand in Leeds have shaped my practice to become what it is
The ten characteristics stated are the result of today. The way I like to think of it is my Bachelor's laid the
investigations conducted during my master's degree in foundations of my practice by guiding me to different
attempting to understand ‘The Informative Encounter’ as a subject matters which fascinated me and created work
methodology of working. Similarities between all of them based on those interests. My Master built a superstructure
can be made in the sense of them all being used to try and on top of those foundations by focusing on how the subject
understand or attempt to understand an entity, process, or matter should be communicated and spending time to
scientific data. So much so that ‘Understanding or develop the theory of an ‘Informative Encounter’
attempting to understand’ is its characteristic and I would methodology of working.
say the basis of my artistic expression is I’m trying to Have you noticed any differences in how viewers
understand a subject matter just as much as the audience from different regions or cultures interpret and
through my artworks. Every piece of work within my engage with your art?
practice conforms to one or more of the characteristics Yes. People from all walks of life have now encountered my
above. However, sometimes the work itself will not be able work and it’s interesting to see the different responses I’ve
to communicate the entirety of the subject matter. Instead, gotten from the variety of work and development of trying
it could offer snippets to the viewer, enough to open up to stimulate the ‘Informative Encounter’ with the audience.
conversations that may lead them to further research the Above all else, the most important aspect for me is that the
subject matter. work so far has opened up conversations between the
What is the most rewarding aspect of being an audience out of general curiosity about the subject matter
artist for you? and wanting to learn more.
There are so many aspects that I feel are rewarding being The combination of fine art and science is unique in
an artist however I would say it offers a playground for your work. How do you strike a balance between
expression and exploration. With my practice, I artistic expression and scientific accuracy, especially
incorporate ideas from nature and science which I’m when dealing with complex scientific concepts?
curious about and want to explore further and visually The artwork itself doesn’t necessarily have to be visually
conduct investigations into them which then produce my accurate as long as it remains true to aspects of the
artworks. As a child, I often liked looking through books scientific information that spawned the work. The balance
with lots of images, they felt like windows to something and line between the two subjects shifts for each work with
else. Now being an artist I can create my windows but also some being more artistic expression than

71
 scientific accuracy whilst others are vice versa. The How have their ideas shaped your work?
finding of this balance is found through meticulous Many, I could easily go over the word count here. The
experimentation and thinking about how the idea in pivotal artists that shaped my practice would be Antony
question could most effectively be communicated Gormley’s drawing works and Katie Paterson’s
through an ‘Informative Encounter’. conceptual approach but their ideas resonated so much
As an artist, you often challenge perceptions of with my work. Science and an endless list of Scientific
scale and size, exploring the vastness of the thinkers are a huge influence on my work of course. With
universe and the minuteness of molecular science endeavors evolving and becoming more complex
structures. What emotions or thoughts do you all the time, so too does my work evolve and attempt to
aim to evoke in your audience? translate complex ideas.
When exploring either of these ends of the spectrum, my What do you do to keep yourself motivated and
work aims to communicate curiosity and wonder with interested in your work?
awe. Because artworks are a reflection of the artist’s Sounds ironic but take breaks. Whether that be a day, a
emotions these three I would say are the ones I week, or sometimes a month. Nobody can work on art
experience when I read/research the subject matter. As 24/7 effectively. When I come back, I’m fully motivated
mentioned previously with the technique of an again. The other main factor would be continuing to
‘Informative Encounter’ in my work, the artworks want to explore ideas and theories within science which I’m
stimulate these sorts of emotions when interacting with a naturally curious about and then trying to visualize them
viewer. within an artwork.
Do you create to understand or do you express
what you have already learned? Or is it some
Guard - Macrophage
combination of both?
Indian Ink & Ink on Watercolour Paper,
It’s a combination of them both. Most of my work aims to 29.7x21cm, 2022
achieve some kind of ‘Informative Encounter’ with the
audience. A gain in scientific information through the use
of a visual medium. Of course, I’ve already learned about
the subject matter whilst making the artwork but there
have been a few subjects I’ve understood more through
creating the work.
What does it mean to be original or unique
(referring to art)?
Tricky. Nothing in art is original, it’s always been
influenced by something else. Think of it more like a tree
constantly growing. I’m just another branch growing off
the influence of previous works and artists. To be unique,
again tricky. Sounds simple but I would say just be
yourself and stay true to what you want to create and
your ideas.
Is the end result more important than the
process? Or the process?
Equal within my practice. To stimulate the informative
encounter I mentioned earlier, the artwork needs to
translate the scientific information visually so that the
audience can access that information. Then, of course,
there’s the end product which serves as the catalyst for
the informative encounter.
Does art have a purpose?
Indeed. However, an artwork’s purpose can be decided
by the artist or viewer. The list is endless in terms of what
art has been made for over the centuries.

72
Marcia Brown
Marcia Brown, an interdisciplinary community
artist and qualified art teacher based in Leeds,
U.K., holds a master's degree in Contemporary
Fine Arts Practices from Leeds Beckett University.
She is a recipient of the prestigious Edna Lumb
Travel Scholarship and the Black Achievers Award
for her contributions to community arts. Her
artistic practice is deeply influenced by African art,
Rastafarian culture, and roots reggae music. In
2022, she was commissioned by The World Re-
Imagined Arts Education Project to create a public
artwork as part of the "Stolen Legacy: Rebirth of a
Nation" series, which now resides in Leeds
Kirkgate Market. Her recent exhibitions include
the British Library in London and the Reginald
Centre Library Hub, where she showcased her
textile pieces for 'Beyond the Bassline: 500 Years
of Black British Music' Additionally, she won the
Design4Change Art Competition for her piece
addressing the Bristol Bus Boycott. Marcia runs
her studio and her works are in both private and
public collections.

‘’My art is deeply inspired by the spirit of the Rastafarian faith, the pulse of Roots Reggae, and the richness of
African heritage. It serves as a visual journey through the stories of Black liberation, the African diaspora,
and my Jamaican ancestry. Each piece I create is a reflection of the profound cultural and historical ties that
continue to shape and define the Black experience.
Through my figurative work, I blend traditional artistic techniques with music and textiles, creating a multi-
layered approach to storytelling. This allows me to reimagine the oral histories that have been passed down
through generations—stories of struggle, resilience, and triumph. My art becomes a canvas where these
narratives come to life, where the strength and spirit of Africa are honored, and where the echoes of my
Jamaican roots resonate.
Textiles, much like music, are central to my practice. They are carriers of memory and identity, woven with
the textures of history and culture. By incorporating fabric and tactile elements into my work, I create pieces
that are both visually and emotionally textured, inviting viewers to feel the weight of the past and the
vibrancy of the present. At the core of my work is a celebration of the enduring connections between Africa
and its diaspora. I seek to express the beauty and strength of this global community while challenging the
erasure of our stories. My art is not just a reflection of personal identity but a powerful statement on the
resilience and unity of Black people across the world. It’s a call to remember, honor, and continue the
journey toward liberation and cultural pride.’’

73 Church Windows of No Return - Fiber Glass, 1.7x1.5m, 2022 Public Art owned by LCC
Your art is deeply connected to your Jamaican ancestry and Rastafarian culture. How did these cultural
roots initially influence your choice to pursue art, and how do they continue to shape your work?
My Jamaican heritage, intertwined with the spirit of Rastafari and the resonant power of Reggae ‘Resistance’ music, has
been a profound source of inspiration and joy. From an early age, I was drawn to the vivid visual language of Reggae
album covers, Sound System flyers, and the evocative illustrations of Rasta artist Ras Daniel. The lyrical messages
embedded within the music continue to be a guiding force, shaping the narrative and conceptual frameworks of my
artistic journey.
Could you describe your creative process for weaving music, textiles, and storytelling into a cohesive
artwork? How do you choose which elements to combine?
My creative choices emerge through a process of experimentation, guided by the narrative and core ideas that initially
inspire me. I begin by establishing sketches, notes, and decisions on a scale, then consider how each element aligns
within the composition. In my textile work, composition is determined as the final step, contrasting with painting, where
structure is established from the onset.
In your recent commission for The World Reimagined project, ‘Stolen Legacy: Rebirth of a Nation,’ you
addressed complex historical themes. What impact do you hope this public artwork will have in Leeds?
My hope is that this work will empower the people of Leeds to uphold the quest for racial equality and justice, offering a
vehicle for education on Britain’s intertwined histories with Africa and Jamaica, and the enduring legacy of African
enslavement. It is intended as a catalyst for awareness, liberation, and unity.
Winning awards like the Edna Lumb Travel Scholarship and the Black Achievers Award speaks to your
impact on community arts. What have these recognitions meant for you personally and professionally?
These accolades have both honored and motivated me, inspiring emerging artists within the Black Diaspora to pursue
their paths with confidence. Professionally, these awards have reinforced my identity and recognition as a Rastafari
artist, creating a platform for my work to be viewed with seriousness and respect.

74 Frontline Chapeltown Power - Mixed media textile, 1x1.5m, 2024

Textile art plays a central role in your practice, allowing you to incorporate both texture and history.
What drew you to textiles, and how do they enhance the stories you aim to tell?
The constraints and demands of my artistic practice led me to embrace textiles, a medium that feels intrinsically
connected to my Jamaican and African heritage. Textiles serve as a visual language that compensates for the lost mother
tongue of my ancestors, transforming history into a tactile narrative that bridges past and present.
Your recent exhibition, ‘Beyond the Bassline: 500 Years of Black British Music’, explored Black British
music through textiles. How does music influence your work, and what role does it play in your
storytelling?
The interplay between color and music captivates me, especially the harmonies within the Circle of 4ths and the color
wheel, which guide my tonal values and color palettes. Roots Reggae music, with its themes of resistance and
enlightenment, remains a vital influence, informing both the narrative and spirit of my work, as seen in ‘Beyond the
Bassline’ Textiles, a homage to the legacy of Sound Systems, musicians, and educators in Chapeltown.
How has your experience as a community artist and qualified teacher in Leeds influenced your practice
and connection to your audience?
I approach some of my works as visual lesson plans, an outlook that shapes my creative choices, especially when
conveying specific messages. For instance, in ‘The Globe Church Windows of No Return’, the imagery and narrative were
crafted with precision to engage and resonate with viewers, fostering connection and understanding.
With works in both private and public collections, what do you see as the role of your art in connecting
communities and preserving cultural narratives?
My art aspires to inspire, educate, and empower communities, nurturing a sense of unity and love. It serves to illuminate
untold stories and honor the contributions of pioneers from Chapeltown, Leeds, bridging cultures and histories through
visual and musical expression.
Your pieces often explore the history of Black liberation and the African diaspora. How do you approach
these powerful subjects and ensure they resonate with contemporary audiences?
My approach is grounded in authenticity, viewing my art as a vessel for the stories of the Black Diaspora. By tapping into
the collective consciousness, I strive to evoke empathy and create an enduring connection with audiences, ensuring these
narratives remain relevant and visible.
What advice would you give to artists interested in using their heritage and personal history to create
impactful community-centered art?
I encourage artists to remain steadfast in their journey, to believe in themselves, and to take pride in their heritage.
Embrace your history, empower your community, and let your voice resonate, paving the way for future generations of
artists dedicated to celebrating heritage and fostering connection.

Chapeltown Power
Mixed media textile, 1x1.5m, 2024
This mixed media textile artwork masterfully
blends embroidery, applique, fabric painting,
and collage techniques to explore the theme of
"Frontline Protest and Resistance" within the
Chapeltown community. It captures the vital
role of music and dance as tools for
empowerment, showcasing the vibrant dance
styles of 'Mara Ya Pili' and the impactful reggae
artists and bands associated with the
'Frontline' movement. Featuring renowned
reggae musicians such as Supa Yout, Exile
Intact Band, The Bedrocks, Matamba, and Wolf
Race Band, the artwork reflects how these
artists entertained, educated, and united the
community across diverse racial lines. Their
music provided a platform for discussing
Caribbean and African culture, and race
relations, and served as a powerful voice for
Black liberation, resistance, and Rastafari,
making significant contributions to Leeds’
reggae scene.

75
Mariaceleste
Arena
Mariaceleste Arena lives and works in Sicily. She mainly paints and draws fantastic and
surreal subjects, combining traditional and digital techniques, and is mainly inspired by
fantastic animals and outsider art. She has exhibited and published in national and
international exhibitions and art magazines.
‘’I make art because it is the most sincere way I have and probably the only way I want to express
myself. In the current creative period, I'm creating anthropomorphic animals, especially elephants,
whose I'd learned to understand their symbolic meaning linked in some way to the identity of the
territory where I'm living. I also often give shape to my nightmares, and my fears, but also to the
positive emotions that often have insects as symbolic references. I believe that in Art there are no
"arrival points", but always and only starting points, where the aim is not to achieve a particular
purpose, but where the most important moment is precisely the creative one.’’
Tribute to Cammarata and Pietrini II Tribute to Cammarata and Pietrini IV
Watercolors, markers and bic pens on paper, 29.7x21cm, 2024 Watercolors, markers and bic pens on paper, 29.7x21cm, 2024

76
In your artist statement, you mention that creating the emotions you want to convey, and how did they
art is your most sincere form of expression. Can you come to represent these feelings for you?
share how this sincerity translates into your choice The insects that represent more than others my
of subjects, especially in your current focus on nightmares but also my fears, terror, and the sensation of
anthropomorphic animals? helplessness, are surely cockroaches: they’re creatures that
The anthropomorphic animals I draw are an expression of I find myself to live with, both in dreams and in reality.
my moods and thoughts in fantasy worlds. I mainly draw They represent also Negativity and depression.
animals joined to others, such as elephants and winged You often bring your nightmares and fears to life in
deer/fawns or self-portraits joined to other creatures that your work. How does visualizing these experiences
blend with natural elements. I love taking inspiration from on canvas help you process or understand them?
shapes and the natural world: I believe that Nature always It's the same action of drawing and painting to help me to
expresses itself spontaneously, always following a certain elaborate on this suffering. Making art becomes a cathartic
path and this is what I intend to do. experience.
Elephants appear often in your work, symbolically I’m able to elaborate and understand these emotions and
connecting to the identity of Sicily. How did this sensations by observing my artworks after a long time and
connection form, and what do elephants represent usually, I ask myself how much tension and suffering I was
for you in this context? experiencing while I was making that drawing or painting.
In the last years, I took very much inspiration from these
animals that I always found interesting. They're so sensitive
and empathic, long-lived, and with a great memory and The heart’s faces
oriented skill. Watercolors, markers and bic pens on paper,
35x25cm, 2024
I took the choice to make fantastic representations of these
animals after having known the artworks of a local
outsider artist, Giovanni Cammarata, creator of a yellow
elephants group inspired by Anibal's elephants' war during
the Punic Wars. His style, colors, and bright expressiveness
of these artworks reawakened my art.
The elephants are always connected to the story of Sicily
also before the human appearance: about 2,5 million
years ago appeared in the eastern part of this island the
"dwarf" elephants, a specific species of elephant with very
small dimensions, about 1mt of height, due to the
insularity; they were very long-lived too, being at that time
so few predators.
The rest of the dwarf elephant skeletons can be visited at
the Archaeological Museum "Paolo Orsi" in Syracuse.
The same Cyclops myth has been inspired by the elephant
skeletons found by Ancient Greeks, probably always in the
same area of Sicily.
Terrorized and shocked, they sure believed that the central
cavity in the skull where it found the proboscis was the
cavity that was a human eye.
As a last reference, the Elephants War arrived at the
ancient Carthage in Sicily during the First Punic War.
So, there are so many historical and artistic references that
connect Sicily to the elephants, so these discoveries
fascinated so much me that keep living them through my
art.
Insects serve as symbolic references for emotions
in your art. What qualities of insects resonate with

77
You’ve mentioned that art is a continuous journey with only “starting points.” Can you elaborate on this
philosophy and how it shapes your creative process?
With this statement I mean that in every phase of the artistic path, as well as in life, the artist can always re-invent
himself, re-starting again, giving importance to the creative process itself and living it simply to fully express himself
without giving so much limits.
Each artwork can be a source of inspiration to make another one, completely different than the previous one. If an
artwork may be not appreciated or understood, it doesn't matter: the important thing is to move forward and be
immersive and aware of what you’re doing.
Combining traditional and digital techniques, how do you decide when to use one medium over the other,
and what role does each play in your finished pieces?
I often use digital techniques to make more “alternative” or fewer represented subjects than my main artistic
research, such as abstract forms or insect nightmares.
I draw in a digital way also to represent pop and comic subjects.
I like so much digital art because it’s more easily enjoyable for the public than physical ones. Moreover, the fact that
fascinates me is that this kind of art is made and they belong to the virtual world, literally another dimension.
On the other hand is a fact that just with traditional art the artist can have a real art experience through materials and
manipulating them. I try always to find a balance between them, depending also on my moods.
Your art is inspired by fantastic animals and outsider art. What elements of outsider art speak to you, and
how do they influence the fantastical aspects of your work?
Surely there are so many elements for my inspiration took by the Outsider Art: subjects like animals as a donkey or the
rooster, taken from Antonio Ligabue’s artworks and also by the Hlebine Croatian artists; by the warm tones used by
them and also specific certain stylized made of these subjects; by the visionary sculptures of the Sicilian artist Mariano
Pietrini, that evoke in myself a pure and mysterious world and at the same time wild, prehistorical and unknown world.

78 Feminine power - Graphite on paper, 21x29.7cm, 2024

How has living in Sicily shaped your artistic style and choice of symbolism? Are there specific aspects of
the region that inspire you creatively?
Surely living in Sicily, thanks to its human and artistic story, due to developed my expressive world and
contributed to the use more brighter tones, especially in my most recent artworks. In my works, I've got
inspiration also from the symbolism of Neolithic Matriarchal cultures present in the Mediterranean territories and
connected to the Mother Goddesses cults, represented as frogs, doe, pigs, snakes, eagles, and many more
creatures. The most known symbol of Sicilian mythology is Medusa, the personification of the woman-monster
with the power to petrify everyone who looks at her eyes. She's, in reality, the representation of the independent
woman with the power to give life; this power terrorizes the man who tries to exorcise this fear. Medusa has a
head full of snakes, surely a reference to the ancient cults of the Goddess Mother in Ancient Europe. In the
Neolithic period, snakes were a symbol of regeneration due to their capacity to change skin.
With your works exhibited and published internationally, how do you feel viewers from different cultures
interpret your symbolic use of animals and insects?
I hope that nobody’s feeling offended due to some subjects that are represented in my works. Usually who see
these pictures appreciate this imaginary figurative world and I hope that through them can be more curious and
comprehend especially for the animal world.
What new subjects or themes are you interested in exploring in the future, and do you foresee any shifts
in your approach or technique?
My art research will keep going for sure and it will be dedicated to the hybrid animals and the elephants. I want to
evolve it. I want to keep taking inspiration from outsider art, especially the ones connected to my territory. Finally,
besides painting and drawing, I would to experiment also other art approaches such as sensory and more participative
by the public through art forms such as artists’ books or sticker’s art.

The dinoplant - Markers,watercolors and bic pens on paper, 25x35cm, 2024

79
Maro
Zacharogianire
Maro Zacharogianire Is a visual artist who through painting, theatrical performance, and interactivity
explores the semiotics of social structure and cultural heritage, creating environments where queries
of identity take place in the socio-political context of the postmodern. Graduated from the Fine Art
School Of Athens in 2008 with honors. Has attended courses in theatre and performance with Roula
Pateraki, Mania Papadimitriou, Ester Gonzalez, Cosmin Chivu, and others. Member of Puzzle group by
Maria Lalou. Member of Plasthra 16. Has created the Yellow Theater group by which she has directed
5 theatrical performances, with her text. Has given her first Solo painting Show ‘The Roses Are Yellow’
in ArtAppel Gallery in Athens, Greece. Has participated in exhibitions such as the Athens Biennale in
2014 with nomadic architectonic, the Biennale of Young Artists in Vari 2008 with Plastira group, Bios
Performance festival, Aeschelea Art Festival, Circulo de Bellas Artes in Madrid. Has also performed in
open spaces such as the Styles of Olympiou Dios in Athens and the Artemision in the Peloponnese.
She is researching the methods AI is invading our world as well as artistic activity. She has organized
and curated the Kourdito Mantarini Art Festival in 2016 on mountain Penteli.

All That Fur Tipsy Gipsy All That Fur #2

Acrylic on canvas, Acrylic on canvas, Acrylic on canvas,

190x110cm, 2018 210x110cm, 2018 210x110cm, 2017

80
‘’Through the study of ancient authors of Greek Drama, Shakespeare, and other modern playwrights such as
Becket I absorb the form and axis of the plays transforming them into painting sculpture and direction.
Through tradition and culture, I find ways to communicate my art, reaching out to the public to grasp the
play and verse and icon to find its space in the sociopolitical spectrum. I swim in a sea of colors and form
and margin to communicate my statement that all art is necessary for the evolution of mankind. I find that
in the sphere of creation, life becomes art and art becomes life, and I fulfill my purpose to create and shape
my vision of life in the now, carrying the prophets of the past to navigate into the future, in a quantum
physics manner of being... where all is possible and everything is interconnected.’’

Love Pixel Orgasm

Acrylic on canvas, Acrylic on canvas,

180x210cm, 2019 190x230cm, 2019

Can you describe how your exploration of Greek Drama influences your painting and theatrical
performances?
I have been studying Ancient Greek Drama since 1999 when I entered the Athens School of Fine Arts. I was fascinated by
the rhythm and choice of words, along with the case of the tragic hero that awaits Katharsis, When I started painting in
2015 I did a series of large-scale portraits that I call Heroes. So both my paintings and my texts that I later presented as
theatrical performances with my theatre group Yellow had a taste of the glory and symbolism of Ancient Greek Drama.
All my texts ended with a dramatic form of exit and all of the heroes would experience death as an inevitable stance of
life, after experiencing pathos and eros. The dramatic figure is always more appealing and torture has a way with the
arts. I only write when I am depressed, I paint in whatever state I am in. That is my Katharsis.
Your work blurs the lines between different mediums. How do you approach the integration of painting,
performance, and interactivity in your practice?
I let myself dive into a sea of opportunities and throughout my career I have allowed myself to explore different
mediums, After my school Years I was thrilled with performance and acting only to discover that I am a backstage
person, and I am still in love with the stage I was caught up with directing my writings and texts. I explore directing as if
it was a blank canvas, the human body was my brushes, and the stage my canvas. Until one day I woke up in the
summer of 2015 starving for painting, all this experience with the theater drove me to a clear idea of what exactly I
wanted to paint and how the content and the form were ripe in my head and heart and since then I have been painting
on an autobiographical axis, and lately, I have managed to move from the narcissistic egocentric point of view, exploring
myths and personas – heroes from the Greek drama and mythology.

81
Can you discuss a particular moment or piece in your career that was pivotal in shaping your identity as
an artist?
It is difficult to isolate a specific work, that confided in me. I remember my first attempt as a director coming from a
visual artist background “While I was speaking to you last night”. It was very much well accepted by the crowd and gave
me the strength to create another 4 theatrical performances. Also, my first Painting in 2015, after years of working with
other forms of art proved to be exactly what I had in mind and gave me the force to dive into painting as a creator, from
start to end. Now I have also discovered sculpture that I am giving birth to creatures of my mythology in 3D.
How do you research and incorporate contemporary themes, such as the impact of AI on society, into
your artistic creations?
I am fascinated by technology and the endless opportunities, I have tried painting in Photoshop and After Effects, and
then AI came into our lives… I am very eager to see evolution tearing reality apart… I see a continuation of my work
through AI, also to life, as all the stages in my career followed an inner state of evolution, In my painting, I added a lot of
animals in my painting as they were always around, Also taking my figures one step further I was led to sculpture where
I see my figures forming in 3D, this will lead to exploring these personas through technology and AI. I will love to see my
figures my creatures my monsters brought to life and motion through AI…
What role do you believe art plays in the evolution of humanity and societal understanding?
I am a narcissist in my art but not in my life… I create images and scenery where my creatures and actors or rather
heroes are very much in love with themselves. They stand out. In general, the ego is very essential in the being, and
narcissism when not extreme is healthy, because it is nutritious to the self. Same with art it is nutritious to humanity, it
shows the way to the inner self. But we do not create for that, we do it because it is nutritious to the soul. Euripides was
creating his texts for two people only, himself and Socrates. I also create art to satisfy myself and my curator. If I am
content with the work, I publish it and believe that the world will follow, and they do, if they do not it is not my problem.
Your artist statement mentions swimming in a sea of colors and forms—how do you select and
manipulate color to convey meaning in your work?
Picasso was asked why he chose a blue color to paint a form, and the answer was that I ran out of red. I do not believe
that it was so honest of him since he was always very skeptical about his work. One time I ran out of black and could not
complete my painting as all my forms had a black outline and I was forced to use another color deep purple and blue
and to my surprise, it worked! In general, I think and design my forms and choice of colors in my head before I start
painting, I usually have all the colors pre-decided, and then I get to work. What is amazing about painting is that the
blank canvas entails the forms and I envision the drawing on the blank canvas… that is the magic of painting…. You can
follow her as a fairy a mist or a witch!

Man and Flower #2 - Acrylic on canvas, 50x50cm, 2020 82 Man and Flower - Acrylic on canvas, 60x60cm, 2020
Can you elaborate on how your involvement with groups like the Puzzle group and Plasthra 16 has
influenced your artistic journey?
I like to be part of something promising, and all the projects I have undergone gave me something valuable…. Trying to
solve the riddle with a company is always something that is fortunate and unfortunate… fortunate because you share
your thoughts and unfortunate because you may lose yourself, however losing the self is always something that gives
valuable information to the self… I found, however egocentric I may find myself to be a leader, hence my theater group
Yellow, where I was directing and forming my ideas the way I chose to. Same with painting you are the director, the one
who makes decisions and makes the work make sense.
How do you curate experiences for audiences in your performances to engage them with both the
aesthetic and the socio-political context of your work?
George Kallas said that a work of art should answer to both the content and the style of a work of art. Working with
tradition, and the socio-political context of a past that is great and rich in scenery that you try to place in the present is a
process that brings you face to face with anthropological truths. It is without doubt unheard of that we still protest
against war nowadays. Democratic states abide with diversity and minorities are striving to stand in the picture. We
need to hear the voice inside and test it with external obscurities and truths meaning the society we are in, that leaves a
mark upon each one of us, and therefore defines us and our actions, such as creating art. We are not alone.
In what ways do you see your art as a conversation between the past and the present, and how does that
conversation guide your future projects?
Once you are true to yourself, your art must be also true. One thing leads another, for example, at first I was painting
what was around me, and that is myself my partner, and animals… digging the subject of animals and art, I discovered
Greek and Egyptian Mythology, Being Greek I decided to examine my past and portray it in a more gay and queer
attitude, gay as in happy and not necessarily a sexual orientation. One thing leads to another, you just need to be
patient and work a lot, and the future is shaping before you slowly, like a licker that you take small sips and taste slowly
to ship it to the bottom of your heart.

Ensemble Cry Etouto To Maxairi Edw

Acrylic on canvas, Acrylic on canvas,

50x50cm, 2020 60x60cm, 2020

83
Nika Genesis

Torrents XVII - Glazed Ceramic Stoneware, 2024

84
Nika Genesis was born in 2004 in Donetsk, Ukraine. Despite lacking formal art education, her passion
for creativity led her to Brighton, UK, in 2022, where she pursued a Foundation degree in Art at the
University of Brighton International College. She then advanced to a Bachelor's degree in Fine Arts at
the University of Westminster in London, where she currently lives and works.

‘’I am a mixed media artist who daringly explores the intensity of human experience and emotion through
an esoteric and conceptual lens. My work incorporates elements of ceramic sculpture, textiles, woodworking,
and found objects, all coming together in medium-scale installations. My style leans towards the industrial,
blending rust, metal, and plaster, while maintaining a delicate balance between the messiness of human
nature and the stillness of spiritual experience. I strive to create pieces that feel familiar, welcoming, and
nurturing to the viewer. Although deeply personal to me, my work remains accessible and grounded, acting
as a mirror for anyone willing to look. In my art, I seek everything humane amid worldly brutality, stripping
away the sugar coating to find comfort in what remains. It’s a reimagined rebellion that speaks softly and
confronts rather than hides.’’

How does your upbringing in Donetsk, Ukraine, shape the themes and emotions expressed in your art
today?
My life up until my move to the UK in 2022 was very isolating; I was stuck in my room most of the time, with nothing
much to do outside of it. It takes a horrible emotional toll on you, but at some point, you learn how to create your world
as a defense mechanism, which feels like slowly disconnecting from reality, but also gives you a unique personal
perspective and space for deep introspection. These things stick with me to this day, when I have the opportunity to
channel them into my creative practice, it almost feels like the younger version of me finally has a voice and confidence
to speak freely, to an actual audience.
What led you to pursue a creative path despite lacking formal art education, and how has your journey
influenced your artistic voice?
The beginning of my creative journey was a huge leap of faith (and it continues to be). I didn’t have anyone to show me
that there was a possible future for humans like myself, so I just had to have blind trust in what I felt, and I felt that
there was something out there that would be much gentler than my reality. I’ll admit that I’m constantly riddled with
doubts, but I notice that my best work comes when I fully give in to trusting myself.
Can you elaborate on your use of mixed media and how combining ceramics, textiles, woodworking, and
found objects enhances your storytelling?
I enjoy making things, and I like it when they look handmade, with lots of natural texture. That is what makes the work
look human, and relate to the creature observing. I'm always on the lookout for objects that look like they have a life of
their own: they have a soul, they are breathing. They have a life outside of the white gallery plinth. But I also think of the
origins of my chosen material, and the unique alchemy behind it: in the case of ceramics, textiles, and wood I call the
material to life, and dictate its purpose. However it’s the found objects that I use that give my work a contrast, I require
them to settle in this newfound environment, but that is up to the object, not me.
Your work navigates the tension between industrial materials and spiritual themes. How do you find a
balance between these contrasting elements?
When I was younger I had a deep interest in esoteric religions, I’ve spent a lot of time reading about paganism,
traditional witchcraft, Gnosticism, and alchemy. I have however struggled to attach myself to a certain set of beliefs of a
singular faith. So, I have based my artistic practice around creating that spiritual experience from scratch, with the
things that were immediately available to me, often industrial materials that I came across in my native town. I believe
that you don’t require deep religious knowledge or ritual equipment to practice spirituality, any object is fit for
transmuting the energy that you’re willing to work with. Everything you need is already in your possession.

85
What processes or rituals do you engage in when creating your installations, and how do they reflect your
personal experiences?
All the things I make are a resolution, or more realistically a conclusion to a certain period of my life. When I was in the
timeframe of Diasporic Ether Eternal, a sculpture series that references my isolating childhood experience, I felt like I
was mentally regressing into my child self: I had deep distrust in people around me, I was scared of leaving my home in
London and was riddled with paranoia. So my project started like this, I was on a mission to make something, to bring
this feeling to life and get it out of my head. And it felt cathartic to do so. I sit with the bad things until I can make
something truthfully good out of them. Making things for me is the end of the work rather than the beginning.
How do you define the concept of "reimagined rebellion" in your work, and what message do you hope to
convey through this lens?
We’re used to protests being loud and destructive but I think the most brutal thing a person of our age could do is
acknowledge their vulnerability and fragility. When I say rebellion I mean surrendering to ourselves, remaining gentle
against all odds.
Your art is described as both deeply personal and accessible. How do you ensure that your pieces
resonate with a wide audience while maintaining your individuality?
I always think that as long as you’re vulnerable and honest and can convey that in what you create, it will be accessible.
Not all of us have the same access to education, however, we will always have access to our humanity. If someone were
to open your heart to you, you wouldn’t have any other choice but to shut up and listen, that’s just how it is.
Can you share a specific piece from your recent works that captures your exploration of human
experience and emotion?
heaviest 115 is a wall-mounted piece featuring an embroidery of a palm pointing downward, with threads attached to
the fingers. at the other end of the threads, there are wonky-shaped nails made out of glazed ceramic. In this work, I’ve
explored ideas of human connection and how it gets affected by social constructs through a lens of
personal experience. I delved into discovering their formation process by reflecting on my memories of childhood and
school years in Ukraine, finding out how post-USSR constructs were intertwined with my education, affecting my
perception of gender roles, desire, and conformity.
How do you envision your art evolving in the future, and what new themes or materials are you curious
to explore?
I always have this vision of building a sanctuary, sort of like a temple. I wish for people to experience spirituality outside
the constraints of a church, and art outside of the coldness of a gallery space. I tend to think from time to time that all
the work I make will at some point fill that space, and my dear artist friends will join me as well.

Ugly - Glazed Ceramic Stoneware, 2024

86
In what ways do you think your background and
experiences in Brighton and London have
influenced your development as an artist?
I tend to think that my solitary living in Ukraine gave me
the time to develop my creative visions, however, I’m
grateful to be here in the UK, because without all the
people I met in Brighton and London, I wouldn’t have
the ability to find any potential in my vision, the words
to describe what I was looking for. I’m still in the process
of finding my stability within the identity of an artist and
finding confidence within the art world, but my path is
much clearer now.

Part of the Diasporic Ether Eternal series

Diasporic Ether Eternal is a series of handbuilt ceramic objects that

serve as a habitat for the mind of the artist. These sculptures were
made in response to loneliness and struggling with finding a
connection to home. The 'ether' was created as a permanent home
for the soul of the artist, and now, the viewer too.

an altar, an offering
Glazed Ceramic Stoneware, 2024

inside out myself grotto, an opening

Glazed Ceramic Stoneware, 2024 Glazed Ceramic Stoneware, 2024

87
Nóra Bézi
Nóra Bézi was born in Budapest, Hungary, and
currently lives in Spain. She graduated with a
BA in Art History and Aesthetics at Eötvös
Loránd University in Budapest in 2014. Her
research and dissertation work explored the
influence of classical antiquity on 20th-century
art. Although she pursued a different career
path, art has remained an integral part of her
life. She has consistently created sculptures
and paintings alongside her day job, with her
focus gradually shifting back to the arts in
recent years. Through her sculptural work,
Nóra reinterprets the female form, drawing
inspiration from various artistic styles, from
Greek antiquity to the geometric abstractions
of modernism. In her paintings, she alternates
between abstract and figurative pieces.

‘’Art has always been an important part of my

life, from studying art history to taking drawing
and ceramic classes. My primary focus is the
female form, both in ceramic sculpture and
painting. By revisiting different artistic styles, I
explore the various lenses through which
femininity has been viewed.
My work blends abstract and figurative elements,
combining soft and angular lines. Each piece is
intentionally left incomplete, symbolizing the
fragility of the human experience and our
universal longing for wholeness.
Similarly to my sculptures, my figurative
paintings also focus on the female form and the
use of negative space, or a ‘void’; reflecting the
boundaries of presence and absence, self and
‘other’, and the conscious and subconscious.’’

Stoneware ceramic, 21x14cm, 2024

88
Your background in art history is rich, especially with your studies on the influence of classical antiquity
on 20th-century art. How has this research influenced your approach to creating contemporary works?
Ancient Greece is generally considered the birthplace of Western culture. In a way, it has influenced all art created since.
During my art studies, which were some time ago, there was a strong focus on antiquity. We read a lot of Greek
philosophers — the origins of aesthetics.
For my thesis, I explored themes of mythology in the art of Cy Twombly, whose work reinterpreted Greek and Roman
myths in abstract expressionist painting. I found this fascinating because the two things couldn’t be further apart, yet he
connected them and evoked a feeling of nostalgia for ancient times through his paintings.
I’m drawn to art that blends classical and contemporary themes, sculptures, and paintings with historical references —
these pieces always inspire me.
You’ve mentioned a focus on the female form in both your sculptures and paintings. What is it about this
subject that continually draws you in, and how does it evolve in each new piece?
What makes it a constant source of inspiration is the countless ways femininity and the female form have been viewed
and symbolized throughout history. And still, we continue to discover new interpretations and expressions.
Your work blends abstract and figurative styles. How do you decide when to lean towards one over the
other, and what role do you feel each style plays in expressing femininity?
It’s not that much of a conscious decision, more of an intuitive process. Some days, I start with a specific idea; other
days, I feel like letting go and just seeing what comes out of it. Usually, after working on some figurative pieces, I need to
switch to abstract, and vice versa.
It’s interesting how the two types of painting can be so different — sometimes it’s like they weren’t even painted by the
same person. But there are feminine themes in my abstract paintings too: they almost always feature florals and have
something dreamlike about them.
In your artist statement, you talk about leaving your work "incomplete." Could you share more about this
choice and how it speaks to themes of human fragility and longing?
I’ve always been fascinated by antique sculptures with broken-off parts. It’s almost like they are even more beautiful this
way. They are a result of enduring hundreds or thousands of years, surviving wars, and being transported to different
places. We can’t help but think about their rich history.
The pieces I create are intentionally made to appear broken, which is a bit ironic but this way, they not only refer back to
antiquity but reflect our fragility as humans too.

Stoneware ceramic, 23x16cm, 2022 Stoneware ceramic, 14x12cm, 2023

89
Having taken ceramic classes and produced sculptures, how do the tactile aspects of sculpture influence
your creative process? Do these experiences inform your paintings as well?
I’m planning to combine the two and create more tactile, three-dimensional ‘paintings’, for example on a base of reliefs
or tiles made of ceramic.
Living in Spain and having grown up in Hungary, do these cultural landscapes influence your artistic style,
especially in how you portray femininity?
I wouldn’t say these two countries in particular have influenced my style. The biggest impact came from the museums I
visited and the art I learned about. I lived in London for a few years, where the arts scene is incredible, with hundreds of
museums and galleries.
Some years ago I spent a month in Athens and another in Sicily, both of which have deep connections to antiquity. The
architecture and sculptures there have had a profound effect on me.
You use negative space as a metaphor in your work, exploring ideas of presence and absence, self and
other. How does this "void" manifest in both your sculptures and paintings, and what do you hope
viewers feel when encountering it?
This is especially true for the figurative paintings. I often think about the relationship between the conscious and
subconscious, dreams and reality, and how we and our ‘self’ are connected to the external world. This is visible in the
paintings: they exist in a dreamlike state, a ‘void’, as if they were suspended in time and space.

Stoneware ceramic, 12x20cm each, 2024

90
You’ve noted that you reinterpret the female form using inspiration from Greek antiquity and
modernism. Could you describe the visual language you’re creating through this blend of historical and
modernist perspectives?
When I start a sculpture, my main inspiration is almost always antique busts and torsos. I’m gradually exploring new
ways to incorporate abstraction into them, often through the use of geometric elements and sharp lines seen in modern
sculpture, for example in the works of Henri Laurens.
Your shift from a different career path back into art is fascinating. What prompted this change, and how
has your previous experience influenced your current practice?
I still have a regular job, but I started freelancing almost two years ago, which has allowed me to spend more time on
sculpture and painting. The more time has passed, the more I wanted to create. I’m constantly thinking about new ideas
and shapes.
What do you hope to achieve with your
exploration of femininity and the subconscious in
your work? Are there specific dialogues or
emotions you aim to inspire in those who
experience your art?
There’s no specific goal, no dialogue or emotion I hope to
achieve. I don’t plan the outcome; they simply capture a
fleeting feeling, a state of mind, or a concept — they are
always open to individual interpretation.

Stoneware, ceramics, 17x11cm, 2024

Earthware ceramic, 17x13cm, 2024 Earthware ceramic, 15x11cm, 2022

91
Nowshin
Prenon

Mango shower - Hand Dyed Silk Yarn, 30x22.5cm, 2024

92
Nowshin Prenon is a Textile Artist, specializing in woven textile design, blending traditional techniques
with modern innovations. Her process investigates both digital explorations and expressive winding
techniques. Nowshin is interested in the relationship between color and form, which she uses to
create layered textiles. Playing with line and color in different order of thread through wrapping allows
her to construct intricate artwork. The focus of her work is to share knowledge through craft. Nowshin
uses her woven work and its process to advocate winding as an art form. To encourage the learning
and passing of the skills of traditional crafts, she raises awareness through running workshops.

‘’As a textile artist, I explore my Bangladeshi cultural heritage through color, architectural forms, food, and
festivals. My work explores the endless possibilities of color, form, and texture through the process of
winding. I am fascinated by how different thread arrangements can transform simple materials into
complex visual experiences. For me, the winding technique is not just a craft; it is a form of storytelling, one
that connects us to the past while allowing us to innovate for the future. Through my art, I aim to advocate
for winding as an expressive medium and share my skills with others to elevate this technique into an art
form.’’

Staircase - Hand Dyed Silk Yarn, 15x31.5cm, 2024

Mango shower - Hand Dyed Silk Yarn, 44x32cm, 2024

Mango shower - Hand Dyed Silk Yarn, 44x32cm, 2024

93
How has your Bangladeshi heritage, including its colors, architecture, food, and festivals, specifically
influenced your approach to weaving and textile design?
In my design process, I explore the culture of my heritage by exploring rich color palettes and architectural forms,
creating a fusion that reflects both traditional and contemporary aesthetics. A lot of my inspiration comes from the
urban landscape as well as geometric patterns from traditional Islamic art.
Can you walk us through your process of winding?
Winding for me is a blend of intuition and structure. I start with a carefully chosen color palette that reflects the mood or
theme I am aiming to express. From there, I arrange the threads thoughtfully to explore the interplay between subtle
shifts in hue and bold contrasts, allowing each color to build upon the previous one.
The process can be challenging, especially in finding the right balance; colors that seem ideal in theory sometimes
behave differently when layered together. These moments of surprise are what I find most exciting as they open up
opportunities to reimagine my approach and push the boundaries of color dynamics. Each unexpected result deepens
my exploration and keeps the process fresh and creatively fulfilling.
How do you balance traditional techniques with modern innovations in your textile work?
I view traditional techniques as the foundation, it is a language that connects me to the rich history of textile arts. I have
great respect for the craftsmanship and process of traditional weaving, but I also embrace innovation by experimenting
with structure, color, and form through digital methods. For instance, using winding as a standalone art form rather
than just a preparatory technique lets me explore its expressive potential in new ways. By integrating digital explorations
and visual references, I bring a contemporary perspective to my work while honoring the heritage of weaving. This
balance allows me to create textiles that are both deeply rooted in tradition and creatively forward-looking.
In what ways do you see the winding technique as a form of storytelling?
For me, winding is a way of telling stories that are deeply rooted in my cultural heritage and personal experiences. I
draw inspiration from visuals that hold meaning for me—abstracted shapes, patterns, and colors from objects and
paintings I feel connected to. Each piece becomes a joyful collection of these elements, woven together through color
exploration and playful thread arrangements. I begin by extracting and analyzing colors that reflect the mood or
memory I want to convey, experimenting with proportions to find the perfect balance. By interlacing threads in different
sequences, I create layers that capture the essence of my journey, blending tradition with personal narrative in a way
that’s both expressive and joyful.
Symmetry - Hand Dyed Silk Yarn, 15x31.5cm, 2024

94
Your work has a strong focus on the relationship between color and form. How do you approach this
relationship in each piece, and what effect are you hoping it has on viewers?
Color is the foundation of my work. Each piece begins with selecting a palette. I combine colors using threads. I overlay
colors to create new colors, much like blending paints to create entirely new shades. I experiment with different
sequences and arrangements to develop unique color combinations, exploring endless possibilities until the piece takes
shape. It is very much a self-lead process, which leads to a lot of experimentation. I carefully balance shapes and
symmetry with color gradients, I aim to create a visual experience that feels both immersive and harmonious.
Could you tell us about a workshop you’ve led that was particularly impactful?
At the Vintage Festival, I introduced participants of all ages and backgrounds to winding as a textile technique. It was
inspiring to watch them quickly connect with the process, engaging in hands-on exploration while discovering its
calming, meditative qualities. Seeing the positive response from a diverse group reinforced my commitment to making
traditional textile techniques accessible and relevant today. The experience strengthened my belief that these practices
are not only worth preserving but have the potential to inspire creative growth and new perspectives in modern textile
art.
How do digital explorations influence your winding and weaving process?
Digital tools are essential in helping me visualize color palettes and compositions before I begin the physical work. I use
programs to experiment with color combinations, gradients, and geometric patterns, refining my ideas and streamlining
the creative process. This digital pre-planning provides a structured blueprint that guides my work, which I then adapt
organically during the winding process.
What are some elements of traditional Bangladeshi craft that you feel are especially meaningful or
relevant today? How do you incorporate them into your art?
Traditional Bangladeshi crafts, such as weaving and block printing, carry a rich history and cultural symbolism. These
crafts emphasise patience, precision, and an eye for detail, all of which resonate deeply with my practice. I incorporate
these values into my work, focusing on intricate details and the subtle interplay of colour and form. By doing so, I aim to
create pieces that are contemporary yet reflective of a longstanding heritage of textile craftsmanship.

How do you envision winding evolving in contemporary

textile arts, and what impact do you hope to have on this
evolution?
I believe winding has incredible potential as an expressive medium
beyond its functional role in weaving preparation. By showcasing it
as an art form, I hope to elevate it as a standalone practice in
contemporary textile arts. I want to use winding to create abstract
installations, three-dimensional pieces, and larger-scale artworks. I
hope to inspire others to explore this technique as a form of
expression, helping to establish it as a recognized medium within
the art world.
What stories from the past or your cultural heritage do you
feel are most essential to pass down through your art?
For me, winding is more than a design process that I use in my
practice. It is a way to celebrate and showcase Bengali culture
through color, pattern, and texture. The technique allows me to
explore elements of my heritage, taking inspiration from colors and
motifs rooted in cultural stories and personal experiences. I hope
future generations can connect with these narratives by witnessing
how tradition and contemporary art intertwine to create something
new yet deeply rooted in heritage. Ultimately, I hope my work
inspires others to explore and share their own cultural stories.

Mango shower - Hand Dyed Silk Yarn, 44x32cm, 2024

95
 Oliver Hurst

Oliver Hurst graduated from Falmouth College of Arts in 2006 with a degree in Illustration. He has
produced artwork for various publications, including the Financial Times, Country Life and Time Out
magazine and has illustrated books for WQS, Faber and Folio Society among others. He paints in oils
on board or canvas and his work is heavily inspired by 18th and 19th century history and the painters
of those eras. He lives and works in Bath, with his partner Urszula and their cat.

‘’I have a strong interest in history’s societal and political swells and deflations, from which came the
inspiration to start a series of paintings I’ve named ‘Capriccios’. It is a merging of my love of 18th and 19th
century painting styles and my interest in social history and what its future may bring. The central focus of
these paintings are ruins. Based on similar structures in Rome and throughout Europe, these may symbolise
tragically fallen enlightened civilisations, or the reverse; self-imploded and doomed empires. Either way, they
are scenes of people coping with what has been thrust upon them, for better or worse.’’

Capriccio VI - Oil on panel, 32x50cm, 2023

96
Can you tell us more about how you blend historical aesthetics with contemporary social reflections?
My approach is to look at the social connections between the past and present and see what can be used visually to
connect them and their consequences/results. There are so many similarities to the pre-medieval world it’s not too
difficult!
Ruins are central to your work, symbolizing both fallen and doomed civilizations. What inspired you to
explore this theme, and how do you decide which historical elements to incorporate into each piece?
I was first struck (visually) by this idea on a trip to the Roman Forum ruins, which, upon reflection, then fit fairly
seamlessly with the political ideas I already held. The historical elements I choose are mostly based on their aesthetic
appeal, and if possible their relevance in their own time.
Your interest in the societal and political changes of history is evident in your work. Are there specific
historical events or eras that most influence your art?
I think the Enlightenment era, what it did away with, and how its ideas were used, and subsequently forgotten, have
been influential. In short, it's the idea of reasoning and progressive attitudes over reactionary ones.
How do you think historical perspectives, like those from the 18th and 19th centuries, can provide
insights into our current social or political climate?
“Those who forget history are doomed to repeat it”. I heard this at an early age and didn’t pay much attention to it until I
saw the patterns repeating myself. If you are familiar with the events of those eras, what caused them, and how awful
the outcomes were, you can gauge what might come next in our time, and why.
Working in oils, how do you approach capturing the textures and ambiance of historical scenes? Do
specific techniques or materials help evoke a sense of the past in your paintings?
I very much use techniques and approaches from those eras. Especially a limited palette, very close to that of a Zorn
palette, which helps me get great earthy hues. I also look at a lot of paintings from those times for guidance on how to
paint clouds, brickwork, etc.
How has your experience in editorial illustration influenced your fine art practice, particularly in terms of
composition and storytelling?
My illustration practice has had a huge impact on my painting work. It’s almost built-in that a painting should have a
narrative in some form. The difference is when I’m illustrating, I normally have to visualize someone else’s narrative, but
with fine art, I get to illustrate my own!

Capriccio VII - Oil on panel, 35x75cm, 2024

97
 Capriccio V
Oil on canvas,
60x40cm, 2023
In your artist statement, you mention depicting people "coping with what has been thrust upon them."
How do you approach illustrating these narratives of resilience or struggle in your Capriccios?
Most are based on my thoughts on how different types of people would react to this world of ruins. I imagine some
blithely carrying on, some striving to piece together a new life, while others wonder how it could’ve possibly gone wrong.
Living in Bath, a city rich in historical architecture, how does your environment shape your work? Are
there specific architectural influences from Bath that appear in your paintings?
I’m very lucky to live in Bath, and I borrow many architectural elements from it, especially little details like cornicing and
plant growth in brickwork… I often just have to look out my studio window for reference!
Your work is influenced by painters of the 18th and 19th centuries. Who are some of the artists from that
era you admire most, and what aspects of their work inspire you?
My favorite artists change around but I’ve always loved Turner, Friedrich, and later, painters from the turn-of-the-
century period such as Chełmoński and Arnold Böcklin. I’m really inspired by the careful use of color and tone, which is
why I'm drawn to these particular artists.
What do you hope viewers take away from the historical themes and ruinous landscapes in your
paintings? Are you hoping to spark reflection on modern society or to evoke a certain emotional
response?
I’m hoping to spark some reflection on modern society. I never mean to preach, but I do hope to gently nudge viewers
into understanding that we have collectively been here before, more than once, and that it doesn’t have to end in ruins.

Moth on a Building Capriccio VIII

Oil on panel, Oil on panel,
30x20cm, 2024 30x20cm, 2024

99
 Paul McCloskey

Paul's visual influence is drawn from his surroundings, landscape, imagination, memories, and
emotions, these influences are primarily a catalyst for expressing connection to divinity and are
therefore secondary to this expression, the primary purpose being process, allowing, presence, and
place. The practice of allowing and presence throughout the creative process is a catharsis,
deliverance from the ego mind, a meditation in present moment practice.
The varied and stunning Irish landscape, coupled with our unsettled weather and therefore often
fleeting and mottled right, inspires him greatly. Often a view will change or an area will be illuminated
by a simple break in the clouds, highlighting a shimmering treasure or jewel, a corner of a field, the
side of some rocky cliff, or the connection to a whole. Effectively, this encourages us to see and most
importantly feel its beauty and spirit therefore reconnecting to this vital part of us.
The Suggestion of heaven and earth in constant struggle, merging yet separable, solid yet amorphous
all suggest the multidimensional nature of spirituality, the beginning and the end, the alpha and
omega, the struggle within, between the conditioned soul and the divine/spiritual self.
Wexford, Ireland (Gorey) based painter Paul McCloskey originally from Carrickmacross, Co Monaghan
attended the National College of Art and Design (N.C.A.D) Dublin and also De Montfort University UK
where he received a master’s degree in fine art (MFA) in 2010. In 2021/22 Paul completed the Turps
London CC art course. He has been involved in visual art education for over 30 years.
Paul is a professional member of ‘visual artists Ireland’. He has exhibited extensively both nationally
and internationally throughout the UK, London, Manchester, Nottingham, Venice, Paris, Macedonia,
Bulgaria and New York.
His work is held in many collections including the OPW (Office of Public Works) state art collection, the
Osten Art collection, Gallery of Drawing Macedonia, Monaghan and Wexford County council
collections, Ulster Hospital Belfast, Monaghan VEC, RTE, Irish Bank of Commerce, Kavanagh Heritage
Centre, Smurfit art collection as well as numerous private collections.
He was the 2016 recipient of the special award by the international jury at the Osten Biennial of
Drawing/Works on Paper in Skopje, Macedonia where five of his works now form a permanent part of
the 'World Gallery Of Drawing Collection' of the Museum of Drawing/Works on Paper.
He was one of 13 artists shortlisted for the ‘London Contemporary Art Award 2018 where he was
awarded the 'materials bursary award'. Paul received Arts Council funding (Agility award) in 2021 and
2022 in support of his practice, as well as bursaries from Arts Links Wexford and Monaghan Co.
Council on several occasions.
Paul’s work is included in many important publications including ‘Art Talk Collective’, ‘Artmoire’, in Italy,
and the USA, 'The Contemporary Art Review' UK, ‘ART QA’ in New York, ‘Creative Quarterly’ – In the
Journal of Art and Design, New York, ‘Gallery and Studio’ Visual Art Magazine, New York as well as two
books on ‘The State of Art ‘UK, Landscape and 3d and ‘EXHIBEO’ ‘Selected Art Reviews and Interviews' -
vol. 1' -Jonathan Raddatz – Quebec.

100
 Worship
Acrylic on canvas,
53x40cm, 2023
How does the practice of "allowing and presence"
shape your creative process?
Anything can only be created within the present moment, to
be authentic the act of making requires presence, the more

Acrylic on canvas, 30x30cm, 2024

presence the more authentic the process. The level of
presence can vary but ultimately, the conscious intention to
allow creativity to manifest through me is always the
aspiration. When lost in this process, it’s a place of no time,

Lesson
no thought, and no ego, it’s a place of peace.
The Irish landscape, with its fleeting light and
dramatic changes, plays a big role in your work. How
do you capture these transitory moments?
My most recent series have been based on landscape, but
it’s also an amalgamation of places, emotions, and
memories, also the varied, fleeting, and changing light so
typical of the Irish landscape opens what is seemingly a
familiar landscape into a new visual realm, the glory of ever
passing broken light and shade excites and focuses me. It
feels like the greater part of me, perhaps spirit is connected
to the essence of all that’s around me, however, this
amalgamation is the starting point, it’s the catalyst by which
I allow presence and therefore creativity to work through
Acrylic on canvas, 30x30cm, 2023
me as I paint.
You describe your process as a “catharsis” and
“deliverance from the ego mind.” How do you think
Sermon

this affects the way viewers experience your work?

Aspiring to remain present, to allow creativity to manifest
through me is paramount for me in the making of authentic
art, I can only hope that the viewers can in turn allow my
paintings to be their catalyst in connecting to the present
moment while witnessing the work. The more present the
viewer remains, the more they allow without labels, should
and should not the more they will in turn gain from the
process, and the more their experience of looking will be
authentic, a recognition of truth. I hope the truth seeker will
recognize the truth within my work completing the circle of
connection.
In your opinion, what role does nature play in
connecting us to our spiritual or divine selves, and
Acrylic on canvas, 30x30cm, 2023

how do you translate that connection into your art?

There are many ways we can connect to our spiritual selves,
through music and art itself, however, nature is perhaps the
most inspiring way of all, being surrounded by creation,
View

around, above, and below us evokes a sense of the divine

creation, by being present and alert to our surrounding
nature we can often sense a connection, a thread that runs
between ourselves and all things, appreciating the
dichotomy of being separate but connected simultaneously.
It’s only through ego and the thinking mind that we assume
separation. This is the same practice applied when creating
a work of art.

102
The idea of heaven and earth in constant tension
appears in your work. How do you explore this
through color, form, and composition?
This tension between heaven and earth is representative of

Acrylic on canvas, 30x30cm, 2023

the struggle between our egoic self and our divine or
spiritual self.
My paintings have often been described as dynamic and
primordial and I have explored these ideas at times through

Hope
sweeping lines and the contrast of dark with light, the light
highlighting glistening jewels of awakening. My current work
is considerably brighter and more colorful as it reflects less
struggle and a more enlightened awareness within myself
than my earlier works.
How has international exposure influenced you?
The core concept of my work has remained the same for
some time now, but exposure to other artists outside of the
studio and outside of my country, particularly London,
within the exhibition space, has encouraged me to
experiment more in some aspects, perhaps to produce an
exhibition with the confidence of minimal works or indeed
the opposite it required, but mostly it has allowed me to
permit myself to stand over my work, to not fall into the
Acrylic on canvas, 30x30cm, 2023
trap of fitting a trend. Once I know I have been authentic in
its making, a painting no longer needs to be affirmed.
In what ways has your art education influenced you?
A new earth

Teaching visual art was an opportunity to encourage my

students to explore their authentic selves through art, this
could sometimes be limiting with a restricted curriculum but
with an open discussion on the social and political context
of art history, this allowed them to see themselves within
the context of a bigger picture. Ultimately my place was to
provide a safe place where they in turn could recognize the
role of presence in the making of their art.
How does being part of major collections influence
your work and your approach to new projects?
Being included in art collections is wonderful without a
doubt, as the paintings now can be cared for and seen by
future generations. It’s always good to know that perhaps
my message or influence or some part of my practice
Acrylic on canvas, 30x30cm, 2023

however small will hope to inspire to some degree others

long after I’m gone.
With a history of awards and recognitions, including
the Osten Biennial Special Award, how do these
Glimpse

accolades shape or inspire the future direction?

Accolades do not influence my work but rather encourage
and inspire the continuance of my practice, to be
acknowledged with an award is always reassuring, we all
need to be affirmed at times and as the practice of painting
can be quite a solitary pursuit so to receive recognition from
one’s peers although not a necessary part of one’s practice
is nonetheless reassuring.

103
What new themes or techniques are you exploring
now?
The evolution of my work reflects my development and the
drive to express the profound in my personal growth. Most
of my early works explore the boundaries of the painting
medium and the visual language of expression, however,
my spiritual awareness and growth have been reflected
predominantly in the series The Alpha, Reloaded, and The
Omega. This triune, the three with one, explores that inner
struggle between the egoic or conditioned self and the
spiritual self, not just as an idea but in the actual practice
of creating. There is nothing new in this exploration and
pursuit of human understanding as all religions,
spiritualists, and psychology have referred to the three
parts of the whole. My current work is brighter, lighter,
more colorful, and more vibrant, perhaps this reflects a
further understanding and acceptance of where I am
within the trinity of life. I intend to continue to explore
these themes for the foreseeable future.

On the way
Acrylic on canvas
20x20cm, 2024

Escape Earthly Delights

Acrylic on canvas Acrylic on canvas
51x40cm, 2023 46x36cm, 2023

104
 Richard
Eveleigh Precipice
Acrylic on linen, 82x67cm, 2024

05
UK-based artist, Richard Eveleigh, has exhibited work across the United Kingdom, Europe, and South
America. He held his first solo exhibition in Salisbury at the Oxfam Art Gallery and has supported
many charities through the sale of his work. In London, he has shown at the Truman Brewery, The
Signal Gallery, and South Kensington as part of "Art Below". Richard regularly exhibits work at the Ad
Lib Gallery in Wimbledon Village. Shortly after graduating from the University of Portsmouth in 2011,
Richard suffered a series of brain hemorrhages. His work is heavily influenced by this experience and
his exploration of "duality" encapsulates this. While a traumatic and disruptive experience it is also a
driving and motivating force behind his art. Richard typically uses picturesque scenes in his work
including cityscapes, seascapes, and, the rural idyll of the English countryside. Inspired by Futurism, he
uses unusual vantage points to create a feel of movement. This is contrasted with the sensitive colors
of restful and organic moonlit skies.

"My acrylic paintings focus on duality. Extreme use of perspective drawing creates feelings of movement and
vertigo. This is strongly inspired by Futurism but instead of portraying the dynamism of mobile objects, I
create a sense of movement in objects and places that are usually static. This conflict is contrasted with the
use of a sensitive color palette, evocative of a dreamlike idyll. The Moon acts as the light source, casting
elongated shadows across uninhabited surfaces. The viewer spies on these desolate scenes from a partly
obscured vantage point. This results in art that has an essence of intrigue and discovery but also causes the
viewer to feel like an interloper."

Forerunner A Perfect View

Acrylic on canvas, Acrylic on canvas,
50x40cm, 2023 50x40cm, 2023

106
Your work is deeply influenced by the brain hemorrhages you experienced. How has this life-changing
event shaped your understanding of duality, both in life and in your art?
My health experiences have been devastating but have also proved to be a driving force behind my art. Without them, I
would most likely have pursued a different career path so the duality here is obvious. In my work, this duality is largely
an exploration of concept versus aesthetic. My work can be described as "picturesque" (something I deliberately try to
evoke) but this is contrasted by its origins and the notions of isolation that are portrayed.
You often depict cityscapes, seascapes, and rural landscapes. How do you choose which environment to
focus on in each piece, and what role do these settings play in expressing the themes of your work?
Each of these environments has an intrinsic duality in that their positive aspects can also be considered negatives. The
crowded nature of a city can be isolating, the abundance of nature in a rural setting can seem desolate and, the sea can
represent boundless freedom or an endless void. The setting I choose for each piece depends upon which aspect of
duality I wish to explore.
Futurism is a key influence in your paintings, especially in the way you create a sense of movement. Can
you explain how you apply this style to typically static scenes, and what effect you aim to achieve?
The Futurists used "lines of force" to denote dynamism in their art. I have adapted this technique and subtly used it
when designing the compositions of my paintings. This is most evident in my seascapes where the lines of force are
visible in the angular rocks which blend into the waves of the sea. Motion where motion shouldn't be creates an
unnerving feel.
In your artist statement, you mention that the viewer becomes an “interloper” in your work. How do you
craft this sense of intrusion, and what emotions or reflections do you hope it evokes in those who engage
with your paintings?
By partially obscuring the viewer's vantage point I create a barrier between them and the scene unfolding. This,
combined with a seductive color choice, piques the viewer's interest. The lack of people in my work, and the skewed
vantage point create a surreal feeling, as if intruding into a very private place.

Ascent - Acrylic on canvas, 50x40cm, 2023 Zephyr - Acrylic on canvas, 50x40cm, 2023

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The Moon often serves as the light source in your work, casting elongated shadows and creating a
dreamlike atmosphere. What significance does the Moon hold for you, and how does it contribute to the
overall mood of your pieces?
The Moon is universally associated with the night, a time that can be restful and serene or empty and unknown.
Sometimes The Moon provides a soft, gentle glow but at other times it can be cold and harsh providing an intense light
similar to the chiaroscuro of the works of Caravaggio or Rembrandt. As the only light source, all shadows fall away from
The Moon. This helps to create tension in my work and a feeling of the unknown.
How do you approach the balance between dynamic, movement-inspired compositions and the
tranquillity of your sensitive color palette? What kind of tension or harmony do you seek to create
through this contrast?
I favor blues in my work as the color sits nicely in the spectrum between energetic violets and calming greens. This allows
me to create "pockets" of stability in my painting which relaxes the overall aesthetic and prevents my dynamic
compositions from becoming vortices of chaos.
Charity and community seem important in your artistic practice, given your support of various causes
through your work. How does your involvement with these causes influence your creative process or the
themes you explore?
Most of the charity events that I support showcase my work to a much broader audience than the usual gallery patrons.
The expectations of a casual viewer of art compared to those of an aficionado are very different and this presents the
challenge of how to engage with them as the viewer. The result is that my work expands further into concepts and
techniques that I would not have previously considered.
Your use of extreme perspective creates feelings of vertigo and movement. How do you technically
achieve these effects, and what challenges do you face in maintaining that balance between motion and
stillness?
I am very aware of the golden ratio and the rule of thirds. With this in mind, I position vanishing points and the line of
sight in such a way that the entire image feels "unstable". In my seascapes, this is hardly unexpected but in other scenes,
this creates quite a sense of urgency and drama.
Much of your art presents uninhabited, desolate scenes. How do these empty spaces reflect your personal
experiences, and what do they say about the human presence—or lack thereof—in your work?

Health battles are fought alone and there are many

situations in life where we feel isolated. The lack of human
presence is a way of exploring this notion while still keeping
my works broad enough for the viewer to identify with.
Although there is narrative in my work it is important that
the viewer can find their meaning in what they see.
Looking back at your first solo exhibition in Salisbury,
how has your artistic vision evolved over time,
particularly in relation to the exploration of duality
and the impact of your personal journey?
Time has only enhanced my exploration of the concept. My
illness, and subsequent sensory problems, have encouraged
me to experiment more with textured mediums. This not only
broadens the visual concept of duality (the texture and visual
image can complement or contrast each other) but it also
widens the audience as art that can be touched can be
"viewed" by those with visual impairment. This is quite an
advancement from my earlier work and not something I had
anticipated.

Harmony
Acrylic on canvas, 66x56cm, 2023

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Roman Shtein
Roman Shtein, born in 1987 in Nizhny Novgorod just before the collapse of the Soviet Union, grew up
in a deeply creative family. His mother was an artist, and his grandfather was an architect. Shtein's
early life was steeped in artistic inspiration. His diverse heritage, being both Russian and Jewish, has
profoundly influenced his perspective and work. Shtein's professional background is in visual
communication and design, encompassing various forms of artistic expression. His creative journey
took a significant leap in 2018 when he felt ready to share his artistic vision. Since then, he has
explored a wide range of techniques, including painting, photography, collage, various printing
methods, and other forms of visual art. Shtein's multifaceted approach allows him to blend different
mediums, creating rich and dynamic works that reflect his unique blend of cultural influences and
artistic experiences.
RS-1 - Acrylic on canvas, 80x100cm, 2024

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As one half of the creative duo R.J.S., Roman Shtein engages in a multidimensional exploration of
visual expression. His artistic journey encompasses art direction, graphic design, and photography,
extending into the realms of painting and illustration.
Shtein's work is deeply influenced by modern culture and the natural world, drawing from these
elements to construct narratives rich in self-awareness and existential inquiry. He is particularly
fascinated by different perceptions of reality and the questions they raise about existence, identity,
and purpose. Through his art, he invites viewers to contemplate their place within the larger tapestry
of life.
Each piece Shtein creates blends the tangible with the abstract, merging concrete forms with
introspective themes. His creative process is a balance of intuition and experimentation, where the
unexpected is embraced and the artistic journey unfolds naturally. Whether through bold paint
strokes, intricate illustrations, or striking photography, he aims to evoke a visceral response, stirring
emotions and prompting introspection.
Ultimately, Shtein's goal is to provoke thought and ignite the imagination, fostering a deeper
connection to the world around us. Through the lens of existential inquiry, he invites viewers to join
him on a journey of self-discovery and contemplation, where every piece of art reflects the boundless
possibilities within the realm of visual expression.
RS-3 - Acrylic on canvas, 90x120cm, 2024

110
Growing up with an artist mother and an architect grandfather, how did these familial influences shape
your initial views on art and creativity?
Growing up with an artist mom and an architect grandpa gave me a deep appreciation for both beauty and structure.
My mom showed me the emotional side of creativity, while my grandpa taught me about the purpose and precision in
design. Together, they shaped my view that art is about blending intuition with intention, and that foundation has
influenced how I create today.
In 2018, you decided to share your artistic vision with the world. What motivated this decision, and how
did it impact your artistic practice?
In 2018, sharing my art felt like a natural next step—as if my work was asking to be seen. Opening up to an audience
pushed me to explore new techniques and think more deeply about the ideas behind each piece. It gave my practice
more direction and turned it into a real conversation with others.
As part of the R.J.S. duo, how does collaboration influence your process and creative direction? Are there
specific projects or themes that emerge uniquely from working as a team?
Collaboration in R.J.S. is unique because my main partner is my wife, Jenya Shtein, which brings a level of trust and
shared vision that’s rare in creative teams. Working so closely means we’re constantly inspiring each other, keeping our
direction fresh and evolving, and letting our ideas naturally reflect what matters most to us.
Your work spans multiple mediums, including painting, photography, and collage. How do you approach
integrating these techniques to convey the complex themes of your art?
Blending techniques like painting, photography, and collage just happen naturally for me—I go with what feels right for
each piece. Each medium adds something different, helping me capture all the layers of what I’m trying to say. It’s less
about planning and more about letting the work take shape on its own.

RS-5 RS-6

Acrylic on canvas, Acrylic on canvas,

40x30cm, 2024 100x80cm, 2024

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Existential inquiry is a key aspect of your work. Can you share some of the questions or ideas that drive
this inquiry, and how they appear across your different pieces?
I’m drawn to questions like What shapes who we are? or How do our experiences mold our sense of purpose? These
ideas come through in my work with layers, contrasts, and unexpected connections between forms, and I hope each
piece stirs up a sense of curiosity.
Your art often blends abstract elements with concrete forms. How do you find the balance between these
two, and what effect do you hope this duality has on viewers?
Finding the balance between abstract elements and concrete forms is crucial for me and one of the most fascinating
parts of creating art. It’s like weaving together the familiar and the mysterious, creating layers that viewers can interpret
in their way. This balance lets the work unfold gradually, inviting people to look closer and find new meanings, whether
they’re drawn to the shapes, the contrasts, or the space in between. For me, that blend is where the real magic happens.
You describe your process as a balance between intuition and experimentation. What does this process
look like day-to-day, and how do you embrace unexpected outcomes?
I experiment a lot—that’s where the real joy of creating comes from. Keeping multiple projects going at once lets me shift
focus whenever I get stuck, so there’s always fresh energy. The best part is when I stumble onto something big that I
never expected at the start—it’s those surprises that make the process so rewarding.
Modern culture and the natural world deeply influence your art. Are there specific cultural trends or
natural motifs you’re currently exploring?
Right now, I’m fascinated by the intersection of technology and nature—how our digital age reshapes our relationship
with the natural world. I’m exploring themes like isolation in modern life and how technology both connects and
distances us. These contrasts come through in my work, with traditional painting capturing one side and multimedia
installations expressing another. Working across these different mediums helps bring out the complexity of these ideas
in distinct ways.

Through your art, you aim to provoke introspection

and self-awareness. What do you hope viewers
contemplate about their own lives when engaging
with your work?
Honestly, my goal is to spark a bit of inner reflection in
viewers. I hope my work gives people a moment to pause
and think about their own experiences, perspectives, and
those quiet, often-overlooked moments that shape who they
are. If my art helps someone connect with their own story or
recognize a part of themselves in the piece, then I feel like
I’ve done something meaningful. It’s all about inviting a
sense of self-awareness and curiosity.
As you continue evolving your style and technique,
are there new themes or media that you’re
particularly excited to explore in upcoming projects?
That’s always been my thing—I love to challenge myself and
try something new. Right now, I’m working on a large
multimedia installation that incorporates video art, along
with a new series of traditional paintings. Juggling both
projects keeps me productive and motivated. It’s exciting to
explore how these different mediums can interact and
influence my vision, even though they’re two distinct
projects. Each brings its own set of challenges, inspirations,
and joy.

RS-5
Acrylic on canvas,
35x24cm, 2024

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 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 multilayered, oil
paintings on canvas and paper 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.
“Rubica von Streng’s works provide
viewers with a continuous and moving
visual experience,” says Kerstin Bitar,
chief art historian at Museum
Rosengart Collection, Lucerne. “In an
interplay with initially recognized
motifs, they will constantly discover
new figures, plants and landscapes. It
is a continual process. This unfolding
of very different visual elements in her
pictures is extremely fascinating. Her
PortLand works open up many
different perspectives – into the
depths, into the distance, into the
future.”

Rubica von Streng by Efacts Photography

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 Beyond PortLand
Beyond the Face
Oil on paper, 32x24cm each, 2023
How did your journey into art begin, and what originally drew you to painting?
For as long as I can remember, I have expressed myself through painting. As a small child, I started drawing and
painting on the walls of my room one day because there was no paper available. After about a month, the walls had to
be re-painted because there was no more space. After that, however, I was never allowed to use them as a painting
area again; my parents had forbidden it. Art is an important part of my life. However, it wasn't a given that I would
choose a professional career as an artist, especially as my family didn't react very enthusiastically when I told them
about it. But I always knew that this was my future and I didn't let myself be dissuaded. To finance my studies and
make ends meet afterward, I had a few part-time jobs. Meanwhile, I can devote myself completely to art. Growing up in
Berlin in the 2000s also impacted my choice of career. The diversity of people in the city, and the various cultural
influences – all inspired me immensely and I felt the desire to capture and process those influences artistically. As I am
a hypersensitive person, I sometimes seem withdrawn to others. It wasn't until I started studying art that I occasionally
was able to talk about topics that were relevant to my artistic work, as I had finally found some like-minded people at
university. Another influential factor was my father's library, which I had access to at all times. It contained books on
Rembrandt, Goya, Kokoschka, and Degas – to name just a few.
Which historical or contemporary artists do you feel most connected to, and how have they impacted your
creative approach?
There are quite a few. Ultimately, every artist is significant in their own time. I feel most connected to those artists
whose works I recognize as being strong and true and nothing about them can be questioned. These are the
outstanding works that keep me going for weeks after visiting an exhibition. I felt this way for the first time when I saw
Pablo Picasso's “The Yellow Sweater”. Later I noticed this with one of Claude Monet's water lily paintings: That was in
2004 in an exhibition of works from New York's Museum of Modern Art at Neue Nationalgalerie in Berlin. But
contemporary art also has this effect from time to time; most recently it was a work by the Polish painter Andrzej Fogtt
that fascinated me.
Your work has been compared to that of artists like Cy Twombly and Francis Bacon. Do you find these
comparisons meaningful, or do they sometimes restrict interpretation?
As the German philosopher Arthur Schopenhauer once said: “What the heart resists, the head does not accept.” I think
many works by the two mentioned artists are outstanding. When art critics compare my oeuvre with that of Bacon and
Twombly, I'm elated, of course.
Your work is known for being conceptually layered and visually complex. How do you balance these elements
to engage and challenge viewers?
That's a tough question, and I've spent several years finding an answer to it. One day, I had the idea to write it on the
backsides of my paintings. The thing is, however, that I couldn't reveal it all at once. Thus, on each of the backsides, I
only wrote three words and one number. So, to solve the enigma, viewers would have to see as many as possible of
my paintings, turn them around, and combine all the fragments. –– But seriously, it's a secret recipe. Streng geheim!
The arpeggio painting technique you developed is unique in its layering of diluted oil paints. Could you
elaborate on this process and its effect on your compositions?
Imagine an arpeggio chord: The notes sound immediately after the other, so they can be heard individually, but they
still form a harmony. By using the arpeggio painting technique, in which the paint is applied in wafer-thin layers, one on
top of the other, I can relate all colors and shapes of the painting to each other. As a result, they sound together – but
each layer also has its own sound. The technique requires a high degree of precision and takes a lot of time. I
sometimes spend several months on one painting. What’s more, if I notice during the process that the layers of paint
don’t sound together as planned, I have to determine whether I can rework them so that I still obtain the desired result.
However, this doesn’t always succeed because overpainting might ruin the transparency.
How do you see the role of art in addressing urgent environmental and social concerns today?
Art offers one of the last remaining spaces for open, constructive dialog; almost all other areas of discourse - whether
politics or the global economy - have so far failed to produce any viable solutions to urgent social and environmental
problems. One of the reasons for this is the ever-increasing polarization and the power constellations cemented by it. In
this respect, art opens a window in the wall beyond which our future lies. Those who look at works of art may therefore
find a way to prepare themselves for what awaits us - or even take the initiative to shape the future in a positive way. It
is important to note however that art does not have to do any of this; it does not have to fulfill a social mission per se. It
can simply exist without being bound to a specific purpose.

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You've exhibited in both physical and virtual spaces. How does audience interaction differ in these
environments?
The physical space is still best, as there is less distance to the artwork. The exchange is more direct. However, I have
found that more people can be reached online and the barrier to viewing an exhibition is less significant. I think a
combination of both is ideal.
Do you think an artist's personal experiences should be central to their work, or should art transcend
individual perspectives?
Great art goes beyond the individual state of mind of an artist. However, there may be aspects that are personal in
nature. Nonetheless, a good artist should have the freedom not to reduce themselves to that. At least that's how I feel.
In recent years, you've received awards and exhibited internationally. How have these experiences
influenced your artistic direction?
They empower me. Despite all the adversity in current events, I remain steadfast and always try to evolve, no matter
what happens. I couldn't bear to fall into a rut. Cultural diversity is so enriching and I really enjoy making discoveries. In
big and small ways.
Looking forward, what are your aspirations for the PortLand series, and are there other themes you're
interested in exploring?
Currently, I am working on the fourth part of the PortLand cycle: “Seasons of PortLand”. I think that the seasons can
show how humankind and nature belong together. Many questions and observations from the present and the past
contribute to it. Among other things, it is about recognizing contradictions and about something particularly important
to me: reconciliation and consistency.
How do you view your art's impact on viewers? Do you hope to inspire reflection, action, or something
entirely different?
First and foremost, I want viewers to be able to engage with the work openly and with curiosity. This is not a certainty
from the outset, since, especially when it comes to abstract art, many details are not immediately visible. It's like a good
sonata: it has a playing time, so you have to listen from beginning to end to understand the meaning of the piece. It
works the same way with paintings: the experience is not complete at first glance; pictures are like stories that you first
have to decipher. Ultimately, however, I have no control over what the viewers make of them.

Happiness Remains Included

Oil on canvas,
75x50cm, 2021

Stay Put With Happiness

Oil on canvas,
75x50cm, 2021

116
Wei Lin
Wei Lin is an architect and artist who integrates architectural design with visual art. He holds both
Bachelor’s and Master’s degrees from esteemed institutions in the United States, where he has
garnered recognition for his innovative work and artistic vision in both the USA and China.
Wei's artistic journey is marked by notable exhibitions, including the CCIA 5th National Ceramic
Creative Design Competition, the "Wanderlust and Nostalgia in the New Age" Art Exhibit at the Penn
Museum, and the 2024 Interior Design Show in Vancouver. These exhibitions not only bear witness to
his intercultural communication through the medium of art, but also show that his unique insights in
the new age of digital-orientation.
Wei’s artistic practice reflects his manifesto for creating art in a rapidly changing world. He enhances
his artistic endeavors by synergizing computational design and digital fabrication to produce
innovative works that seamlessly merge art with technology. Wei believes that advancements in
science can stimulate diverse design methodologies and bridge the gap between art and the public.
His deep understanding of technology and science empowers him to communicate effectively
and rationally with audiences worldwide.

Fractal Growth

Ceramic,
16x16x20cm, 2024

The patterns in nature are often irregular and fragmented, prompting us to explore the morphology of the amorphous. Complexity Science
enhances our understanding of the natural world, with "Fractal Geometry" providing powerful tools for objectively and realistically describing
complex systems. This field remains invaluable in quantifying the inherent complexity of objects.
My ceramic sculpture serves as a "growth simulator" that offers a novel perspective on the principles of fractal geometry and their application to
the description and measurement of nature. Through a mathematical and rational framework, I employ computational design methods to
simulate a growth process that reflects these natural patterns. By utilizing ceramic 3D printing technology, I achieve remarkable dimensional
accuracy and structural integrity.
The work mimics the morphological record of an amorphous sprout. It is based on algorithms derived from fractal dimensions and utilizes
iterative generations to reveal the mysteries within the complexity of the real world. "Fractal Growth" invites viewers to reflect on the intricate
interplay between nature and mathematics, showcasing how these systems can inform and inspire artistic expression.

117
How has your background in both architecture and visual art influenced your approach to creative
projects?
My education in architectural design has trained me in logical reasoning and critical thinking, while my experience in
visual art has encouraged me to think outside the box and ask myself, "What if artistic practice could be implemented as
constructed buildings?" I came across the concept of “high-tech architecture,” a type of late modernist architecture that
utilizes advances in technology and building materials. Consequently, I explored the idea of transplanting my
admiration for advanced technologies into my artistic practice.
Many of your exhibitions have centered on themes of wanderlust and nostalgia. How do these concepts
relate to your own experiences as an artist working across cultures?
The themes of “wanderlust and nostalgia” reflect my intense desire for self-development through experiencing the
unknown, and transitioning from a traditional Eastern culture to a diverse, heterogeneous society. This journey
occasionally triggers strong memories of the past. Similarly, in an era where artificial intelligence increasingly dominates
our daily lives, I see the challenge between technological advancement and traditional practices. My work not only
confronts these challenges but also blends traditional Chinese philosophy with the wider world.
Your work blends computational design and digital fabrication. Can you describe how these technologies
have expanded your artistic possibilities?
I often find inspiration in intriguing hidden meanings and details from my observations. Computational design enhances
my ability to unveil principles from phenomena or processes and allows me to manipulate simulations in a controlled
environment. Digital fabrication acts as an extension of my hands, enabling me to translate my ideas and simulated
phenomena into high-fidelity physical forms. Moreover, materials showcase unique expressions in digital fabrication
through a variety of applications, including concrete, ceramics, wood, and even biomaterials.
The integration of science and technology is central to your art. How do you see this relationship evolving
in the future, and what new possibilities does it open up?
Scientific research and technological endeavors expand the spectrum of art, promoting visual presentation and
perception for both artists and audiences. I am optimistic about the emergence of digital art and the impact of
technologies like 3D printing and artificial intelligence embedded within artistic mediums.
In a world increasingly shaped by digital orientation, what role do you believe artists have in fostering
connection and understanding?
I believe artists need to engage with the trend of digital dominance and leverage it to their advantage. Artists role as
storytellers or narrators, using digital media to create visual, tactile, auditory, and immersive experiences that foster
engagement and empathy for audiences, both explicitly and implicitly.
Can you tell us more about your manifesto for creating art in a rapidly changing world? How do you see
this guiding your future work?
Through a mathematical and rational framework, I employ computational design methods to decode mysteries from the
natural world. Fractal geometry, for instance, can be seen as a universal language that quantifies "geometrical
complexity" and the "space-filling properties" of an object. By utilizing 3D printing technology, I achieve remarkable
dimensional accuracy and structural integrity. The spirit of science and technology guides my future endeavors toward
cross-disciplinary exploration across a diverse range of scientific subjects.
Architectural design often requires a balance between aesthetics and functionality. How does this
balance translate into your visual art practice?
I find it valuable to modify my creative process by activating the two disparate elements of architecture and visual art.
Although I sometimes struggle with prioritizing functionalism or expressionism in my visual art practice, I believe
prioritization may vary in different scenarios. Ultimately, the synthesis of aesthetics and functionality enhances effective
communication and engagement, especially when considering user experience.
Exhibiting work in both the USA and China, how has your work been received differently in each context,
and how have these responses influenced your creative direction?
In the USA, curators and visitors tend to focus more on digital techniques, physical appearances, and the overall visiting
experience of my works. In contrast, Chinese visitors exhibit greater curiosity about the philosophy and motivations
behind the artworks. For instance, viewers may find a blank space within a piece intriguing and discover clues related to
this “intended blank,” which is referred to as "Liubai" (留白) in Chinese philosophical and aesthetic theory. While I cannot
articulate exactly how these responses influence my creative process, I strive to remain open-minded and adaptable.

118
Your participation in events like the Interior Design Show in Vancouver showcases your vision in both art
and design. How do you approach blending these fields, and do you see one informing the other?
This question is challenging for me, as I'm not sure whether I can separate these fields given my dual backgrounds in
science and art. They are intertwined, serving as fundamental creative visual elements that enhance my communication
and expression.
As technology advances, how do you envision it transforming public interaction with art? Are there
specific digital tools or methods you’re excited to experiment with in the near future?
From my perspective, the boundaries between different types of art will blur as technology continues to evolve, allowing
for a more intimate interaction between the audience and art exhibitions. Virtual exhibitions may herald a new era of
digital arts, offering immersive experiences and mixed-reality interactions that embrace diversity. I am particularly
excited about experimenting with augmented reality (AR) and virtual reality (VR) tools, as they have the potential to
create dynamic environments where viewers can engage with art in innovative ways, fostering deeper connections and a
more expansive understanding of artistic expression.

Co-Fusion
Ceramic
21.5x11x16cm, 2024

In an era where artificial intelligence, social media, and mobile devices dominate our daily lives, we witness the tension between technological
advancement and the fading of traditional practices. Society resembles a metabolic process, consuming intrinsic, learned, and inherited elements
to propel growth. The journey begins with a single primitive line, representing the limitless potential of new beginnings. From this singular point,
paths diverge, shaped by both physical and non-physical environments. Rooted in a mathematical and rational framework, my approach employs
computational design methods to create a series of geometric forms that vary in height, shape, deflection, and orientation based on specific input
parameters. The culminating work features an evolving container, tracing a visual narrative from origin to form. It embodies a fusion of static
existence and dynamic emergence, serving as a metaphor for the continuous metabolism of society. "Co-Fusion" invites viewers to reflect on the
interplay of tradition and technology in their lives, emphasizing the beauty of transformation and the interconnectedness of our experiences.

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 Empirical Growth

Ceramic
15x15x27cm, 2024

At the heart of both philosophical and religious Taoism lies the Dao De Jing,
which states, "The Tao produces One; One produces Two; Two produces Three;
Three produces All things, " emphasizing the interconnectedness of identity and
environment. My work, illustrates the evolution from the singular to the plural,
showcasing a journey from simplicity to complexity.

This set of ceramics reflects how awareness, personalities, and identities are
shaped by individual growth trajectories. Through my mathematical and
rational framework, I employ computational design methods to simulate this
growing process.

The resulting ceramics represent the diverse manifestations of identity derived

from that initial point and highlight the self-exploration inherent in the
multiplicity of identities based on empirical knowledge. Ultimately, this object
transcends static existence, emerging as dynamic, living entities infused with
energy. It showcases an inner vitality and movement that invites viewers to
reflect on their growth and the myriad influences that shape their identities.
"Empirical Growth" serves as an exploration of the intricate dance between the
individual and their environment, celebrating the richness of human experience.
Yixue Yang
Yixue Yang is a contemporary ceramic artist
whose work delves deeply into the Eastern
philosophical concept of 'non-being'. Drawing
from the rich tapestry of Chinese philosophy,
Yixue explores the essence of 'Tao', which is
rooted in 'non-being', representing an infinite
unmanifested vitality and existence in a
formless and invisible state. Her artistic
journey revolves around integrating this
profound concept into the creation of
contemporary ceramic artworks, seeking to
manifest the invisible 'non-being' visually.
Currently pursuing her doctoral studies in
ceramics and glass at the University of
Sunderland, School of Art and Design, in the
United Kingdom, Yixue Yang's artistic practice
spans across various mediums. She skillfully
harnesses the properties of both glass and
ceramics, weaving them together to create
compelling works of art.
Yixue's approach to her craft is multifaceted.
She employs tangible and visible clay objects
to reflect an alternate space, symbolizing
'non-being'. Through her exploration of
negative space, she captures the hidden
power of 'non-being', encompassing infinite
'being'. Additionally, she investigates the
temporal nature inherent in clay, tracing the
dynamic cyclical process from 'non-being' to
'being'.
With her keen understanding of Eastern
philosophy and a mastery of artistic
techniques, Yixue Yang continues to push the
boundaries of contemporary ceramics,
offering viewers a glimpse into the profound
and enigmatic realm of 'non-being'.

Qi's Silent Resonance

Earthenware & glass,
15x15x70cm, 2023

121
Yixue Yang’s practice delves into the profound Daoist concept of "non-being" (Wu) as a generative
force in the universe. In Daoist philosophy, "Tao" emerges from "non-being," a state not of emptiness
but of boundless potential, where all things originate in their most formless and latent state. Yixue's
ceramic works are a visual manifestation of this unseen energy, inviting contemplation on the
intangible forces that give rise to existence. Her approach is threefold: she crafts tangible forms that
evoke an alternate reality, where "non-being" resides; she employs negative space as a metaphor for
the hidden power within all things; and she explores the temporal nature of clay to reflect the cyclical
transformation between "non-being" and "being." Through her work, Yixue prompts us to consider
the unseen rhythms that shape our material world, revealing the delicate interplay between absence
and presence, potential and reality.

Eternal Flux

Porcelain & glaze,

75x32x26cm, 2024

This artwork, with its flowing curves and blue-green glaze, captures the fluidity of water and the continuity of nature. Laozi's concept of "Wu"
emphasizes that all things originate from formless potential, containing infinite possibilities for change. The curves and gradient colors in the
piece symbolize the invisible force and transformative nature of "Wu." The ever-changing yet harmonious flow of water embodies the essence of
"Wu." The piece conveys a dynamic balance, representing the continuity and transformation of life, aligning with Laozi's idea that "from non-being
comes being." Through its visual expression, the artwork reveals that all things stem from formless energy and potential, prompting deeper
reflection on the infinite changes and inner vitality of nature.

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Your work is deeply inspired by the Daoist concept of "non-being" as a creative force. What led you to
explore this philosophy in ceramics, and how has it shaped your perspective as an artist?
My exploration of "non-being" in Daoist philosophy stems from a deep resonance with its principles. In Laozi’s teachings,
"non-being" is not simply emptiness but an origin filled with infinite potential. Through ceramics, I strive to convey this
life force that is invisible yet vibrant, revealing the cyclical relationship between life and nature. This philosophy has
shifted my artistic focus beyond mere form, encouraging me to delve into the unseen essence within each piece.
Can you walk us through your process of translating an intangible concept like "non-being" into physical
ceramic forms? How do you envision "non-being" as you start creating?
When translating "non-being" into physical form, I begin with the idea of visualizing an invisible energy. I use fluid glazes,
irregular lines, and negative space to capture the infinite possibilities "non-being" embodies. As I start creating, I envision
"non-being" as a latent life force, unfolding naturally through the flowing glaze and evolving shapes, inviting viewers to
experience an energy that is hidden yet very much alive.
How do glass and ceramics complement each other in your work? What do you find intriguing about
combining these mediums to express philosophical ideas?
The combination of glass and ceramics allows me to create a unique dialogue between the visible and the invisible.
Ceramics has a solid, grounded quality, while glass, with its transparency and fluidity, suggests the formless nature of
"non-being." Together, they represent a visual metaphor for the relationship between "non-being" and "being," creating
a harmonious balance that allows viewers to sense the presence of energy within emptiness.

Eternal Flux: The Dao of Becoming Infinite Origin

Porcelain. & glaze, 80x20x17cm, 2024 Porcelain & glaze, 58x16x15cm, 2024

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Could you share how you approach working with negative space, and what role it plays?
In my work, negative space embodies the hidden power of "non-being"—a space that is empty yet brimming with
potential. By employing negative space, I draw attention to the often-overlooked vitality within the void. It serves not only
as a visual element but also as a philosophical expression, allowing viewers to explore the energy and transformation
that lie within the unseen spaces of each piece.
Your artist statement speaks about the cyclical process between "non-being" and "being." How does this
cycle influence the physical techniques you use, such as forming and firing clay?
The cyclical process of "non-being" and "being" is directly reflected in my techniques. The transformation of clay—from
soft and malleable to firm and permanent—parallels the journey from "non-being" to "being." During firing, I embrace
the fluid and unpredictable nature of glazes to capture the organic shift from "non-being" to "being." This
unpredictability mirrors the Daoist view of natural transformation and cycles, where change is both inevitable and
dynamic.
How has your doctoral research at the University of Sunderland contributed to your practice?
My doctoral research at the University of Sunderland has provided a strong theoretical and practical foundation for
exploring "non-being." Studying both Daoist thought and Western art perspectives has deepened my understanding of
how "non-being" can be expressed across cultural contexts. This interdisciplinary approach has enriched my work, giving
me the confidence to articulate the essence of "non-being" through a cross-cultural lens.
How do you balance form and formlessness, presence and absence, in your ceramic works?
I balance form and formlessness by incorporating both solid forms and negative space. While the tangible aspects of
clay and glaze represent "being," the empty spaces and transparent materials suggest "non-being." This balance reflects
the yin-yang relationship in Eastern philosophy, creating a visual tension where the works feel both grounded and
weightless, inviting a harmonious interplay between existence and absence.
What is the experience you wish to create?
When viewers interact with my work, I hope they experience
a serene atmosphere infused with a subtle vitality. By
exploring "non-being," I aim to move beyond surface-level
perception, inviting viewers into a contemplative state
where they can feel the flow of natural forces. I want them
to sense the rhythm within the forms and become aware of
the invisible world that lies beneath the surface.
Do you hope that viewers will interpret "non-being"
in their own way, or is there a particular message?
I encourage viewers to interpret "non-being" in their way,
finding personal resonance within the work. While "non-
being" has specific philosophical roots, I believe each
person can approach it from their unique perspective. My
goal is to convey a sense of potential and transformation,
but I leave the final interpretation to the viewer’s
experience.
Looking ahead, are there other aspects of Eastern
philosophy or new techniques you’re interested in?
In the future, I am interested in exploring other Eastern
philosophical concepts, such as "emptiness" and
"tranquility," and in merging these ideas with new
techniques. I’m particularly drawn to further exploring the
interplay of glass and ceramics. Additionally, I plan to
experiment with dynamic elements to express the constant
movement and fluidity of "non-being." I believe my practice
will continue to evolve into a multidimensional
representation of these philosophies.

124 Echoes of Serenity - Porcelain & glaze, 26x22x20cm, 2024

WINTER ISSUE | SEASONAL EDITION | DECEMBER 2024 | TBILISI, GEORGIA | COLLECT ART
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