COLLECT

ART
COLOURS • ISSUE NO.12
SPECIAL EDITION
SEPTEMBER 2022

VICTORIA VIMBERT | SKINNY

Collect Art/ Tbilisi, Georgia
www.collectartwork.org
[email protected]
[email protected]
 'COLOURS'

Art is a field that enables people to express themselves in a way that showcases
their personalities and one of the unique properties of life is its color. Our eye has
three types of color receptors: red, green, and blue. But how do we see the amazing
kaleidoscope of other colors that make up our world? Color is the element of art that
is produced when light, striking an object, is reflected back to the eye: that's the
objective definition. But in art design, color has a slew of attributes that are
primarily subjective. Those include characteristics such as harmony — when two or
more colors are brought together and produce a satisfying effective response; and
temperature — a blue is considered warm or cool depending on whether it leans
towards purple or green and a red whether it leans towards yellow or blue.
CONTENT
Abbie Paramor 5
Acquaetta Williams 8
Allan Punton 11
Brigitte Garcia 14
Chad Erpelding 17
Chrysanthe Maggidis 20
Joy Misu 23
Liz Darrell 25
Lyndon Watkinson 30
Lynn Strugnell 33
Martin Vallis 36
Maryam Dehbozorgi 40
Patrice Sullivan 44
Pauline Bradbury 46
Pier Forlano 50
Spirenkov Vadim 54
Victoria Vimbert 57
Walter Lee Allen III 61
Abbie
Paramor
Abbie Paramor is a British artist and curator based in Luton, England. Mainly focused
on lens-based art her work has explored pornography, memory, craft, and
autobiography in the past.

''The Nude Collection is a multi-medium series that channels porn statistics into
interior design. By using Pornhubs top ten porn search stats from 2016 as
inspiration I compiled images from each genre to create unique colours and then
paints to be used in the home. The project calls into question has porn become so
mainstream that it could be used to influence the home décor of family homes?''

‘Gluck’ is the color created from lesbian porn searches. The name of the paint reflects the
influential lesbian artist Gluck.
Why did you choose to be an artist? How do you balance your time in the
I had originally wanted to be a studio with other commitments such as a
veterinarian but I spent over a year out part-time job, family, or admin?
of high school, because I was sick with To be frank - currently, I do not. I’m either
Chronic Fatigue Syndrome. I figured I throwing myself completely at work or
would never get the grades to get into completely at art. One always suffers for
vet school so I decided to do the other and it's something I want to get a
photography, as I loved art. It's crazy better grip on.
that I chose art because I never thought I What are you working on at the moment?
would be smart enough to get a degree I’m currently working on two things. One is
but now I have two! a series using braille and the other is a
What inspires you? piece that incorporates embroidery and
Weird things! It’s very hard to nail down poetry.
my main concerns within my practice What is the biggest challenge of being an
because I get obsessed with so many artist?
different things. One minute I’m inspired Being pigeonholed. Why have we always got
by storytelling and the next I’m inspired to pick one thing? Why can’t I be many
by porn infographics… things?
Tell me about your favorite medium
Photography. Always photography the
possibilities are endless and I love its
history.
When is your favorite time of day to
create?
At night and on the toilet… I don’t know
what it is about a bathroom but I get my
best ideas there. My phone is full of
notes that I have written down while
sitting on the loo.
Does art help you in other areas of your
life?
Yes, it's great for processing trauma. You
can throw all your anger and sadness at
it and as the artist, you can see the
sadness but to the viewer, it could be the
happiest image they have ever seen. I
like that twisted sense of perception.
How has your style changed over time?
When I studied photography at college I
wanted to photograph bands and do
commercial work; in lots of ways, I still
do! However, now everything I do is
based on something deeper. It's far more
considered.
Acquaetta
Williams
Acquaetta Williams is an interdisciplinary artist. She began her creative career as a
glass artist. Her work is featured in private and permanent collections including the
Museum of Arts and Design (NY), the ATT Learning Center, the National Afro-
American Museum, the Racine Art Museum, Corning Glass Museum, and the Cultural
Center in Wilberforce, Ohio. Notable exhibitions include Uncommon Beauty in
Common Objects: The Legacy of African-American Craft at the Smithsonian’s
Renwick Gallery and “A Woman’s View: Equality, Development, and Peace” at the
World Bank, Washington, DC. Williams has lectured across the U.S., served as an
Associate Member of the Institute of African Studies at the University of Ibaden in
Nigeria, and was an artist-in-residence at the New York Experimental Glass
Workshop. She has also served on the Board of Directors of the Glass Art Society
and was a founding member of Glass Axis in Columbus, Ohio. Her work as a sculptor
and painter has been acknowledged...

''My work as an artist has been a lifelong journey from glassblower to sculptor and
now collage painter sharing my thoughts and emotions, different from my family and
friends I search for individuality even today, it informs my decision and motivations
as an artist. Influence by academic training and references to traditions and
sensibilities evolved from the vision of African Images. I tell a story with a sense of
relevance in the complexity of my feelings, thoughts, and memories. I reflect on my
past to form an identity to build intimacy between the viewer and myself.''

acrylic, paper, and mesh screen, 30” x 30”

acrylic, paper, and vinyl, 30” x 30”

Beautiful Return
Nothing More
''My art is a montage of fragmented forms, lyrical in movement, charged with emotions and
woven together with subliminal messages; it echoes a social injustice. My collage paintings
require the intellectual participation of the viewer to complete their interpretation; edges
are scarred with repeated rejection, seeking out answers, settling for revenge. Abstract
shapes and forms combine with a richness through saturated colors and diversity through
textures. Lush colors agitate our senes and engage our emotions, overwhelming us with their
delirium — evoking mysteries. The contour of one shape guides the contour of the next
shape’s outline into interlocking perceptual planes interrupted by forms. Each shape offers
a juxtaposition between meditative and aggressive, a bridge between brittleness and
fluidity. Vertigo shifts ravish colors as they meet and elbow for dominance, as surfaces
confront the viewer, they generate a kind of magic were opposites become complementary.
The reflective energy of vinyl plays to the illusion of shapeshifting through the tiniest of
light; it moves and flickers refusing to settle down. The vinyl pulls the canvas away from the
wall at the same time drawing the viewer in. The series Faceless Melodies embodies the
street musician, the religious frantic and the homeless. Their voices echo emotional
agitation and sensitivity, often through music. Layered surfaces unzip and gently peel away,
revealing the spiritual transformation — the heart and determination of individuals who
have become invisible.''

Who are you?

My work as an artist has been a life-long
journey from glassblower to sculptor and
now collage painter. Sharing my thoughts
and emotions, I continually search for my
unique individuality which informs my
decision and motivations as an artist.
Influences of academic training and
references to traditions and sensibilities
evolved from a visual fascination vision
with African Images. My stories relate to
the complexity of emotion, thought, and
memory. I reflect on my past to form an
intimate identity with the viewer and
myself.
How do you stay connected and up-to-
date with the art world?
I travel to New York City once a month and
visit galleries and museums. Closer to home
Washington, DC offers gallery openings,
conversations with the artist, sharing a
glass of wine, and discussing art issues. Follow Me
acrylic, mesh screen and vinyl, 30” x 40”
How do know when a work is finished? How do you define success as an artist?
Is a work finished when the artist says the When you are recognized for your
work is finished, or when the artist is contribution in the field through style and
finished with the work? I have a vision of technique that has a lasting impact in the
what I want the art to look like and when it contemporary world.
exceeds all of my expectations, it is How do you stay connected and up-to-
finished. I can also revisit the piece several date with the art world?
times before it really is finished. Art communities around the world are
Name the artist or artists you’d like to be experiencing a time of challenge and
compared to and why? change. Galleries and museums are taking
I would love to be sandwiched between steps to open their doors and hear from
Sam Gilliam and Martin Puryear, and artistic voices that never had an outlet.
Kandinsky. I would have complete control Social media is challenging the role of
of Gilliam’s effective use of bold color, and museums to be more forthcoming and
lyrical movements, charged with emotions. engaging with diverse audiences. It
Puryear’s dominance over shapes, textures, provides an opportunity for cross-cultural
and the environment and adding the edge communications and enhances the local,
of Kandinsky who works outside the box, regional and international exchange of
colorful floaters continually moving just ideas. It encourages young and emerging
outside your visual reach. artists to emerge and actualize their
Where do I find inspiration? creative trajectories.
Inspiration is all around us. My series,
Faceless Melodies evolved from my
interaction with the homeless in DC. One
long block walking to work while being
approached for money and witnessing their
repeated rejections. French Impressionism
awakens in me my love for pastels.
acrylic, pastels, paper and vinyl, 36” x 36”

acrylic, paper, metal and vinyl, 36” x 60”

In Plain Sight No4
Emote
Allan
Punton

Chroma 10
Coloured glass, 63x33 cm, 2021
Artwork is part of a series exploring colour as a landscape

Allan Punton is an artist based in Exmouth, United Kingdom.

20 years ago, Allan decided to focus on using primarily cold cut coloured glass as his main
material for interpreting compositions. He uses opaque and transparent smalti, fused and
float glass for his artwork. The core element of all his artwork is the changing play of light on
the coloured glass. This brings life and character to each piece.

Although Allan works to commission, both public and private, He strives continually to seek
different ways of using glass to express his creative drive. Most of his artwork is abstract in
design focussing on the colour in the compositions. Allan has exhibited overseas in the USA,
Australia, France, Italy and extensively in the United Kingdom. His artwork has been shown
in several publications and he was the first person to be elected as a Life Member to the
British Association for Modern Mosaic.
 Chroma 9/ 6/ 5

size 63x33 each, 2021

Artworks are part of a series
exploring colour landscape.
Who are your biggest artistic influences? When is your favorite time of day to
My main artistic influences have been create?
masters in the use of colour composition. I prefer to start early in the morning on my
As a teenager, I was drawn to the work of artwork so that my focus is fresh and not
JMW Turner because of his blending of diluted by other tasks such as dealing with
colours. Howard Hodgkin has shown how correspondence, administration, or
simplified colour can impart feelings. domestic chores.
Narcissus Quagliata has a unique quality in
his expressive use of layered colour
through fused glass.
What's the purpose or goal of your work?
At the start of each year, I set an
improvement goal to research and develop
a different aspect of working with colour in
the glass. My current research is in
creating glass filati from smalti for use in
miniature compositions.
Do you have a network of other artists,
and how do they support you?
I am based in the South West of England
and work with three other mosaic artists to
promote the artwork of a loose collective
of about thirty artists through the annual
exhibitions in regional galleries.
Tell me about your favorite medium.
Coloured glass is my favourite material for
creating artwork, especially Italian smalti.
Glass has a unique way of changing the
emphasis of a composition as light hits its
surface.
What are you working on at the moment?
I am working on two series of compositions
for exhibitions later this year in Devon and
Dorset. The format for both of these
exhibitions is miniature cold-cut glass
within a 5cm by 5cm substrate.
Where do you find inspiration?
The colours of flowers have always had a
strong impact on my expressive style. The
first colour I remember noticing is the
bright orange of nasturtiums in my Chroma 8/ 11/ 7/ 12
grandfather’s garden.
Coloured glass, size 63x33 cm each, 2021
Artworks are part of a series exploring
colour as a landscape.
Brigitte
Garcia
L’écriture de ma vie, c’est mon rapport au monde, aux autres et à moi-même au fil du temps.
Le monde et ses actualités nous présentent, chaque jour, par son flot d’images, le monde de
tous les dangers, attentats, guerres, dérèglements climatiques, crises financières, politiques,
sociétales, pandémie et confinements....
Pendant les confinements, mon travail se focalisera sur l’effacement, effacement de mes
repères personnels bousculés par la maladie d’Alzheimer de ma mère mais aussi effacement
du monde d’avant la pandémie. Ces bouleversements, tant personnels que collectifs, vont
impacter ma peinture. Mes peintures-palimpsestes, jusqu’alors tournées vers le passé, vers
l’intérieur, vont pulvériser cette chape de plomb pour se tourner vers l’extérieur et laisser
éclater les « Couleurs » du présent.

Je crée depuis de nombreuses années des peintures-palimpsestes ; chacune renfermant

dans la matière le patrimoine, seules quelques traces restant visibles sur la dernière couche.
Pendant les confinements, s’est posée la question de ce que nous allions garder du monde
d’avant et de ce que nous allions effacer. Pendant deux ans, je vais effacer, effacer les mots,
les langages, les formes,
les couleurs, les habitudes, les souvenirs,
les compromissions.... Je vais poncer, laver,
brûler, arracher, déchirer, exhumer....jusqu’à
atteindre «le silence rétinien » 1. Faire
table rase pour mieux reconstruire ou
tout simplement construire !! Ma recherche
se radicalise. Cette série « Couleurs »
se crée comme une évidence ; il n’y a plus
d’hésitations, ne subsistent que des
priorités qui ne transigent pas avec le
temps. Un monde nouveau est né ; le
passé est derrière nous, seul compte le
présent. CARPE DIEM

Couleurs 4,
Acrylique, 100 x 81 cm
Quel est votre parcours ?
J’ai suivi un double cursus littéraire et
artistique à Paris, une formation d’art-
thérapie à Tours. J’expose en France et à
l’étranger, New-York, Bruxelles, Lisbonne,
Moscou, Florence, Rome ; participe à des
salons d’art contemporain, le Carrousel du
Louvre, Art3f, salon national des Beaux-
Arts ; réside en maison d’artistes et
intervient dans des écoles.
Quel est notre plus grand défi en tant
qu'artiste ? Comment l'abordez-vous ?
Le plus grand défi en tant qu’artiste, c’est
de ne pas être seulement dans la
représentation de la réalité ou des
événements de son époque mais en
cherchant l’au-delà de cette réalité, de
pratiquer un art contemporain de son Couleurs 6, Acrylique, 100 x 100 cm

époque qui souligne les crises qu’elle

traverse.
Nommez l'artiste ou les artistes auxquels
vous aimeriez être comparé, et pourquoi ?
Rothko, Joan Mitchell, Tàpies, Soulages, Cy Couleurs 3, Acrylique, 100 x 81 cm
Twombly.... Leurs réalisations sur des
grands formats me permettent de
m’immerger dans leurs peintures et de ne
pas rester devant elles, simple spectateur.
Parlez-moi de votre média préféré.
Mon medium préféré est l’acrylique. Il me
permet de superposer les couches et de
créer des peintures-palimpsestes ;
l’ensemble des couches renfermant un
patrimoine pour ne laisser visible sur la
dernière couche que la mémoire de
l’essentiel.
L'art vous aide-t-il dans d'autres domaines
de votre vie ?
L’art est dans ma vie en perpétuelle
correspondance avec la littérature. Il faut
dire que j’ai suivi un double cursus littéraire
et artistique. Mais l’art m’a aussi permis
d’exercer l’art-thérapie et d’aider certaines
personnes en souffrance à restaurer leur
qualité de vie.
Sur quoi travaillez-vous en ce moment ? Avez-vous des expositions à venir ?
En ce moment, je travaille sur cette série « Expositions à venir :
Couleurs ». Je délaisse la superposition de Du 16 au 22 septembre 2022 : Exposition
couches pour peindre par aplats des dans Espace Sorbonne 4, 75005 Paris Du
couleurs qui viennent s’entrechoquer. J’ai 13 au 20 octobre 2022 : Exposition
effacé, au sortir des confinements, tout ce Biennale de Lyon avec Association AIAC
qui empêchait d’avancer pour faire place Avez-vous un mentor ou un coach ?
aux couleurs du présent. Je suis des séances individuelles et
Comment restez-vous connecté et à jour collectives en visioconférence avec un
avec le monde de l'art ? coach artistique. Les séances individuelles
Je suis l’actualité de l’art en lisant les permettent de se créer des outils type
magazines spécialisés, en parcourant les portfolios pour démarcher galeries,
expositions, en suivant les réseaux sociaux, salons... et les séances collectives de se
en participant au MIFAC - événement mettre en situation pour se présenter,
annuel du Mans, en assistant à un cours de présenter sa démarche..... échanger des
recherches aux Beaux-Arts de Nantes et à informations et constituer des réseaux.
des séances individuelles et collectives en
visioconférence avec un coach.
Comment savez-vous qu'une œuvre est
terminée ?
Une œuvre est terminée quand elle cesse
Couleurs 2, Acrylique, 100 x 81 cm
de vous interroger. C’est un exercice très
difficile ; on peut rester des heures, des
jours à la regarder et à s’interroger jusqu’au
moment où c’est une évidence. Elle est
terminée !

Couleurs 5, Acrylique, 100 x 100 cm

 Chad Erpelding

Chad Erpelding has been developing a body of work that investigates issues of corporations,
globalization, and economics, exploring some of the major global institutions that affect all
of our lives. Recent exhibitions include solo exhibitions at ONONO Gallery, Rotterdam, The
Netherlands; Pinebox Art Center, Baltimore, Maryland; the Modern Art Museum, Yerevan,
Armenia; and Nagoya Zokei University, Nagoya, Japan. His work has been included in group
shows in the Philippines, Argentina, France, Italy, South Korea, Russia, Bulgaria, Hungary,
Canada, Spain, and Mexico as well as throughout the US. He’s been awarded artist
residencies in Blanca, Spain; Buenos Aires, Argentina; Marnay-Sur-Seine, France; and
Yerevan, Armenia and was awarded the Artist Fellowship Award from the Idaho Commission
on the Arts in 2020. He earned an MFA from Southern Illinois University Carbondale in
Carbondale, Illinois, and is currently a Professor of Drawing and Painting at Boise State
University in Boise, Idaho.

“You can tell what’s informed the society by the size of ... the tallest building in the place. When you approach a
medieval town, the cathedral’s the tallest thing in the place. When you approach a 17th-century city, it’s the
political palace that’s the tallest thing in the place. And when you approach a modern city, it’s office buildings
and dwellings that are the tallest things in the place.” Joseph Campbell

''The stock market and other data are commonly used to gauge the overall health of economies and
are followed with an almost religious fervor. The major corporations that drive the market continue to
increase in size and power through consolidations and governmental influence. They now have
significant influence over many of our laws and regulations, control legislation, and play a major role
in foreign and domestic policy. My work utilizes data visualization and systems-based strategies to
investigate corporate power and global institutions. Pulling from the history of abstract painting, I
transform color fields with data-driven formats, replacing the formal and idealistic space of
Modernism with our new idol – the market. Through extensive research of stock markets and other
economic data, I look to discover various representations of global networks and activities. I
transform this data into a visually complex piece with conceptually disorienting elements, both
revealing and concealing information. I hope my work challenges viewers to gain a new view into the
powerful entities that affect our lives.''

Debt/GDP: US: 2011-2020 acrylic latex on canvas, 71cm x 269cm (30cm x 46cm each) 2022
Piece is based on the national debt to the Gross Domestic Product of the US on an annual basis. Embracing a
traditional hardedge abstract aesthetic, this piece is also a bar graph.
Who are you? How do you define success as an artist?
I am an artist and professor of drawing and I define my own success as continuing to
painting at Boise State University in Boise, be engaged in and energized by my studio
Idaho, US. I’ve been developing a body of practice, but I have the luxury of not
work that explores issues of globalization relying on selling my artwork to make a
and corporate power for the past 15 years. living since I also work as a professor.
Why did you choose to be an artist? What’s the purpose or goal of your work?
I originally went to school to study I hope my work provides viewers with a
accounting and economics but this quickly visual experience, where they engage with
changed when I took an art class. I was the work formally, enjoying the
drawn to the challenge of creating and combination of colors and shapes. And
expressing ideas through visual forms, but then I hope they see the title and grapple
my interest in economics continues to with the information the piece is based on,
inform my work. including the broader societal issues that
What inspires you? are a part of that data.
I am inspired by our current cultural What are you working on at the moment?
moment. We seem to be in the era of I have recently started a corporation as an
corporations, where they have more art project where I am collaborating on
power than governments and individuals. issues of corporate personhood – the legal
What is the role of an artist in society? idea that a corporation is a person. We are
I think this is multi-faceted. They working to help corporations become
simultaneously mirror our current time as better people. www.acorpincorp.com
well as visionaries for how things can
become.
Where do you find inspiration?
I find inspiration in data visualization,
Modernism, color field painting, and Export/Import: US Trade Deficit: 2011-
current events. I am especially drawn to 2020 acrylic latex on canvas, 66cm x
those moments when an event happens 264cm (25cm x 41cm per diptych) 2021

that ripples across the world, affecting

Piece is based on the annual trade deficit
markets and therefore people’s lives. of the US, with each diptych based on the
total number of exports and imports.
 Indices: The Day After Brexit (detail
of Europe)

Indices: The Day After Brexit acrylic

on paper, 51cm x 51cm, (each) 2019
This series is based on the changes
Indices: Amsterdam Exchange, Dow Jones Industrial
in value of the world’s stock market
Average: 2018 acrylic on paper, 61cm x 46cm, each 2019
indices on the day after the vote for
Brexit. Each piece is based on one
continent, with each square within
the piece based on
one index. Derived from the phrase
“in the black/in the red,” the values
of the colors shift in accordance
with the value of the index.
 Chrysanthe Maggidis
Chrysanthe Maggidis is a female artist born in Greece and raised in the United States of
America. Throughout her academic years, she pursued a BA in Art Studio, Archaeology, and
Art History at Dickinson College, an MFA in drawing, painting, and printmaking at the
Pennsylvania Academy of the Fine Arts, and an MA in Greek and Eastern Mediterranean
Archaeology at the National and Kapodistrian University of Athens, Greece. Chrysanthe is
currently a Ph.D. candidate for Classical Archaeology at the National and Kapodistrian
University of Athens and, simultaneously, an active artist having recently been accepted at
the Biennale Chianciano 2022.

''As an emerging artist, my personal research revolves around contemporary figurative work
that explores the relationship between mind and body, and how their interactions forge our
identities. The figures are intentionally stylized to aesthetically reference ancient Greek vase
paintings, which idolized timeless beauty through the perfection of the human form and
perceptual idealism. Perfection, in ancient Greece, rested in those who attained the ideal
balance of mind and body. These figures were regarded as divinely gifted and became a
prototype for mortality. I challenge the ideal balance of the mind and body by representing
one of the two in a fragile state thus creating a narrative of struggle, denial, rebuilding, and
acceptance of imbalance.''
Afí - 1.22X1.15m, pastel and charcoal
 Tell me about your favorite medium.
Charcoal is the medium I have grown to
love and understand. Every time I draw
with it, it teaches me something new. When
I was first introduced to charcoal, I was
challenged because it forced me to work
and think differently than what I was
accustomed to. The more I practiced with
charcoal, I learned to loosen up and enjoy
not being in complete control during the
process of creating, and even of the
outcome. Charcoal gave me confidence
and taught me to value light and shadow,
allowing me to experiment and eventually
express myself in color.
Does art help you in other areas of your
life?
Art helps me escape stressful areas of my
life, as these very areas simultaneously
feed my work and allow me to visually
explain and express myself. I believe art
helps with focus, critical thinking, problem- Whelve - 1.28 x 1.18m, pastel and charcoal
solving, confidence, communication, and
many other abilities that apply to our daily
lives outside the studio.
What's the purpose or goal of your work?
Creating artwork was a personal need. My
perception of this changed the first time I
1.38 x 1.18m, mixed media of pastel, woodprint, and charcoal

observed how others interreacted with my

work. What I hope to achieve, as I continue
to create, is for my viewers to relate to my
artwork through the history of their own
experiences. Each viewer experiences the
visual work differently depending on their
unique backgrounds, engagements,
thoughts, and emotions; in a sense, they
complete the work and change its meaning.
Is there a specific environment or material
that's integral to your work?
What is integral to my work is the use of
the human figure. I create a narrative
based on gestural physical language, as the
Sciamachy

body and its skin carry history, identity,

personality, and dreams.
How has your style changed over time?
Academically in the fine arts, I was trained
in various mediums such as drawing
(charcoal, graphite, pastel, ink), painting
(oil, acrylic, egg tempera), printmaking
(etching, woodblock carving, lithography,
monoprinting), sculpture (wood,
metal/welding, plaster), and photography
(film, digital photography, digital
illustration, Lightroom Photoshop). I did
not apply my knowledge of other mediums
in my personal studio practice, outside of
charcoal, until I began my MFA which
required me to step out of my comfort
zone in terms of scale and materiality. I
now create large-scale mixed media
collages using charcoal, pastel, fabricated
paper, and woodprint.
How do you know when a work is finished?
An artwork considered finished for me
stems from the instinctive understanding
that there is nothing more I can add, Melancholia- 1.28 x 1.18m, pastel and charcoal

iconographically or conceptually, to
improve the image. This is something
temporary for me, as I believe artwork can
never really be complete, as it can always
be revisited and reworked when the artist
has distanced themselves from the
specific piece.
Do you have any exhibitions coming up?
In June 2022, I had a solo exhibition at the
Municipal Art Gallery of Lamia in Greece,
and in August I participated in the Biennale
Chianciano 2022 in Italy. In October 2022, I
will have two solo exhibitions run in the
Municipal Art Gallery of Corinth and in an
Art Gallery in Athens, Greece.

Caim - 1.28 x 1.18m, pastel and charcoal

 Joy Misu
Joy Misu (she/her) is a young, emerging artist based in Vienna, Austria, while being born in
Germany, she also has Vietnamese roots. Her art is a mixture of body positivity, feeling
confident, and educating her surroundings about sexuality and womanhood. With mostly
black ink, she has found her style to be very bold and modern. Showing depth and highlights,
with the focus on black and white ink, but seemingly creating many layers, her artwork is
unique in the best ways possible. She is taking the world by storm and has been featured in
various exhibitions all around the world as well as digitally! Representing and supporting all
those, who are not heard and are underrepresented in today's society.

''With my art, I want to represent all kinds of bodies, of all genders and sexualities. It’s very
important to me to give those a voice who have been underrepresented in the past and
show them my respect and support with my inclusive art pieces. I identify as a queer woman
whose sexuality is fluid and I want to encourage others to explore and love themselves in a
society that has created a heteronormative world. ​I have faced many challenges in the
world as a mixed woman and I want them to be seen and acknowledged by my surroundings.
Sometimes my art pieces are seen as „erotic“, but I wouldn’t necessarily class them as such,
I would rather not put them in a category. Sometimes my art will make you feel uneasy or
uncomfortable because it portrays issues that are not commonly talked about or shown in
the mainstream media.​Although some people won’t understand my art, I love what I do and
I appreciate the support that I get from the community around me. I developed the
technique I use in 2017, while I was attending a college-level drawing class for two semesters
and at the end of the second semester, we were assigned to do a „free“ art piece. That’s
when I experimented with different mediums, but black ink just stayed with me. Since then I
perfected my skills and I love creating these simple but complex pieces with my „messy line“
technique as I call it.''

Goddess
Oil paint on canvas
2021
When is your favorite time of day to create?
My favorite part of the day to create is the
afternoon. I love being in my flow with natural
lighting!
Who are you?
I am Joy Misu (she/her), an artist born in
Germany who is half Vietnamese and half
German. Currently, I am based in Vienna,
Austria to pursue my dream of being a
professional artist.
Why did you choose to be an artist?
I chose to be an artist because I am not good
at writing and expressing my feelings in any
other way. I have the feeling that I can really
change something with my art.
Which artists are in your network?
I have an art network on Instagram, which
consists of young artists. It is a mixture of
emerging artists and hobby artists. They often
share tips and tricks with each other as well as
challenges they have to overcome. It is an Women on social media part 1
amazing network since you can count on each digital art, 2022
other's support! Women on social media part2

How do you promote your work and your

shows?
I use social media a lot to promote my work,
while also trying to get some physical
exhibitions going (now after the pandemic).
Also, my newsletter is a big part of promoting
my work.
How useful has social media been for you?
Social media has been great but at the same
time really damaging for me as an artist. There
is a fine line between having a great and
terrible experience since people tend to feel
untouchable and send a lot of inappropriate
responses to my art pieces. But I also touched
so many amazing people out there, too!
What are your long-term goals?
I would love to make a living with my art!
What inspires you?
I am inspired by the world around me,
especially queer people and FLINTA* people!
Liz Darrell
Liz Darrell is a multidisciplinary artist born and based in New York City. She was exposed to
an absurd array of dramatic and visual arts growing up, perhaps triggering her perception of
the world in expressive rather than logical ways. A lot of the darkness we face throughout
life targets the deepest parts of ourselves, and to her, many of the deepest parts of herself
are bound to her childhood. So, Liz has become interested in exploring adult concepts
through a playful lens.
‘’It's strange being alive these days and that's quite inspiring. There's a lot to think about,
there's a lot to feel about, but there's even more to do. My works may offend, they may
inspire, perhaps even disappoint, but hopefully, they’ll provoke something, anything. Be it
internal or external; a thought or action. Pulling from the experiences I’ve gathered in my
nigh quarter century spent alive, I aim to investigate the worlds within and around me
through camp, sarcasm, and humor. And as a young queer white woman, my goal isn’t to
endear myself or explain myself but to simply bear myself. The pieces I create are attempts
at illustrating a thought or feeling or experience I've found fascinating, and typically have to
do with mental health, femininity, queerness, and privilege. I hope to shine a light on the
unremarkable in a remarkable way; the things we take for granted are often the things least
explored.’’
Slap In the Face - Acrylic on canvas, 5x5, 2022
Where are you from and how does that Where do you find inspiration?
affect your work? Most of my works come from some
As a born and raised New Yorker, the city is combination of being intensely frustrated
one of my biggest influences. It has its and/or infatuated with an idea until one
flaws— as we all do, but it’s my favorite day something I see gives that idea a
place in the universe. The language and chance to take some kind of form. That
pace of the city seeps into the bones of us, said, my go to cures for creative
I think. constipation are usually queer performers,
What is the role of an artist in society? television, theatre, advertisements, my
I think that there’s a kind of madness that partner, my grandma, the city, and—
comes with existing in society. Most of the strangely enough— Indian dance reality
world has to go to work and just television.
understand that they’ll be paid a fraction Describe how art is important to society.
of what their male white counterparts will I hear a lot about how art is the mirror
be. If your clothes don’t seem to match society holds up to itself, but I think it’s
your genitals or you’re a lady walking also the way we can see and process and
alone, you must simply prepare to be feel the things we typically cannot. I think
attacked-- constantly. I think it’s the beyond showing us what we are, it’s art’s
artist’s job to provide comradery in this job to show us what we can be: the most
madness, beg us to ponder it, and magnificent and awesome as well as the
aggravate those of us who live in it against most gut wrenching and despicable.
it— in any order or combination.
Who are your biggest artistic influences?
My parents are both in show business, so
theatre and live performance has always
been a huge influence on me. There’s
something about it that allows you to see
all the gears in a watch that’s definitely
affected how I view the world and myself.
The queer community and the
communities within New York are always
consistently trailblazers in what art is and
Venus Divine - Photoshop and acrylic, 36x24, 2022
can be, they’re also so often unapologetic
— something I definitely try to embrace. In
terms of artists, my influences always
seem to change, but Robert Wilson, Toni
Morrison, Ian McKellen, and Cher are
artists whose work always seems to make
its way into my mind when I’m creating.

Pay It No Mind
Photoshop and acrylic, 36x24, 2022
How do you define success as an artist?

Original Photo and acrylic, 24x32, 2022

Success definitely comes in different
forms for each artist. Providing comfort,
identifying flaws, celebrating individuals

The Okeefe Spread

and cultures— all these are tremendous
feats and certainly successes in their own
rights. I would consider myself successful
if I could achieve any of these things, but I
do hope, specifically, to incite some kind
of change. Even if I can just change a train
of thought or somehow collaborate with a
stranger’s mind to muster a thought into
existence that wasn’t there previously; I’d
consider that success.

Original photo and acrylic, 24x32, 2022

What's the purpose or goal of your work?
The world can be a really dangerous place

Joys Of Maintenance
for those of us whose identities intersect
or dwell in the margins. I know some
people have to hide and conceal to remain
safe, but for the rest of us, I think it’s our
job to love and exist as loudly and
belligerently as we possibly can. I want to
bring a bit of peace and recognition to
those of us that live in the madness of it all
and a gluttonous portion of distress to
those who can afford to remain sane.
How useful has social media been for you?
Social media has been a really cool tool to
explore. It’s definitely mad stressful
because of the pressure of putting out
content consistently and trying to stay
interesting. But it’s been amazing to
connect with other artists and get to
follow their journeys and processes.

Farts and Other Pleasurable Hassles

Original Photo and acrylic, 24x30, 2022
How To Make A Monster - Photoshop and Acrylic Paint, 24x18, 2022
Creature From The Haunted Sea - Photoshop and Acrylic Paint, 24x18, 2022
Lyndon
Watkinson
Lyndon Watkinson is a digital artist, designer, and writer based in Sheffield, UK. Passionate
about solving creative problems and making art accessible. Operator and founder of
♲
SU4IP , an online arts organization, and virtual alias. Democratizing art and art context
through artworks, publications, digital content, articles, and sound.

Themes vary excessively, underpinned by experiences of being an outsider. Driven by a

desire to quantify and systemize abstract concepts and ideas.

‘’Historically, I was insecure about

my lack of drive to combine my
digital skills with my creative
process. The period of widespread
isolation between twenty-nineteen
and twenty-twenty-one offered a
test bed to hybridize these two
aspects of my life. My confidence
and belief in my own ability to
communicate my ideas through art
have since flourished.’’

01:05
The final installment of the Interior
Artworks within this series. The original
intention for the work was to recreate
William Morris’ Trellis using modern
technology to juxtapose against the
ideology of the Arts and Crafts
movement, which advocated for the
opposite. As the piece developed, 01:05
also inquired into the division of nature,
using various visual elements to
communicate the way humans interact
with and perceive nature. Sampling from
an archive of collected photographs, this
piece embeds multiple layers of
nostalgia in a trellis-inspired format.
Digital Collage, 1640x2560 px, 2022
Why did you choose to be an artist?
I’ve always been attracted to making things. everything that I create is a masterpiece, I
Creative subjects at school were always know that I am moving in the wrong
what I looked forward to the most. Used to direction. If I feel like an imposter, I know
think that I was because making was easy, that what I am doing is important.
but it turned out that other people found it How do you define success as an artist?
hard going sometimes. That made me Success as an artist is first defined by how
realise that creative subjects we easy to me much you care about making art. If you
because I enjoyed them. That’s the reason I care and awful lot, and by extension it
became an artist. But it was definitely a gives you a purpose, that’s a great start. I
gradual decision I made over the years. think that this is the consensus for any
What is the role of an artist in society? artist, after that I think it becomes a lot
Art in many ways is a form of non-verbal more open to interpretation. My own
communication. Artist’s project their ideas personal goals for success are defined be
through a plethora of mediums, and those the above, in combination with making
who open to these ideas receive the enough money from art to sustain myself.
pleasure of synthesising what the art means That’s my dream.
to them. In a time where we know so much, How has your style changed over time?
it can be a real joy to experience something I think for most people, myself included, it
for the first time, and to contemplate what starts of with just being able to draw things
it could mean. But art is applicable to just well. Then during my teens, I used art as an
about everything that society needs and extension of my own emotions, to reject
consumes daily, from media consumption realism, and express everything I was
to architecture, that to just define it buy feeling during the time. I had always been
one purpose would be an injustice. good with computers, and I wanted to use
Where do you find inspiration? these skills to make art that was precise
Art can be used to contextualise and and well thought out. When my emotions
reimagine the mundane. I enjoy exhibiting had somewhat levelled off in early
this in my own work. I think most people adulthood, I realised that I couldn’t afford
care about overlooked objects found in to be so impulsive. I transitioned my
everyday life, I just takes the right individual practice into a systematic process that
to persuade those to look at something could turn small fragments of ideas into
deeper. I doing so, it can make others feel something bigger and more profound.
good, or otherwise grateful for things that Digital art has given me the tools to do
we often take for granted. that.
What motivates you to create? What are you working on at the moment?
I have a constant desire to create things. I I’ve been big on making artists’ books since
try to generate something new every day. I started at university. I’ve made a few
When I create artwork and feel proud, it previously, and want to develop them into
gives me a lot of gratification. When I create something that can bring people into the
artwork and I don’t like it, I know mistakes art world. For those who may not be
help ground me. If I think inclined, I believe books to bring the gallery
to them.
01:25
Intertwined with architecture, the grid is used to
mitigate the risk of erecting a structure, and interface
calculating its integrity. [Aleksandr Rodchenko, Hanging
Spatial Construction no.11 (Square in Square)] Despite its
precariousness, Hanging Spatial Construction is
grid-bound. Not in the act of exhibiting its aesthetic
properties, but defiance. Interchangeably rejecting and
embracing the grid, is switching between the methodical
and the impulsive. Rodchenko was also a painter for most
of his career. Like Kandinsky and Zamyatin, his practice
would mostly be subject to political restrictions of
Soviet Russia. Comparable to Zamyatin’s We, Rodchenko
would strive for a solution. Δ-503’s neighbour would
work daily on complex equations to discover and
identify the ‘final’ number, and consequently - the
final revolution. Culminating in the main character
backtracking on his role in the plot to overthrow the
One State, and instead report I-330 to the Bureaux of the
Guardians. Δ-503 would record, in reference to the One
State: ‘I’m certain we shall prevail. Because reason shall prevail.’ Likewise, Rodchenko would record, referring to
the end of painting: ‘I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and
yellow. I affirmed: it's all over.’ For Russian Avant-garde artists, the grid was the conclusion of aestheticism. It
was the end of impulsive and emotionally dictated art, and a transition into an optimisation imperative. The
process of creating this image began with recreating elements from the image of Rodchenko’s Hanging Spatial
Construction. This involved sampling the colours from the photograph, and using them as a basis for the
background, circle, and square. The addition of the blue hues above was not a product of colour sampling.
Instead, it was added to break up the monochromatic nature of the original picture, to define this artwork further
from just a recreational study. The two shapes are illustrated with seams, to convert something two dimensional
into something that more convincingly resembles a physical construction, maintaining a digital appearance.
Adhering to the overarching theme of my artistic practice. I added a grainy overlay, which transports the image
away from post-modernity, while maintaining the soft, pixel perfect elements underneath. Inspired by the idea of
‘art to end all art’ - I incorporated democratic, equilateral shapes to convey purpose, function, and utility. To
resemble the idea that reason shall prevail. The sticker in the bottom right was illustrated to be stuck on, and
overlay the grainy texture, to suggest that this work is an archival artefact rather than an image, withdrawn from
an exhaustive cabinet titled: ‘Art said to have ended all art.’ Such anarchic intentions to overturn the status quo
and summarise our efforts, implies that now that art is finished, we can focus on other things. However, no artist
is realistically happy to do that. Moreover, this statement implies that art does not present solutions and is a
superfluous, recreational act. Dramatic ideological shifts and changes in mentality are beneficial to art. Waves of
counterculture are inherent to our nature. 01:25 symbolises the reality that art is inconclusive, but never
stagnant. Digital collage, 4800x4800 px, 2022

00:36

An architectural study, combining influences from both Southern and

Eastern Europe to create a surreal, and almost heavenly reproduction
of renaissance architecture. Sampling from untouchable components of
priceless paintings and ceremonial halls of residence, 00:36 combines
these elements with everyday objects to create a lens where units of
measuring time are at their lowest relevance.

Digital Collage, 4800x4800 px, 2021

 Lynn
Strugnell
Lynn Strugnell is an English artist who trained with Rose Wylie and the late Roy Oxlade. She
attended their regular classes and the famous summer schools where their work was
critiqued by Peter Fuller, and artists such as Jock McFadyen. Lynn was a founder member of
the Monson Group and organised local exhibitions and a publication of their work. From
there Lynn completed her MA in Fine Art at the University of Brighton and became the
education officer for the Cable Street Studios in the East End of London. She was an artist in
residence in Whitechapel and her most recent exhibitions were in The Brick Lane Gallery,
London and at the Ducal Palace in Genoa. Her time is split between Brighton and a small
Greek island where she also exhibits. Her art work is in private collections throughout
Europe and the United States.

''My paintings aim to express my “feelings about a form.” To make imaginative

transformations of my chosen subject. Each painting creates a space where the spectator
can experience the familiar in a new way. I begin by sketching; the locality, the domestic and
everyday life around me in particular humble objects that may escape the male artistic gaze.
The vibrancy of the Aegean light informs my colour palette. I strive through gestural mark-
making to recreate the “spirit in the mass” layering and juxtaposing the paint to achieve this
result. I strongly believe that painting has a relevance today as a counterpoint to the slick
consumer driven images that we are fed. Art should be challenging and make us reevaluate
our attitudes. Drawing is an instinctive human activity, a universal language that transcends
boundaries, and colour, a tool that enriches our experience of life.''
Choose your weapon - Acrylic on Khardi paper,
Welcome back - Acrylic on paper, 28x25, 2021

21x21, 2020
Where are you from and how does that What does your work aim to say?
affect your work? My work invites the viewer to see the world
Originally from London where I spent my in a new way, and to recognise the likeness
formative years visiting art galleries and in the unlikeness. We are predisposed to
museums. This introduced me to the wider search for meaning and to make sense of
world and led to my interest in multi what we see, our minds enjoy the process
cultural lifestyles, including historic of making a gestalt, of filling in the blanks
artefacts and alternative aesthetics. My and also to make analogies. I make allusions
love of Greece influences my own to places and things, I want the spectator
paintings, the vibrant colour and exuberant to join in the reading of my paintings,
energy contrasts with the grey English skies detecting atmospheres and uncovering
and restrained culture of my childhood. layers embedded within.
What is your background? Name the artist or artists you’d like to be
I have a background of theatre studies and compared to, and why?
the teaching of children with severe Of course every artist would like to be
additional needs. Over the years I have compared with the greats, but realistically
travelled widely, overland to India, visits everyone has to plough their own furrow.
and tours of China, North and South We can admire and learn but I see no point
America, Europe, India, Egypt and Tunisia. in copying. I am within the tradition and a
Why did you choose to be an artist? product of my culture and era, but If I can
My meeting with the late artist Roy Oxlade obtain the freshness and honest struggle as
catapulted me straight into his art class, I depicted in much Outsider art, or a quirky
found myself in front of an easel for the medieval artist, then I am content.
first time. His dedication and passion to the Who are your biggest artistic influences?
creative process was phenomenal, I was I am drawn towards the work of other
hooked. He and his wife Rose Wylie shared cultures and times, prehistoric, Celtic,
their erudition and encouraged their Egyptian Persian and early Hellenic in
students wholeheartedly to shake off the particular. I admire beyond measure
grip of dry academic drawing and value the Velasquez, Manet, Rodin and Matisse, and
alternative path of authentic personal in modern times the late paintings of Philip
response. Guston, George Bazlitz and my own teacher
and mentor Roy Oxlade.
Acrylic on paper, 17x25, 2022
Pray that the road be long -

Hidden gems - Acrylic on paper, 25x35, 2016-2020

How do you define success as an artist?
Success for me is predominantly a sense of
satisfaction and pride my best paintings,
the ones that continue to sit well in their
own space and seem to have a life of their
own. I value comments from other artists
and invitations to exhibit my work, whether
in a gallery or online. To see my creations
on someone's wall is a joy and a humbling
experience.
Does art help you in other areas of your
life?
Art skills are developed by doing, drawing, Faros, Tilos
observation and imposing challenging Acrylic on paper, 17.5x25, 2022
restrictions to obtain a new and interesting

A jewel like Greek landscape in evening light

image. Drawing quickly, with my left hand,
in the dark, in a continuous line etc. can all
help inform my later paintings.
Then as I paint, trying to recognise quality, Rainbow landscape
honesty and authenticity which keeps you Acrylic on Khardi paper, 21x21, 2020
alert; this may occasionally arrive quickly,

Aquamarine sea and sky surround the island,

or be the product of continuing striving.
diversity can flourish
When re-working it is so hard to keep
everything fresh and to be brave enough
to risk loosing it all rather than tentative
adjustments.
How has your style changed over time?
My style has changed over time in various
ways. At first art involved life drawing,
studio set ups and interpretations of
existing art works. I used charcoal and oil
paints, often on large canvases. I
continued with these materials at Brighton
undertaking my MA and in my Kent and
Cable Street, East London studios. As my
circumstances changed I had to work to a
smaller scale which requires intensity and
a switch to acrylic. Greece has enriched my
colour palette, it also led irresistibly to
including landscape and architectural
features. Strong colour brings joy and
vibrancy to our lives, we bathe in its glow, bounces from every surface, I hope that my
as light and heat paintings convey this positive energy which
inspires me today.
Martin
Vallis
The Man

Studied Visual Communication at Medway College of Art and Design from 1976-79, moving
to London in 1980. After working as a Photographic Assistant to Commercial Photographer
Gary Bryan for 3 years, he set up his own studio in Chelsea in 1983, that specialised in high-
quality still life photography, in the areas of Advertising, Design and Editorial. Martin also
shot stills on TV and Cinema commercials, primarily with directors Howard Guard and Ridley
Scott (Alien/Blade Runner/Gladiator). Some of Martin’s clients included, British Airways,
BMW, Volkswagen and Selfridges. While working in the commercial world Martin’s style
evolved, resulting in tightly- cropped, close-up work, mostly utilising Tungsten lighting, to
enhance texture and detail. Two decades later Martin departed from commercial
photography, concentrating on his own vision. Throughout his life and specifically his
personal life, which has often been hell bent on self destruction, he’s been on a journey to
find answers to the fundamental questions of ‘Who is he?’ What is his True Self or Identity?
That journey has taken him via suicide attempts, psychiatric hospitals, detox hospital, rehab,
treatment centres, and countless therapy groups and one to one sessions, trying to find the
one true ‘Self’ but as he now knows there is no ‘Definitive Self’ he’s made up of many parts.
Of course, many may already know this, but he doesn’t think that at any time in his life, he
has been so conscious of this fact. He feels this is an important breakthrough for him. Martin
feels as though he’s had a moment of clarity while undertaking Schema Therapy and through
his involvement in Buddhism. He’s had many discussions around the idea of ’Self’ and the
fact from a Buddhist perspective there is ‘No Self!' He says, he finally believes he
understands this now. There is no one thing that specifically encapsulates Martin, he would
need to give several definitions to find the whole picture of him, the same as the need to
finish the jigsaw by putting the final piece in place to get the bigger picture.

Pretty in Pink - Various sizes, 2021

The title of this image is
also the name of a song
by a favourite band of
mine, the Psychedelic
Furs and why it
immediately came to
mind. Pink isn't a
favourite colour of mine
particularly in fashion
clothing and accessories
because of its 'girlie' tag.
But in this case and on
this VW I think it works
and looks very good.
The Art

Today Martin has rejected a lot of the values he developed while working in the commercial
world, apart from the importance of composition. He’s gone from large format cameras to
now shooting only on his iPhone, ‘I love the freedom, I don’t want to be bogged down with
the technicalities of traditional photography’ he says. I also want to break down the
stubbornness and snobbery that often hangs over traditional methods. I don't believe we
think anything less of a painter if they use a rag or trowel to produce a painting, we either
like it or not and surely that should be the same in photography. There's room for both.
When he worked commercially if anyone had asked him what does ‘Quality’ mean in relation
to the work, he would have said, the equipment and materials used but today answering the
same question, he feels it’s the ‘idea’ and providing he can communicate the ‘idea,’ with
whatever he’s using at the time, then it’s ‘job done.’ He even likes the pixel effect and
compares it to ‘Grain’ that was popular back in the day with analogue photography. His
current work reflects his journey so far, his thoughts and experiences, the good, the bad and
the ugly. He says he’s had several comments regarding his work as being ‘Simple’ and
‘Anyone could have done that.’ However, in Martin’s experience, anyone don’t do that
because they don’t see it in the first place and don’t understand the beauty of simplicity and
as Leonardo da Vinci is quoted as saying, ‘Simplicity is the ultimate sophistication.’ And
that’ll do for him. Martin adds he’s often attracted to subjects that may reflect his own
struggles with interpersonal relationships and feelings of Alienation, Isolation,
Disconnection, Emptiness and Loneliness.

Martin likes the poem, The Ideal by James Fenton, which he says reflects something of his
own life journey.

This is where I came from.

I passed this way.
This should not be shameful
Or hard to say.
A self is a self.
It is not a screen.
A person should respect
What he has been.
This is my past
Which I shall not discard.
This is the ideal.
This is hard.

Linear Image of Visionary Future

Various sizes, 2021
I like linear and geometric shapes and they work well with
strong colours as in this picture. And regardless of the
Classic Vehicle they have the power to fire the
imagination.
Who are you? Who are your biggest artistic influences?
I’m no one thing. I’m made up of many I don’t like collecting names, but of course
parts, and rather like a jigsaw, one needs to that’s impossible because I’m influenced by
put all the pieces together to see the bigger everything and everyone around me past
picture. and present whether I’m aware of it or not.
Where are you from and how does that The painters I admire are, Francis Bacon for
affect your work? painting the human condition in all its
I come from Kent and a working-class grotesqueness and I use the word
background, and I haven’t just got a chip on ‘grotesqueness’ as a compliment. Edward
my shoulder, I’ve got the entire chip shop Hopper for the melancholy, something
with customers! The class system from my that’s a big part of my own life and
generation has been very negatively impactful on how I see the world and
impactful but of course I’m no longer others in it. And the Photographer Don
working class, but I feel it deep down and McCullin, even though our work bears no
that in turn can make me feel I don’t belong comparison. What I like about McCullin is
in the world of art. that he’s gone to war torn countries to
What inspires you? record the devastation caused by invading
The Mind / Consciousness. Is it in my head, armies but he himself is also an’ invader’ as
backside or on the bus that’s just gone by he pushes his camera into the grief, anguish
my window, nobody knows? It is though, and destruction of family life caused by
constantly having an impact and influence war.
on me. I’ve just come back from a ‘Nature Does art help you in other areas of your
of Mind’ seven-day retreat, mind-blowing, if life?
only I knew where my mind has been blown Yes, some of my work relates to the trauma
to? I experienced as a child. I find it very
What do you dislike about the art world? cathartic and its brought me closer to my
Elitism, Ego, Pretentiousness, Rigidity, and subjects and illuminated why I’m drawn to
Snobbery. particular subjects. It helps to keep me
sane if I can connect on an emotional level
with my images, even if it’s painful.
How can your work affect societal issues?
I hope by being open about my own mental
health difficulties, either through the
images or by conversation I might change a
few perceptions along the way.
Cars and Girls - Various sizes, 2022

How has your style changed over time?

I worked as a commercial still life
photographer for over twenty years and
even though today I’ve given up a lot of
what it taught me, and it did teach me a lot.
What has remained is a trained eye for an
image and the importance of composition.
All my images are like mini still lives.
How do you know when a work is finished?
Interestingly I asked a painter friend the

Abstract. Brake light and a play on the little of the Netflix

same question and she said it’s never

finished but she must let go. I think as a

photographer it may be easier, for me it’s
instinctive!
What is the biggest challenge of being an
artist?
To ignore negative opinion, not easy, I
know. I am a sensitive soul. My work is a
very personal journey and many, if any,
won’t get it but if I can touch a few along
the way, then that’s fine, I’m happy.

Various sizes, 2021

Braking Bad
Dreaming in Red
series
Various sizes, 2022
Car as a dream
Maryam
Dehbozorgi
Maryam Dehbozorgi was born in April 1986 in Shiraz, Iran. In 2011 she received her
bachelor`s degree from the Soore University of Tehran in the field of Graphic and in 2019
she continued her study in the field of Painting at the postgraduate level at the university of
Soore , Tehran. She started her professional career in the field of art in 2014 by accidentally
participating in a group art class which was arranged by an artist and art director, Mohsen
Zare, in Shiraz. She is really into photos and films so she is really influenced by them in her
art. This interest originated in her childhood as she was enthusiastic about flipping through
albums and watching home movies, first as a means of entertainment and then as a tool for
curiosity about her identity. Her earlier works were collages of family members and
sometimes internet and magazine photographs that initially dealt with scattered topics such
as immigration, technology growth, and identity, and then the focus on the “ self “ subject,
shifted into the challenges she faced in everyday life. With the help of photos as reliable
documents, she could connect with her past and move through lost time. photographs were
torn, burn, and mixed with all kinds of materials and sometimes they were photographed
and used in video art or painted. Most of her subjects had been images of herself and the
city where she inhabited. Today She makes her works with the inspiration from her life and
the concept of “ self “ and her challenges to express them more broadly and in relation to
society. To achieve this goal she uses familiar objects in everyday life in combination with
photos and employs them to create her art. Her works are shown in various group
exhibitions in the field of graphic design and visual art, in Iran and abroad and also she held
her first solo exhibition in 2020 in Hamras Gallery in Tehran with a collection of
photographed collages entitled “ fly between walls “.

Being that
The photos in this collection are the result of living among a multitude of beautiful and
identical women, the result of a search among Becoming others or staying in a space that
tries to create another image of "me" as a woman. In this series, familiar and unfamiliar
dichotomies are placed next to each other, so that familiar and common objects in life in
combination with each other, create a character that is fictitious and unfamiliar. Parts of my
face are reflected in the mirror to complete the character and make another self; A self that
sometimes resembles an accepted and constructed character in the community around me.
The final character, suspended and far away from the real self, my body, and even the
lovable character of my community; is An empty character of the body, feeling, and thought.
This artificial form is neither of my sex nor does it live apart from me; Because there is
always an instinct to be more beautiful and more acceptable in human nature, so what
comes to mind when hearing the phrase "beautiful woman" is the image of a woman with a
glamorous appearance; One who has been able to assume the role of an ideal being by
wearing the innumerable demands of his community.
 Hug - photography, 38x25

A woman with yellow dress - photography, 50x32

The dream of bride - photography, 16.9x25.4

Why did you choose to be an artist?
I was very interested in art since I was a
child and used to draw in my spare time,
but 10 years ago when I attended a private
creativity training class by Mohsen Zare,
curator and artist, I realized that art is my
main profession Since then I started
making collages with the help of photos.
Being in the artistic path gave me the
opportunity to discover my inner self,
using everyday objects around me and
photos in combination with each other I have lost my body, there is only one color..red
made me familiar with strange spaces and photography, 48x33.8

challenging issues in my life. Art has been a

form of self-knowledge for me. What is the role of an artist in society?
What does your work aim to say? In my opinion, the artist can inform people
From the beginning, my work was somehow and show them the hidden points of their
focused on the subject of "myself" so that existence. By watching the work of art, the
my first collages were made using my own people of the society can be on the path of
photos. In general, my works have a kind of contemplation and transformation because
illusion that invites the viewer to explore art is inspiring and the artist is the cause of
and seek, seeking to generate thoughts and this awareness by expressing his/her pure
questions about identity and personal feelings. To me, the main goal of an artist is
challenges for greater discoveries in the to create change, a change that can begin
world. In my work, there is a lot of contrast, with searching and questioning oneself and
including the contrast between concepts then entering the larger world.
and colors. In the work of "Being That ", Tell me about your favorite medium.
familiar and unfamiliar dualities are placed Photos and images are an important part of
next to each other, so that familiar objects my work, flipping through photos has been
in everyday life combine with each other to my enjoyable pastime since childhood. For
create an unfamiliar and fake character. In this reason, I made my first works using
this work, the audience is faced with an photos, especially my own images. As
ambiguous space to discover the concept reliable documents, photos helped me
of real self and fake self, which leads move through time, break its rules in my
him/her to think bigger. mind, and fantasize. I keep photos as the
What is the hardest part of creating for primary medium and then distort and alter
you? them by adding other materials that come
The hardest part for me is keeping the main mostly from everyday objects in my life.
idea. Because the initial ideas change a lot Sometimes I arrange the space I want and
in the development phase of the work. take a picture of it. Finally, the new images
Sometimes these changes lead me to a are my reality, which allows me and the
better path and sometimes it takes me audience to talk and exchange opinions.
away from the main path.
Does art help you in other areas of your How do you define success as an artist?
life? Success for an artist is continuous growth
In my opinion, art is a form of therapy in the path of his artistic production. In my
because it comes from the innermost opinion, a successful artist is someone who
feelings of the artist. I use art as a relief in has achieved his personal expression and
my life. Art as a means of self-expression can show it on a global level, an artist who
has been able to free me from the leaves a deep impact on society's thoughts
disturbing realities of the real world and with his works for the purpose of creating
bring me closer to myself. When imagining questions and transformation.
and creating unusual spaces in art, I take
refuge in my inner world from the artificial
reality of the world.
How do you develop your art skills?
Practice and perseverance are the most
basic stage of skill development in the field
of producing my artworks. In addition to
continuing to work and creating new works
in various fields, I try to get acquainted
with the latest information about the world
of art and contemporary artists through
social networks, online art magazines, etc.
Making mistakes and testing different
techniques and methods in producing
works brings me to the stage of certainty in
creating works.
Which art trends inspire your current Three of us - photography, 25x15
work?
Three of us - photography, 15x25
As an interdisciplinary artist and since I am
interested in using different tools and
techniques in the production of my works,
these days I think about using digital
technology in the form of different tools
and as part of my work. I want to use
information as the basis of digital art in my
work. The use of digital technologies in the
production of artwork opens new doors to
create my mixed and distorted works and
makes a more reasonable connection with
the audience of the new age of technology.
Patrice
Sullivan
Patrice Sullivan lives and works in Phoenix, AZ. She received her MFA from the University of
Pennsylvania and an undergraduate degree from Massachusetts College of Art. She has
shown extensively nationally and internationally, including Gracie Mansion, Jim Kempner,
and Robert Miller Galleries in NYC and the Gallery of Vaclav Spala in Prague. Sullivan has
been a member of the Spark Gallery in Denver from 2014-2019. She has had shows at Rhode
Island College, Krause Gallery in RI, Somerville Museum, and Fort Collins Museum of
Contemporary Art. Residencies include The Edna St. Vincent Millay Colony, Lower
Manhattan Cultural Council’s “World Views” Program, Maryland Institute College of Art,
Alfred & Trafford Klots International Program, Léhon, France, Scuola Internazionale Di
Grafica Venezia, Venice, Italy, and Chalk Hill Residency in Healdsburg, CA. She has received
many grants throughout her career through the university, showing in the faculty gallery
yearly. Patrice pioneered & initiated a study abroad program in Italy for summer courses and
taught two semesters. Sullivan’s artwork has been reviewed by The Huffington Post,
Artscore Magazine, Southwest Magazine, Westword, and Site Matters. Her work is in many
private collections including Idelle Weber, Lisa Russell, and.....
Born in Portland, Oregon, I have resided and am a Professor Emeritus of Painting at
Colorado State University, where I taught for 25 years retiring in 2018. Prior to teaching at
CSU, I taught at Harvard University. Patrice received her BFA from Massachusetts College of
Art in Boston and her MFA from the University of Pennsylvania.

The figure is the embodiment of the human experience. It is the site of courage, joy, and
love, of compassion, fear, and pain, of struggle, loneliness, and frustration, of sorrow, of
loss. As a narrative, figurative painter, I use the figure to depict these universal emotions. A
narrative is a time captured in a moment. The synthesis of the photographic and the painted
image, within the familiar context of the family, invites viewers to explore their emotions and
transcend worldly barriers--perhaps recalling a moment from parenthood, or childhood,
perhaps renewing a quest to understand the meaning of our existence. These moments
display a benevolence that might be masking deeper, more malevolent variables.

Birthday Party Endless Chatter

Oil on linen Oil on board,
Size 18''x18'', 2018 Size 9''x12'', 2022
 What does your work aim to say? How useful has social media been for you?
My work speaks of family history, reunions, Very important. It gets my work out there
and the importance of relationships within and good things have happened due to
the family structure. It shows love, tremendous support from other artists
companionship, playfulness, family who are kind, generous and willing to help
dynamics, sibling rivalry and purity. an unknown artist. We should all help and
What is our biggest challenge in being an support each other.
artist?
My challenge is how to get my work shown
to the audience that is appreciative and Floating
Oil on linen, 40''x40'', 2014
supportive. How to expand your base and
keep the rejections from getting in the way
of your artistic creativity. I address this by
applying to shows that don't charge a fee,
residencies and keeping my instagram and
website up to date.
Who are your biggest artistic influences?
I love the Italian Renaissance painters who
told stories that had meaning; Giotto, Fra
Angelica, Botticelli and the Sienese
painters. Frida Kahlo, Matisse, Alice Neel,
Lois Dodd are others who inspire me.
Does art help you in other areas of your
life?
Yes, art helps me appreciate nature
immensely. I see and feel so much more
because of the beauty I am made aware of
by looking at space, line, form that others Oases of Tranquility
cannot see. Oil on linen, 12''x12'', 2022
How can your work affect societal issues?
No one can predict or understand how
work affects others. I hope my art gives
insight into the bigger issues of the day.
Community, fellowship, and relationships
that endure over time and should be
sacred and cherished.
What are you working on at the moment?
I have been working on this body of work
for over 30 years. It still inspires me to
create and continue in this genre. I love
the figure and my work is very personal in
nature.
Pauline
Bradbury
Pauline Bradbury graduated from Southampton University in 1999 with an
Art&Design/Psychology Degree. Started Crank Pots Art Studio in 1999 where Pauline has
taught ceramic classes for many students; of all ages & abilities. She teaches in local
schools; works with mental health groups; with her local council to facilitate young people's
pottery groups threw out vacation periods; with NHS Sussex trust, cahms and facilitate
workshops or sometimes installations with young peoples. Co-runs Tidal Arts & Crafts. On
the committee for a local Family Fun Day involving quite a big craft market. Explored
encaustic wax, its bright colours and fluid movement using a hot plate, hot iron and various
tools allow for bold shapes to transform. Heating the wax allows an easy fusion of colour, as
it cools the shape is set. This took her to cyanotype; with the use of natural objects placed
on paper/fabric that’s been coated with the chemicals; it is then exposed to the natural
sunlight. Washing the image under running water to reveal a Persian Blue background. The
shapes of the natural objects are left white. These bold, striking methods of printing have
drawn her to mono printing. Bringing together all that she's learning to combine techniques
explored in transferring images and shapes.

A ceramicist at heart, lately I’ve been experimenting, researching, and experimenting with
mono printing on many levels. Shapes and colours! My family continually remark “Oh my
god, mum's seeing shapes & colours! Without realizing I've been drawing from nature's
beauty; surrounded by the New Forest & the coast with its continual seasonal changes. Mark
making, texturing, image transfer, decals are all implements at my disposal. Working with a
gelli plate, applying colours, combining talc, glue, baby oil, rolling with a brayer, brush
movements, texturing with numerous tools; layering each printed piece. Discovering how
layers come together to complement an overall composition. A continual strive to push the
boundaries and discover more.

Bubbles From The Deep Seaweed

H29.5cm x W20.5cm H29.5cm x W20.5cm

Gelli plate printing, Gelli plate printing,
acrylics, art deco paints, acrylics, art deco paints,
foil, mark making tools mark-making tools
Lemons
H29.5cm x
W20.5cm
Gelli plate
printing,acryli
cs,art deco
paints,block
printing
ink,dried
lemon as the
mark making
Who are you? Where are you from and how
does that affect your work?
I’m Pauline, born in Dundee, Scotland.
Graduated from Southampton Uni in 1999
with an Art&Design/Psychology Degree.
Establishing Crank Pots the same year to
this day facilitates workshops at the studio,
schools, local holiday art groups for young
people, mental health groups, and with
Camhs, Nhs Sussex Trust. Passing my
learned skills onto others with much
enthusiasm and passion. This drives my
desire to keep learning; researching and
experimenting. Being inspired by many
creative people I cross paths with allows
the freedom to call upon the unnoticeable
in our everyday lives that we tend to ignore
without realizing it. Observing it all. My not-
so-young kids always tease,” Mum’s seeing
colors and shapes! She’s creating!’I spent
many many hours at our local beaches,
walks in the forest, and cycle rides with the On The Water
kids. I’d forgotten that I spent many hours H29.5 x W20.5cm Gelli plate printing, acrylics, art
deco paints, emulsion, mark making tools
at the Carnoustie and Broughty Ferry
Beach. Even visited Montrose beach when I
was really young.
Tell me about your favorite medium.
A ceramicist at heart; but lately I’ve been
experimenting and researching mono
printing on many levels. Shapes & colors!
Friends are always on hand if I require an
audience!! I jabber on to explain my
concept; having researched, and
experimented for many hours. I reveal the
projected almost outcome then wait for
the critic! Working early in the day when it's
quiet I can sit and ponder! When I’m waking
I’m drawing on my dreams. Reflecting on
their meanings.

Storm At Sea
H29.5cm x W20.5cm
Gelli plate printing, acrylics, emulsion, block printing ink,
mark-making tools
Where do you find inspiration?
Without realizing I’ve been drawn to
nature's beauty; surrounded by the New
Forest & the south coast with its continual
seasonal changes. Mark making, texturing,
image transfer and decals are all
implements at my disposal. Working with a
Gelli plate, applying colours, combining
talc, glue, and baby oil rolling with a brayer,
brush movements, texturing with
numerous tools; layering and layering to
create each printed piece. Discovering how
layers come together to complement an
overall composition. A continual strive to
push the boundaries and discover
more.Encaustic
wax,cyanotype,decals,image
transfer,screen printing,stencils;are for me
bold dramatic colourful shapes.Once a
piece is ‘finished’.You do study and
challenge yourself, and look to how you
can improve, and what might be missing! Arches-Reflections
H29.5cm x W20.5cm Gelli plate printing, acrylics,
Who are your biggest artistic influences? block printing inks, emulsion, mark-making tools
Artists whom I’ve drawn from would be
Barbara Hepworth, Mike Benton, David
Hockney, Frida Kahlo, Picasso, Andy
Goldsworthy, Lucie Rie, Magdalene
Ugundo, and Dora Billington but a few.
Their individuality, style, techniques, and
representation of the ‘real’, push the
concept of abstract, a belief that making
art affordable to us all. Evoking a response
to what you see, what you could touch. All
this surely allows us to realise that the 3D
natural world in which we live is ALIVE &
EVERCHANGING. As an artist, threw
whatever medium I use I endeavour to
represent ‘energy’&’stay’.

Calshot Fireworks-Celebrating The Isle Of Wight Boat Race

H29.5cm x W20.5cm
Gelli plate printing, acrylics, block printing ink, art deco
paints, mark-making tools
Pier
Forlano
The humanistic and visionary component of Italy where Pier was born, has blended with the
scientific component inherited from his father, a chemist: hence the attention to detail, the
analytical decomposition of the image and of concepts into symbolic formulas, a curiosity
about form as the expression of a movement, a three-dimensionality, and a function. ​His
diplomatic career has taken him to many lands and continents, putting him in contact with
different cultures and a stunning variety of images. Tribal art, surrealism, symbolism, and
graffiti art are his possible inspirational starting blocks. Pier has exhibited in Philadelphia,
Manhattan (Salmagundi Gallery), and Brussels (Italian Institute of Culture).

''I am in search of the perfect balance among black and white rendition, geometry, colors,
association, and meaning. I pay a lot of attention to composition and try to tell a story that
can be both personal or political. Thus, decorating with style or to a particular aesthetical
effect is not enough to express my inner life. The desire to experiment with different
materials permeates my entire production, which spans from collage to layering,
assemblage, high relief, and even the introduction of real objects into the paintings.''

The Aquifer - mixed media on wood panel, 89x120cm

 Easter Revisited Yin and Yang
Acrylic on polystyrene Acrylic fabric and paper on polystyrene
Size 124x61 cm Size 125 x 61cm
Who are you?
I am someone that always had a fixation
with art and harmony. I chose to become a
diplomatic official in order – among others
- to understand other cultures and explore
in depth all types of art.
Where are you from and how does that
affect your work?
I was born in Italy in a splendid
renaissance town (Ferrara) which has
influenced my taste since my childhood.
Nowadays after a lot of traveling and
postings overseas, I live in Belgium, at the
very heart of Europe.
Why did you choose to be an artist?
I didn’t really choose to become an artist,
it was a pulsion from deep inside me that
had to be expressed and followed.
Sometimes I have the impression that
words and analysis can add little to your
understanding if you don’t use also the
right side of your brain and try to
approach beauty.
What does your work aim to say?
My work almost always carries a story,
thus I think I am not a decorator, my first
aim is not the search for the ultimate
awesome effect. I try to express dreamlike
stories, but also political fears or desires,
like the discomfort with populist parties or
the possibility of a civil war in the US.
What is our biggest challenge in being an
artist? How do you address it?
The biggest challenge in being an artist is
to further your sharing with an audience. I
try hard to get to know the right people
and ways to multiply such chances. Also
venturing into social media is altogether
complex and requires a lot of patience.
What do you like/dislike about the art world?
About the art world, I like the creativity, the sharing,
the research of a common ground of understanding,
and the necessary mystery. I dislike the somersaults
of sheer decorators, who maybe do innovate in form
but go completely amiss on content, the distortion
of markets, and the attitudes of the people who
pretend to dictate the next fashion when they
become arrogant or bigots.
What is the role of an artist in society?
The role of an artist in society is to interpret the
spirit of the times, grasp the essential trends, and
inspire love, tolerance, and harmony. When very
mature, it can also help to shape the future, I am
thinking about famous architects, sculptors, and
designers.
Who are your biggest artistic influences?
I guess my influences stem from tribal art, graffiti, The Crime of the Lamp’s Genie
surrealism, and symbolism.

How do you define success as an artist? Acrylic and collage on unstrached canvas
Success could be measured by the amount of Size 102x146cm
interaction with the social environment, and the
chances to influence the mood and the life of other
people. In a perfect world, the artist should never
care too much about financial success and stick to The Fox and the Parachutist
his /hers storytelling and inner accomplishment.

Acrylic, polystyrene, paper and mixed media on wood

Size 80x120 cm
 Spirenkov Vadim
Spirenkov Vadim was born on April 8, 2004 in Vidnoe. In 2008 he moved to Yaroslavl, where
he lives and studies to this day. In 2013, he entered the art school and graduated in 2018.
From 2020 to 2022, he studied at the art department of the Children's Art School No. 1 in
Yaroslavl. In 2021, he became the prize-winner in the nomination “painting” International
Prize for Contemporary Art among teenagers Teen Art Awards. The work "Why do we need
art?" was presented in June 2022 at the exhibition of Prize winners in the Master Gallery, St.
Petersburg. In the fall of 2022, it is planned to print the catalog. In the same June, "Apple"
and "Gorilla and Rat" were presented to the public at the Boomer Gallery, London at the
exhibition Contemporary III.

I - Creation

My canvases, first of all, should give aesthetic pleasure, like all media working with the visual
part. But I don't want to go into one solid beautiful visual that doesn't contain any plot or
statement.
Sudden ideas come to me, which I write down in a notebook with drafts. Usually, these are
visual images, sometimes words, and sometimes plots. And after a while I go back to the
sketch and make it into a beautiful "wrapper".
The work should establish contact with the viewer so that the audience catches the eye. And
only then she will be able to immerse herself in the world of the artist's reasoning, in this
case, in my world.

II - Message, content, research

I don't have a clear set research goal. And the research is meticulous for me.
My whole life is a gigantic research work, which can be divided into smaller works.
So I explore – I write down all the thoughts that I have in the course of life. My works are a
reaction to the events and trends of the modern world.
There is especially a lot of criticism on my canvases, and you can criticize everything. There
is, probably, provocation as an instrument of attention.
Maybe I'm studying the "Russian man" because I am one myself. At the moment I am
learning about life, the life of a young man in Russia.

III - Pink

The pink color is present in all my works (with the exception of "Free running"). Why pink?
For me, this color is a symbol of innocence and openness. There is a lot of pink in a person.
Skin, internal organs, muscles… This is nature itself, naturalness, the beginning of everything.
Of course, pink is different for everyone. But its brightness and softness attract everyone.
 Why did you choose to be an artist?
I want to create and note my ideas and make
them real. This is my way to show my
thoughts.
What inspires you?
I think that cinema inspires me the most. I am
a cinephile.
What does your work aim to say?
Every work aims to say something different. I
do not have a strategy or exact target. I see
the problem - I make a painting.
What is our biggest challenge in being an
artist? How do you address it?
From my point of view, art should first of all
bring aesthetic pleasure. I hope my paintings
do it.
What do you like/dislike about the art
world?
The art world has its own rules, and I follow
them. In the end, I want to break these rules. I
accept this art world as it is.
What is the hardest part of creating for
you?
Pavel
The hardest part is washing brushes from oil
Paper, markers
paints. It is terrible.
Size 29,7x21 What is the role of an artist in society?
Artists are the most subtle and sensitive
Who are you? representation of reality.
I am an artist, and painter from Yaroslavl
and now I am a student at the Institute of
Architecture and Design of Yaroslavl State
Technical University. Gorilla and rat
Oil on canvas, acrylic marker
Where are you from and how does that Size 50x70
affect your work?
I am from Russia and that affects my work.
I rethink Russian people and rebuild them,
so I want to show how we can improve our
nonideal world. There are a lot of
problems, which I can decide.
What is your background?
I am very curious, so I tried a lot of things. I
graduated from children's art school in
2018 and I graduated the school this year
and entered the university. I will study
architecture.
Who are your biggest artistic influences? What are your favorite and least
Jim Jarmusch. His movies show me favorite parts of professional art?
another world, which I fell in love with. I like every part. But I do not like when
Tell me about your favorite medium. the project is expensive to implement.
My favourite medium is painting. I like to
It becomes a limit.
combine oil, spray paint and acrylic
Is there a specific environment or
marker.
Describe how art is important to society. material that's integral to your work?
I can say that art is complete nonsense and I like to mix different materials. I said
that it is the most important part of earlier about them.
society. In both cases, I will be right. Art When you are working through
just exists. problems in your work, who do you
What motivates you to create? talk to?
Pleasure motivates me. Usually, I decide on problems by
Does art help you in other areas of your myself, but I can talk with someone,
life?
who understands this problem.
I can not give an example, but I am sure
How useful has social media been for
that art helps in every area of my life.
How has your style changed over time? you?
There are no major changes in my style, I I do not check them. I use them as a
am constantly experimenting. This is my blog and portfolio.
style - experiment. What is the biggest challenge of being
an artist?
Always have inspiration.

Fast Food
Diptych
left part. _ oil on cardboard. _. right part
Size 30x30 each
 Victoria Vimbert

DOUDOU

The sweet and crazy voice in your head.

Inkjet on canvas,
Size 120x90x2, 2022
Victoria was born in St Nazaire. France. Currently living and working in London, UK. She has
worked for 2 years with oil and acrylics then moved to digital works using the inkjet on
canvas technique. After giving up for half a year in 2021 came back in 2022 with a fresh
vision and a new commitment to the practice. Victoria is a transgender woman living in
London. After four years of making works and giving up multiple times, Victoria discovered
her mission: to legitimize digital works in the art world. Just like techno music, it's time for
vigilant art to take its place in art galleries all over the world. Suffering from anxiety, her
works revolve around mental health and identity. She translates complex feelings into visual
pieces, as well as showcasing the transgender experience to the world.

Anxieties

They never seem to find the

way out and it's right there.
Inkjet on canvas,
Size 120x90x2, 2022
 Unboxing

The surprising look make us wonder

what did he just discovered...
Inkjet on canvas,
Size 120x90x2, 2022

Who are you?

Hi, I’m Victoria, 27 years trans woman working and living in London.
I grew up in a small town in France, where I got to experience the stunning feelings of
inadequacy and trauma (that are long gone now). Transitioning at age 25 freed me and gave
me the opportunity to share my experience with the world, through my work, as well as my
mental health.
What is your background?
I followed my dad’s advice and enrolled in a top french business school. I traveled the world
and specialized in cultural intelligence. Art was always in my blood, and I had to make the
leap of faith toward it in 2018. Actually, I was a waitress in a restaurant in London, scribbling
on my notes until one of my coworkers asked me to paint something for her. When I saw her
reaction and the one on social media, I knew I found my calling.
Why did you choose to be an artist?
It chose me more than I chose it actually, I just felt drawn to it, and still to this day I have no
idea how I’m here talking about it. It's very mystical to me… it’s like a force stronger than me.
I have to do it and I don’t know why. it’s an impulse.
What inspires you?
I take inspiration from inside, my unconscious brain. The human experience itself is so vast
and complex that it’s an enormous library of feelings, sensations and thoughts that make
most of my work. To be honest, every time i work I go into a sort of trans like state where I
have absolutely no idea where the work is gonna go or how it will look like.
What is the hardest part of creating for Another one from New Zealand said “it's
you? exactly how I see my brain, squishy and
The hardest part for me is to make the first melting everywhere”
move and grab the pen. Making the How do you know when a work is finished?
decision to start to work is the hardest I know when a work is finished when I have
because it’s so intense that I know it’s this completion sensation running through
gonna be an emotional ride and I’m not my body. It feels like this trans-like state is
sure I want to experience it… until I start. over and I’m coming back to reality. It’s just
It’s like hesitating before going on a like going to the toilets, you never ask
rollercoaster. yourself “am I done?”.
When is your favorite time of day to
create?
Any time of the day. But I’d have to say
that I prefer mornings straight out of bed. I
have very vivid dreams and when I wake up
I’m still in this mid-sleep state where I
don’t know if I’m still dreaming or not, and I
believe that it’s easier to access the
unconscious brain in this state rather than
fully awake.
What motivates you to create? IT

What motivates me to create is to share

The anxiety monster itself
what being human means, and do it Inkjet on canvas,
visually. All the emotions we feel are Size 120x90x2, 2022
complex and different from each other. It
feels good to be able to put faces on
loneliness, anxiety, love, surprise… Art to
me is also therapeutic, every time I work
after I feel clean and more peaceful. It’s
very cathartic.
What's the purpose or goal of your work?
The purpose of my work is to unite people
on experiences that we all feel, whether
they are happy ones or sad ones. And as a
transgender woman, it is important to me
to have my community represented and to
show that you can be trans AND successful
and that it doesn’t define your chances of
being happy and fulfilled.
What have critics and collectors said
about your work?
One of my collectors in London said “Your
works keep us in a state of joyful terror and
we love it”.
 Walter Lee Allen III
''As I approach a blank canvas, a blank page, or a clean audio track, I prepare by briefly
meditating and clearing my mind, focusing on the task ahead, the purpose of the work, or
the message I intend to convey. I work deliberately, taking care of every detail of the
creative process; enjoy calm, comfortable surroundings, free of distractions and noise,
devoid of negative thoughts, intoxicants, or stress; and remain aware of the need for periods
of rest and reflection. Adhering to these simple rules allows me – as a vessel channeling the
muse – to utilize the skills I possess to their fullest potential, and enjoy navigating through
the creative process to bring new art into the world.''

Walter Lee Allen III is an artist, writer, editor, and educator based in Tangier, Tbilisi, and
Ocean Springs, Mississippi. He was born and raised in Mobile, Alabama, and pursued a career
in broadcasting and audio production until he delved into art, focusing on photography and
painting. He served as a secondary education Peace Corps Volunteer from 2005 to 2007 in
Gori, Georgia, then in 2009 co-founded with another former volunteer Open Maps
Caucasus, an open-source mapping initiative that he managed from his home in Gori. He
relocated to Tbilisi, working with community and business leaders, and taught at the Giuvy
Zaldastanishvili American Academy in Tbilisi and Nata Buachidze’s Studio. In 2011 he
accepted a position at the American School of Tangier, where he taught art, advanced
drawing, chess, creative writing, drama, history, literature, and research, and edited Al
Tanjaoui. He continues to engage in projects aimed to protect the environment and nature
and is often found exploring Spain, which serves as a waypoint as he travels between
Georgia, Morocco, and the United States. He is the proud son of Melanie and the proud
father of Sofia.
Portrait of JB. Portrait 1 Portrait2
Watercolor on paper, Watercolor on paper, Watercolor on paper,
20x15 cm, 2018 20x15 cm, 2019 20x15 cm, 2019
COLOURS

Roll
12 and 6
12 black
6 pink
Black and pink

Entice
Repel
Transfixed, I gaze upon
COLOURS
alluring
Enticing me
Pause and
Wonder

Roll
5 and 8
5 red
8 blue
Red and blue

Dreaming of red - Acrylic canvas, 40x20cm, 2021

Pursue
Attract
Magnetic pull of nature
COLOURS
drive us
Away from danger
To an ideal
Foreword

Roll
4 and 10
4 orange
10 brown
Orange and brown
Where are you from and how does that
affect your work?
I’m originally from Mobile, Alabama, and
later moved to Ocean Springs, Mississippi.
Growing up on the Central Gulf Coast may
have affected my work in that there is
incredible natural beauty there, from the
breathtaking sunsets over the Gulf of
Mexico to the multitude of colorful flowers
and birds. To this day I still find myself
drawn toward the sea, and find inspiration
in new flowers I meet during my travels.
When I moved to Tbilisi in my 30s, I was
exposed to a whole world of new
inspiration, from ancient frescoes in
churches to the stunning mountain vistas
of the Caucasus and vibrant, funky street
art. In Tangier, where I live much of the
year, I have a mix of everything: sea,
mountains, botanical beauty around every
corner, and the complex geometry of Voyager
colorful ceramics found everywhere all Watercolor on paper,
nourish me with inspiration. Size 20x15cm, 2019
Tell me about your favorite medium.
I love the control and flexibility possible
when painting with oils, I find great joy in
the spontaneity I can achieve with acrylics,
and I love the portability of doing a digital
drawing on my iPad using Procreate. I also
enjoy the first medium I explored as an
artist: photography; the ability to tell a
story by writing with light continues to
amaze me.
What is the role of an artist in society?
I appreciate how art can be a powerful
platform to convey a message, to hold a
mirror up to society, and not to merely
evoke a “like” or “dislike” response from a
viewer. Society needs more artists so that
society can be challenged, provoked, and
inspired.

Offering
Watercolor on paper,
Size 20x15cm, 2019
Where do you find inspiration? brush and to use painting as a way to
As I travel often between Tangier, Tbilisi, visualize music and soundscapes. Because
and the United States, Spain usually serves I travel so often, I enjoy the portability of
as my layover spot, and before my next using the iPad to make art, mostly
flight, I’ll enjoy a day or two in Madrid, portraits. I can combine the disciplined
Seville, Barcelona, or Valencia mainly to skills I learned working with oils, and the
check out the latest exhibitions at ease with which I can apply abstract
contemporary art centers, which are touches with the incredible ability to
plentiful and well-curated. In doing so, I am “undo” or try multiple approaches to a
exposed to new ideas and approaches to problem before I commit to a solution.
art that others are doing, and take notes in What are you working on at the moment?
a little notebook I always carry with me in I’m illustrating a book highlighting notable
order to review once I arrive at my people and places in Ocean Springs,
destination. Aside from that, nature in Mississippi. I also have a few painting
general, flowers in particular. commissions to complete before I return
When is your favorite time of day to to my teaching job. I started a memoir, am
create? working on a play, have an album of
I’m typically an early riser so I find that music/soundscapes I’m editing, and the
writing is my favorite creative activity to do rough draft of a children’s book in the
before and just after sunrise. Drawing and works.
painting are usually best done in the
afternoon and music/soundscapes at night. Chasing the Wind
Occasionally the muse possesses me so Acrylicon canvas,
fully that I will work through the night and Size 40x30, 2020

into the next day until the piece is

completed.
How has your style changed over time?
I was mostly self-taught until I learned how
to work in oils; from then on I worked
slowly and meticulously, sometimes taking
weeks to complete a piece, and much of my
work derived from my great influences at
the time: the triptychs of Francis Bacon,
the sculptural quality and attention to the
lighting of portraits by Lucien Freud, the
sensuality in the nudes by Amadeo
Modigliani, and the color and attention to
nature in the watercolors and prints of
Walter Anderson. During the pandemic
lockdown like many people, I got into pour-
painting with acrylics, which allowed me to
be more spontaneous, and have one or two
pieces completed per day; this led me to
return to abstract painting with a .
September 2022