Collect

Art
Special Edition
VOL 38
January 2024
Tbilisi, Georgia

Ruby Red
On the cover: „Japanese Garden (Autumn)“, by Claire Manners Wood
 ‘Ruby Red’

Welcome to a captivating exploration of artistic expression where vibrant

hues intertwine with profound symbolism. In this edition of our art
magazine, we embark on a journey through the ages, unraveling the
diverse and intricate meanings of the ruby across different cultures and
historical epochs.

The ruby, a gem of multifaceted significance, has been a symbol resonating

with Love and Passion, offering Protection, embodying Vitality and
Courage, and representing Prosperity and Wealth. It stands as a testament
to Devotion and Commitment, radiates the elemental qualities of Fire and
Power, and carries the regal associations of Royalty and Nobility. At the
same time, it serves as a conduit for Spiritual Enlightenment, symbolizes the
essence of Blood and Life, and encompasses the facets of Healing and Well-
Being.

Within the pages of this magazine, witness the convergence of artistic

interpretations inspired by the rich symbolism of the ruby. Each stroke,
color, and form contributes to a collective exploration, transcending time
and culture.

Join us in this celebration of creativity, where artists breathe life into the
profound meanings encapsulated within the radiant essence of the ruby.
 COLLECT ART
THE
CONTENT

05 TIM CLARKE

14 HARRY LEVENE

20 LAURA CANDET

24 PHILIP MCCUMSKEY

28 LIOR LOCHER

32 CARLOTTA OLYMPIA POMPEI

37 CHRISTIE

42 BERNADETTE LOUISE

47 CLAIRE MANNERS WOOD

JANUARY 2024
 Tim Clarke

‘’As a boy of 14, involved in a school project I first came across drawings by Leonardo da Vinci.
They amazed me. Even then I sensed they possessed monumental beauty and depth. This was a
turning point in my life, I decided to dedicate my life to art. Ever since, over 50 years now, I have
been trying to answer how could Leonardo do that. That is how to create mesmerizing beauty that
speaks from my deepest senses. Leonardo’s range deeply impressed me by exploring all aspects
of human expression. Accepting that all human beings are unique yet carry a unifying common
humanity, I try to capture these qualities.
My development initially involved many copying, of drawings from Leonardo or photographs.
Eventually, I became dissatisfied and wanted to create beyond copying. Feeling that dance might
provide an answer and wanting to draw from life I contacted a dance group on the strength of
seeing one captivating photograph. They were labeled as having learning difficulties and were
creative to astonishing levels. I was in my late forties, and they had been with their choreographer
for 10 years. I felt we were both ripe. I drew them in movement, which resulted in unforeseen,
fascinating, and dynamic drawings. I incorporate these drawings in my painting compositions still.
I go to local festivals as the official artist and record participants again in the movement, often
they do not know I have drawn them. The movement helps me answer the questions Leonard
inspired. I still look for individual uniqueness and have learned to use as few lines as possible to
say as much as possible.’’

Tim has been a practicing artist for over fifty years, residing and working in Leicester,
United Kingdom. He holds a BA and MA in Fine Art, showcasing a rich academic
background in his field.
His artistic journey includes a significant milestone with his first solo exhibition at
Kidderminster Art Gallery in 1979, marking the commencement of his prolific career.
Throughout the years, he has actively participated in various solo and group exhibitions,
contributing to the vibrant art scene. In 2000, he achieved recognition by winning a Lisa
Ullam Travelling Scholarship award, dedicating his skills to drawing dancers.
The year 2000 also saw him serve as an Artist in Residence for the North York Moors
National Park Authority, where he captured the Lyke Wake Walk in drawings and
paintings for an exhibition commemorating its fiftieth anniversary. For the past 12 years,
he has been immersed in his oil painting, prioritizing the creative process over seeking
exhibitions. Recently, he decided to explore new opportunities, and his works are
exhibited and published worldwide.

05
Leonardo da Vinci's drawings were a pivotal influence in your decision to dedicate your
life to art. How did encountering Leonardo's work at the age of 14 shape your perception of
art, and what aspects of his drawings left a lasting impression on you?
I was amazed by the range of Leonardo’s drawings. Whatever subject he addressed his drawings
were always beautiful. They filled me with awe, a feeling I enjoy. I marveled at his accurate
observation, which in his hands seemed so simple. For me, he is the best draughtsman. When I
first saw original drawings by him I found it difficult to accept a human hand could do this. Also, I
was enthralled by his parallel background lines.
Over the past 50 years, you've sought to answer the question of how to create
mesmerizing beauty that speaks from your deepest senses, inspired by Leonardo's range
in exploring all aspects of human expression. Can you elaborate on the specific qualities
or techniques in Leonardo's work that have continued to inspire and guide your artistic
journey?
Leonardo’s drawings made me realize anything can be drawn and contain wonderful mystery. His
drawings made me realize imagination was boundless. Leonardo’s drawings made me
understand that drawing can and should answer the fullness of human awareness in all its drama.
For me, his drawings are the equivalent of Shakespeare’s words. For me, it was Leonardo’s
accuracy of observation that gave me lasting inspiration. Also, his symbolism impressed me. In
Leonardo, I came to realize that what might be beneath the surface of straightforward
observation, the ineffable, could also be expressed in simple lines.
Your artistic development involved initially copying drawings from Leonardo and
photographs. How did this process contribute to your growth as an artist, and at what
point did you decide to move beyond copying and explore your creative expressions?
I remember enjoying copying Leonard’s drawings. It made me realize I possessed natural ability. I
knew I had very good technical ability but knew also I had very little to say because I was
immature. I was indebted to Leonardo and other artists to guide me. During my degree, I was very
experimental. My willingness to try new ideas has remained with me. Beyond doubt, my mature
work was intact when I resumed oil painting 12 years ago. It took 40 years of practice to reach
that point.
The decision to draw a dance group with learning difficulties marked a significant turning
point in your artistic approach. Can you share more about this experience and how it
influenced the dynamic and fascinating drawings you created? How did the movement in
dance help you find answers to the questions inspired by Leonardo?
I was still referring to photographs but felt there was a lack in my work. I started working on
photographs of dancers and came across a brochure from a local dance center. I wrote to the
choreographer who invited me to draw her group. I accepted and went for three separate blocks
of up to two months. They had been working together for 10 years. We were both ripe at the
same time, that is I was able straight away to draw them moving. Because everything was so fast
this caused unforeseen creative developments with an amazing sense of movement and
suggestive of inner human nature in wonderful dynamic ways. The dynamism was coming from
their brilliance which I was able to capture in drawing. Meeting them was a privilege.

06
Zora Bishop as Mrs Sheldon in red dress

Oil on canvas,
30x25cm, 2023
As the official artist at local festivals, you record participants in a movement without them
knowing. How does this candid approach contribute to capturing individual uniqueness,
and what insights have you gained by observing and drawing people into the spontaneity
of a festival atmosphere?
Having drawn the whole bodies of dancers in movement which gave astounding results I was
intrigued to concentrate on faces. I again discovered how helpful movement was by bringing into
being unforeseen possibilities. For example, I would begin drawing and then my subject would
move, my job was to finish the drawing from this new view while keeping the first lines. I found
different viewpoints very helpful in finding individual uniqueness. I came to understand that I only
needed to draw with approximate accuracy two or three characteristics to gain a likeness.
Your preference for using as few lines as possible to convey as much as possible is an
intriguing aspect of your artistic process. How did you develop this approach, and what
challenges and rewards does it present in capturing the essence of your subjects?
Initially, I asked people to pose for me. These drawings were traditional. Early on I stopped asking
for cooperation which gave richer results. Gradually I came to understand my simple precise lines
were very meaningful, such that it was better to use fewer and fewer lines. I realized how few
lines were necessary to create a face. Also, I became very willing to move features away from
their normal positions.
After completing a BA and MA in Fine Art, you had your first solo exhibition in 1979. How
has your artistic practice evolved since then, and what themes or subjects have remained
consistent throughout your career?
The constant theme is my attempt to create awe and beauty.
Over the years I learned to draw and paint from my deepest feelings subjects with deep
resonance to me. I am now delighted with the results. This journey is my deepest experience. Art
is my most profound communication. I feel I am always trying to keep up with my
unconsciousness which is as gentle and loving as a summer breeze.
Winning the Lisa Ullam Travelling Scholarship award in 2000 allowed you to draw dancers.
How did this experience influence your artistic perspective, and did it introduce any new
elements or techniques into your work?
Drawing dancers with learning difficulties was pivotal in my development as an artist. The
drawings I made gave a unique freshness to my work, enabling me to give massive dynamism
and scope to my paintings. These drawings remain a vital stimulus to my paintings. Two of my
large submitted paintings come from them.
In 2000, you were an Artist in Residence for the North York Moors National Park Authority,
recording the Lyke Wake Walk in drawings and paintings. How did this residency impact
your connection to landscapes and nature in your art, and did it contribute to any shifts in
your thematic focus?
The Lyke Wake Walk is a 40-mile challenge walk across the North York Moors. Initially, I thought
I would struggle with aloneness but felt very at home with the landscape. I loved being with other
species. I made an exhibition of drawings and paintings as a resident artist and continue to use
landscape in my work. We are of the Earth, and respecting it as an artist thrills me. I love
including other species in my work. For me, we are inseparable and only appear apart.

08
For the past 12 years, you've been working on your oil painting without seeking
exhibitions. Can you share the motivations behind this choice, and how has this period of
focused work shaped your artistic practice and style?
My exhibitions have brought sales but no meaningful contact. When I resumed oil painting aged
54 I quickly understood the deep quality of these works. Given mortality I felt it was my prime duty
to bring these paintings into the world. No one else was needed. I feel these paintings are my
reason to be on earth. I needed 40 years of practice to reach this point.
Looking ahead, do you have specific artistic goals, themes, or projects that you are
excited to explore? How do you envision the continued evolution of your art in the coming
years?
I wish to continue the oil painting project I have begun. Now I have completed a good body of
work I feel able to seek opportunities to share them with other people.

Mr and Mrs Milk-Baptism

Oil on canvas,
80x100cm, 2014

09
What happens at Shakespeare’s Globe is an important
source for my painting. In 2010 I saw Amanda Raison
play Anne Boleyn. She convinced me more than any
actor to suspend disbelief, such that I was watching
Anne Boleyn, not an actress playing her part. Her
performance inspired this painting.
The publicity photograph was the starting point for my
imagination. For me, Anne Boleyn is a monumental
British icon demonstrating great courage, power, and
spiritual awareness. I have read in life she was stunning
through the strength of her personality. Also, I learned
that it was with Anne that Henry VIII enjoyed his only
equal relationship.
Wanting to add a sense of movement and dynamism to
Anne, I referred to my set of dancer drawings and chose
the drawing to work from. She is dressed in a modern
dress which I felt suited her high status. This dress
contains ten roses, the dark ones coming from my own
drawings. Another significant choice was to turn Anne’s
attendants into Daleks.
Daleks are also icons and I believe say great things about our society now. I like to think these icons of
British culture increase the presence and enigma of each other. Following some disaster Daleks need
external protection to house their vulnerable remains and heart. I felt this casing could represent ego and
separation. I feel their humanity is growing back, hence I have given them hands. Also in this painting the
Tardis is a giant teapot.
The hands on the left near the execution sword are Buddhist mudra. My favourite is the one farthest left
about to touch the sword guard. When the wedding finger touches the thumb, this mudra means
fearlessness. I made it so these fingers are about to touch the sword that will end her life, signifying her
fearlessness unto death. I read that fearlessness is when the heart fully understands that there is nothing
from which it needs to protect itself from.
Anne Boleyn had dark eyes,
here I have painted Amanda
Raison’s eyes. Anne Boleyn’s
reading of this letter begins a
history that remains potent to
this day. My prime aim was to
paint a woman of great power.

‘Anne Boleyn with attendants reading her first

letter from Henry VIII’

Oil on canvas,
80cm x 100cm, 2021

10
Helmsley Castle. Glenda Jackson as King lear

Oil on canvas,
35x25cm, 2023

11
The Sun raging bliss inside a pebble,
North Bay, Scarborough

Oil on canvas
80cm x 100cm, 2023

Last spring on my way home, I walked past a newly filled trench about 30 metres long. Somehow a mud
slip had been caused, which running downhill made an amazing pattern of waves between the trench and
roadside kerbstones. Within moments I was thinking of using them for a sea painting. Not long afterward I
associated this idea with a memory of an enormous wave that reared up from nowhere on a very clear day
just over fifty years ago on Scarborough’s north beach. I was taking my Grandmas’ and Uncle’s dog Lassie
for a walk. I remember watching Lassie’s nose go up and up as she followed the rising wave.
I photographed these waves ready for use and was starting to think how to paint Lassie when ‘by chance’ I
found on Instagram another dog, similar to Lassie, responding to an enormous sudden wave. So now I had
everything and began.
Inspired by Near Death Experience testimonies I wanted to bring the universe close. I believed that by
placing two of my mud wave photographs together I could create a convincing sea. The main foreground
wave I painted as the sea and the second wave I painted as The Trifid Nebula. Lassie is made of the
Looped Emission Nebula, about 70,000 light years away. The pebble at the bottom of the painting near
Lassie’s right hind leg was important to me by representing aloneness or All One Ness. For me, the sea
energy represents unconsciousness and the shore consciousness, so the pebble is well placed. Following
the universe idea I decided to place the sun inside this pebble believing everything is in everything else.
Also, I was responding to a pre-birth interview with Christian Sundberg. Convinced he wanted to abort his
birth, God or All That Is or Source came to encourage Christian by showing the conscious sun ‘raging bliss’
inside him, which inspired the title of this painting.

From this photograph I changed the mud slip

I painted the main shown here to aspects of
foreground wave in the Trifid Nebula for the
sea colours. second wave.

When young I was often hit and in consequence, passed on this unjust treatment to Lassie by tapping her
nose. Although I only did it a few times, I felt guilty about my behavior when older and a little wiser. Many
years later Lassie, who was long dead, appeared in a dream and forgave me. This painting honors Lassie.

12
Zora Bishop as Mrs Sheldon with scarlet scarf

Oil on canvas,
30x25cm, 2022

13
Harry
Levene
Harry Levene studied graphic design at St Martin’s School of Art (now UAL); exploring
the relationship between words and images, an interest which continued thereafter as a
visual artist. Starting with, but gradually moving away from typographical forms, he
developed his own painting techniques combining traditional artists’ materials with others
recycled or found, often testing the boundary between painting and sculpture; depicting
the natural and supernatural, the mythical and the everyday. He has exhibited in the UK
and overseas.

Rubies often display pinkish tones in natural light becoming darker red according to their density. Similarly,
this series of paintings was built with successive layers of one colour, Alizarin crimson, each thinned to
make a translucent pinkish wash. Gradually, the overall appearance of the surface changed to an intense
“ruby” red, after which the surface details were applied: sand suspended in glue and leaves moulded with a
palette knife in acrylic paste, all painted with the same oil colour. The last application at the edges was a
violet “darkness”, just as some mined rubies have a violet cast.

14 Visitors - Oil, sand on canvas, 76.2x101.2cm, 2004

 Visitors - Oil, sand, acrylic paste on canvas, 76.2x101.2cm, 2004

Visitors - Oil, sand on canvas, 76.2x101.2cm, 2004

How has your background in graphic design shaped your evolution as a visual artist,
particularly in terms of the techniques and themes you employ in your work?
Training in graphic design is about precision and clear communication - usually of someone else’s
ideas. This contrasts with fine art practice, in modern times at least, where an individual is
privileged to focus on his or her own experience or state of mind. To start with, s/he may not even
know what they are trying to express. There’s a tension between an ingrained sense of “finish” or
elegance and uncertainty. Perhaps the biggest lesson form training was to look and keep looking.
Since then, it’s been learning to accept chance; and knowing when to stop.
Your artistic journey involves moving away from typographical forms and developing
unique painting techniques. Can you share insights into your creative process?
This is about giving as much attention to the edge of a piece as to the centre, physical and
metaphorical, and how our view is framed; hence an attempt to make a frame part of, rather than
subservient to the work. How does the edge relate to the space around it? It’s not a “policy”, so it
doesn’t happen all the time.
Regarding this presentation for “Ruby Red”, This series of paintings was built with successive
layers of one colour, Alizarin crimson, each thinned to make a translucent pinkish wash.
Gradually, the overall appearance of the surface changed to an intense “ruby” red, after which the
surface details were applied: sand suspended in glue and leaves moulded with a palette knife in
acrylic paste, all painted with the same oil colour. The last application at the edges was a violet
“darkness”, just as some mined rubies have a violet cast.

16 Visitors - Oil, sand, acrylic paste on canvas, 76.2x101.2cm, 2004

Visitors - Oil, sand, acrylic paste on canvas, 76.2x101.2cm, 2004
The themes in your work span the natural Your use of recycled or found materials
and supernatural, the mythical and the adds an environmental dimension to your
everyday. How do you approach the art. How does sustainability play a role in
integration of these diverse elements in your artistic choices, and what impact do
your art, and what messages or emotions you hope your work has in terms of raising
do you aim to convey through these awareness about environmental issues?
juxtapositions? This is less about awareness of environmental
We live by stories. Myths may be employed in issues which are widely understood; but it
some projects if they seem to resonate, could be about recognising value in all sorts of
perhaps by challenging the conventions they things, natural and manufactured. The point is
contain. I suppose the appeal to a viewer’s they are local and form part of my
sense of understanding depends on a certain experiences.
verisimilitude in presentation. Anything can have significance, if
You have exhibited both in the UK and foregrounded. Who knows the power
overseas. How does the experience of contained within familiar or mundane objects?
exhibiting in different cultural contexts Are they someone else’s relics? The
influence your artistic practice, and do you possibility of employing discarded or
find that your work resonates differently unwanted items builds unpredictability into
with audiences from various creative/destructive processes, denying a
backgrounds? hierarchy afforded to “fine art” materials from
Exhibiting in different places doesn’t oil paint and gold leaf to fallen leaves and dust
necessarily impact artistic practice. on the ground.
Can you provide examples of specific In exploring the boundary between
pieces that encapsulate your artistic painting and sculpture, are there particular
philosophy or represent significant artists or movements that have inspired or
moments in your creative journey? What influenced your approach? How do you
stories or inspirations lie behind these see your work contributing to or
works? challenging the conventions of these
This was the basis for the multi-media project artistic categories?
“What you give…” documented at When starting out, I suspect the Italian artists
of the 1960s-1970s were an influence: seeing
art could be made from anything, however
modest. Arte Povera becoming Arte Magica.
There may be an echo or at least an
understanding of art practices developed a
An interest in typographical forms and an hundred years ago but these are
understanding that bodies are not owned but commonplace or fully part of an artist’s
occupied through continual transformation toolbox nowadays, should s/he wish to use
coalesced around a “universal” representation them. The important thing is manufacture as a
of the human body at once female and male, sign of an individual’s statement, whatever
thereby becoming unfixed and non- that may be. Digital tools are just those; so
hierarchical; a symbol to be employed as a that art made wholly by Artificial Intelligence is
magical device. of little interest.

18
As an artist who delves into both the mythical and the every day, how do you strike a
balance between imagination and reality in your pieces? Are there personal experiences or
cultural influences that inform this balance?
Reality and imagination inform one another. Something imagined is real in the mind’s eye. The
artwork as an object in space is a conveyance of some sort of narrative whether a tale to be told
or an account of its own making. The narrative may be clear or suggested, open for the viewer to
create his/her own, in reaction to what’s before them. This may apply to the present selection
(Visitors). As far as personal experiences inspiring work are concerned, for a recent example see
“Solace We Crave” on Instagram @harrylevene – verse incorporated into a mixed media piece.
Looking ahead, what aspirations or goals do you have for your artistic practice?
Lately, work has progressed without overriding goals, other than to make each piece work on its
own terms.
In your journey as an artist, how have you seen your style evolve over time? Are there
recurrent motifs or elements that define your body of work, and how do you envision your
artistic voice continuing to develop?
The serpent transforms itself with every movement. Every so often, it sheds its skin and re-
emerges anew, changed but unchanging. This is how I’ve tended to operate. Stylistically, work
from the past looks quite different from later efforts; but, as if coiling back on myself, words are
emerging to be incorporated once more, this time in verses, such as they are…

19 Visitors - Oil, sand, acrylic paste on canvas, 76.2x101.2cm, 2004

Laura
Candet

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

Hunting after fragments of myself - Oil on canvas, 120x150cm, 2023

Reinterpreting a scene from a romanian traditional ritual, her painting defragments the cultural identity and brings it to a new and expressionistic fashion.
By embracing the defragmentation of cultural identity, her artwork reflect the feeling of constantly changing cultural and social structures.

20
Can you share more about your experience growing up in post-communist Romania in the
early 2000s and how it has influenced your artistic perspective?
Being born and raised in the early 2000s in Romania came with a lot of opinions regarding the
communist regime. I would constantly hear stories from my parents and grandparents about them
using candles for lighting or not finding that much food in stores being afraid that the police would
take people they love away etc. I would hear those stories but have absolutely no concept of
communism so they seemed just stories when some people lived most of their lives like that. My
artistic perspective tends to model around the traditional and social aspects of early post-
communist Romania.
Your work often explores fragments of identities, reflecting the constantly changing
experience in Romanian cultural society. How do you approach this theme, and what
aspects of identity do you find most compelling to explore?
What I focus mostly on is the fragments of memories that we have growing up, the identities that
remain just as reminders of our past selves. So this constant Romanian fast-changing culture is
impacting my view greatly. I mainly work with cultural and social identities, which are hot topics in
Romania right now because we need to find this balance between what is ours and what is given
to us.
Experimenting with oil painting and New Media art, how do these two mediums contribute
to your exploration of identity distortions and fragments?
Again, being raised in Romania had it.s own implications, we would study and study so much,
especially in the first part of your artistic journey. We were required to study multiple mediums
such as oils, acrylics, pencils, charcoal, etc. So my background had this ”Belle Arti” influence.
New Media turns out to complement my traditional background well enough to make an impact on
my vision. I always loved the extremes, identities that are constantly shifting and fragments that
are shattered again and again. The important aspect of combining these two extremes is to make
them complement each other. Working with such extremes allows me to create fragments both in
metaphorical and visual ways.
Living in a constant state of grasping Western culture, how does this cultural dynamic
impact your artistic process and the themes you choose to explore?
Being constantly exposed to the Western culture is something that happened in the last 5 to 10
years in my case, which means that most of my childhood and early work is still influenced by
Eastern culture. This transition can be seen both in my work and my mentality. In the present, I
am intrigued by Eastern culture in the context of the Western vision. How does something so
normal to me be just a story in another”s culture? It's the same dynamic as before, my parents
telling me all these stories from communism that I didn’t understand fully because I wasn’t there is
I now telling people how my childhood was in the Eastern culture.
Are there specific cultural or historical elements from post-communist Romania that
frequently surface in your artwork?
I see works from a lot of Romanian young artists, from my generation, who are fascinated by this
cultural clash, but my favorite at the moment is dramatic traditions, like animal and theatrical
traditions that persisted in our culture despite our fast-changing culture influenced by Western
waves. It’s easy to shift cultural identities when this is our norm. Visually these changes are
harder to explain but having such a large pallet of mediums to work with really helps. In some way
constantly changing mediums is my way of representing cultural shifts.

21
In what ways do you see your art How do you balance the traditional
contributing to conversations about medium with New Media in your art?
identity, both on a personal level and I don't think balance is the key word, I think
within the broader cultural context that both mediums are great for creating
What I aspire to be is a little push for the meaningful art and because of that, finding
public, I want them to question identities, new ways and new possibilities of combining
fragments, and their role in this. Personally, them creates this intriguing aspect in my art.
my constantly changing identity is seen in my Are there artists or movements that have
work and if you know this little detail about inspired or influenced your approach?
me, suddenly it starts all to make sense. I am There are a lot of artists who influenced me
in a constant change of identities and visually, but not in my themes. This curiosity
personalities and my art reflects this. In a surrounding the distortion of cultural identity is
broader cultural context, I think that my art based on living and experiencing both Eastern
questions the limits of traditional cultural and Western cultures. But the identity aspect
fragments in this contemporary art space. of my work comes from my defragmentation.
Can you share a specific project or artwork Looking forward, what themes or
where you feel your exploration of identity directions do you envision?
distortions and fragments is particularly There will always be a special place in my
resonant or meaningful? heart for understanding culture, identities, and
The current project I am working on explores the psychological aspects of contemporary
a lot of my identity distortions both personally Romanian culture, but I would also love to
and culturally. The work revolves around old explore subjects such as war and peace,
memories and photos taken from important political and cultural changes, abuse and lack
people in my life but strangely not from my of possibilities for minorities in Romania, etc.
memories or photos. The metaphor for this
whole project can be summed up as ”I paint
you so I don't have to look at myself” and it's a
hard pill to swallow for the public, including
both traumatic aspects of growing up in a
post-communist country like Romania and
personal identity distortions.

Velvet red - Oil and pastels on canvas, 40x50cm, 2023. 22 om - Oil and pastels on canvas, 40x30cm, 2023
I see red - Digital painting, 70x50cm, 2021
Philip
McCumskey
Phil studied fine arts at Stellenbosch University but worked as a writer, actor, and theatre
director for many years before establishing his own video production company in
Johannesburg. ‘Now that I'm older, I've re-discovered art, particularly abstract art.
Brushes, palette knives, spatulas, paint, canvas, paper – it’s as if I’ve been reunited with
old friends. Phil's work has been exhibited at the Fronteer Gallery in Sheffield, and his
painting Red Radiance was part of The Artist Lounge’s 50 Shades of Red Exhibition. His
artwork titled, Connected, was longlisted for the D31 Gallery prize, and his large painting
Monoliths was used as an album cover. Three paintings are currently on exhibition at
Kingshill House, and another work is in an online exhibition curated by Cista Arts. Phil
lives in the seaside town of Rustington in West Sussex, England. Abstract art brings
together color, shape, and form to express visual ideas in a whole new way. Rather than
depicting reality, abstraction centers more on visual qualities that provoke an emotional
response in the viewer, Phil uses a combination of materials and techniques - paint,
cardboard, collage, scraping, and mark-making to create the required effect.’

24 Heart's Yearning - Acrylic on paper (framed), 30x50cm, 2023

Your artistic journey has taken you from Your painting "Connected" was longlisted
studying fine arts at Stellenbosch for the D31 Gallery prize, and "Monoliths"
University to working as a writer, actor, was used as an album cover. Can you
and theatre director before establishing share the stories or inspirations behind
your own video production company in these specific works?
Johannesburg. What prompted your return "Connected" and "Monoliths" were painted
to art, and how has your diverse during a period when I was concentrating on
background influenced you? 'reds'. "Monoliths" came after I heard news
An art gallery exhibition filled with abstract stories about strange monoliths appearing in
works was the inspiration I needed to paint lonely landscapes and then quickly
again. I suddenly realized how much I missed disappearing. "Connected" was an idea I
applying paint to paper and canvas and the originally had about square boxes. It changed
buzz it gave me. I was drawn to abstract as the painting grew, and is now owned by an
painting through this exhibition. Because I'm art collector. My small studio is filled with the
older now and have lived through many life sounds of music as I paint - it plays an integral
experiences, I'm not frightened to be bold in part in my creative process.
my work. I paint quickly and in the moment. Currently residing in the seaside town of
Your work has been exhibited at various Rustington in West Sussex, how does your
galleries and events, including the environment influence your artistic
Fronteer Gallery in Sheffield, The Artist process and the themes you explore in
Lounge’s 50 Shades of Red Exhibition, and your work? Are there aspects of coastal
the D31 Gallery prize. How do these living that find their way into your art?
exhibitions contribute to your artistic I can't say that the environment where I reside
growth? plays a large part in my work - I don't paint
First and foremost, an artist's work needs to abstract seascapes. My ideas come mainly
be seen by art lovers. Open calls to from starting (and developing) work on a
exhibitions provide the perfect opportunity for canvas - rarely do I have a set idea in my
this, and they contribute to my artistic growth mind.
in various ways - painting to a set theme,
meeting deadlines, and learning to wrap
artworks properly and courier them to
galleries.

Connected - acrylic on canvas, 30x40cm, 2022 25 Monoliths - Acrylic on canvas, 1x1m, 2023
Abstract art, as you describe it, involves

Nostalgic Moments
Acrylic and collage on canvas, 100x100cm, 2023
the interplay of color, shape, and form to
evoke emotional responses. Can you
elaborate on your process of combining
materials and techniques, to achieve the
desired visual effects and emotional
resonance in your pieces?
As far as combining materials and techniques
go, a lot of it is trial and error. I might apply
pieces of collage over painted areas, and if
the result is pleasing, it stays. Otherwise, I
remove it and try something new. The secret
is to choose colors that contrast well and
shapes that are appealing to the eye.
Your artwork "Shed in a Farmer's Field"
was included in "101 Contemporary Artists
and More...," an Art Book series by Collect

Acrylic and collage on canvas, 60x40cm, 2023

Art. What does it mean for your work to be
featured in such a publication, and how do
Blue Convergence

you perceive the role of art books?

I was thrilled and honored that my artwork
"Shed in a Farmer's Field was included in "101
Contemporary Artists and More...".
Publications of this sort help ensure the works
of artists are seen by art lovers, collectors,
and curators.
Three of your paintings are currently on
exhibition at Kingshill House, and another
work is part of an online exhibition curated
by Cista Arts. Can you provide insights
into the themes or concepts explored in
these specific exhibitions?
The exhibition at Kingshill House was
centered around children, so I set about
creating a large piece (1x1m), on canvas,
titled Nostalgic Moments. The work has a day-
Acrylic and collage on panel,30x30cm, 2023

dreamy, make-believe feel, which, from the

feedback I've received, was loved by the
children, as well as the adults. At the end of
the exhibition, I donated the piece to Kingshill
House. I also sent them two other works for
the exhibition, which they bought. As far as
physical gallery spaces and the digital realm
Suspension

go, I pretty much treat them as the same.

28
How do you balance the use of various materials and techniques in your abstract
art? Are there particular elements or principles that guide your decision-making
process during the creation of a piece?
Trial and error plays a large part in my choice of materials and techniques. No particular
principles guide my decisions. If something works, great, if not, it's out of there.
Looking ahead, what aspirations or goals do you have for your artistic journey?
Are there specific projects, collaborations, or themes you hope to explore in the
future?
Looking ahead, my artistic goals are sweet and short: Having one of my paintings
accepted for the Royal Academy of Arts Summer Exhibition, adding to my Red series,
and selling more of my art...
How would you describe the emotions or messages you aim to convey through
your abstract art? Are there recurring themes or concepts that define your body of
work, and how has your style evolved?
Tough question. My style is still evolving. I'm not a one-style painter - I get bored doing
versions of a similar thing. I like to think 'exuberance' is the main emotion at the forefront
of my work. Bold colors, dynamic themes, and unusual concepts.

River Reflections Red Radiance

Acrylic on canvas, Acrylic on canvas,

70x50cm, 2022 70x50cm, 2022

27
Lior
Locher
‘’I work in mixed media, for its broad range of options and for the sheer joy of it. This usually
involves several of these: Acrylic paint, ink, marker pen or color pencil, collage, and printmaking. I
love bright colors and media that dry quickly so you can add more layers. College was my first
love and still plays a prominent role. It started with travel ephemera and a fascination with
Japanese origami paper and traditional patterns while living there and has since expanded to
anything that’s flat and sticks. In my other life, I trained in personal development, coaching, and
psychotherapy as well as teaching different styles of yoga. I continue to be fascinated by our inner
lives as humans, how we make sense of our own journeys and experiences, and how our mind
and body come together. Our lives always involve picking up what already is, at this point in time,
and recombining it to move forward, adding our own flavor. Often ripping things up and starting
again, layers and sedimentations that form over time into something uniquely ours. That applies
to life and art. Mixed media work is a great way to capture this.’’

Lior Locher is a nonbinary mixed-media artist, mainly working in acrylic, collage, and
printmaking. After having lived in 6 countries on 4 continents and being homeless at
some point, they are now based at the English seaside. They are largely self-taught and
started making art later in life, building on some local classes in drawing, floristry,
painting, and printmaking. Their work is particularly popular with American literary
magazines where Lior has pieces featured every few months. They have done an art
commission with Colossive Press in Croydon UK on AI and the medieval legend of the
Golem. Lior showed in 10 group exhibitions mainly in the UK in 2023 and will have their
first solo gallery show in April 2024 with Elms Window Gallery in London.

Your journey has taken you through living in six countries on four continents and
experiencing homelessness. How have these diverse life experiences influenced your art?
I work in smaller formats, I still get nervous whenever things get bigger than what I can easily stuff
into a bag and carry with me. Moving around between so many cultures is a wealth of inspiration:
Colours, materials, techniques, themes and expressions, reactions to what is there, and how
things change from place to place, and the role of history…. There is definitely a theme going
about figuring out my place in the world, being on the move, explorations of inner vs. outer
landscapes.
Being largely self-taught and starting art later in life, how did you navigate your artistic
development? Are there specific influences, experiences, or mentors that played a
significant role in shaping your artistic style?
For me art is more about the questions than the answers, about submitting yourself
wholeheartedly to the process, the inquiry, the playful exploration - a beginner’s mind will always
help with that. I am part of a vibrant local community of fellow artists where I live and I take
classes and get feedback. Seeing art wherever I can and learning from that is also key.

28
Your work is popular with American literary magazines, and you've done an art
commission on AI and the medieval legend of the Golem. Can you share insights into the
intersection of your art with literature and technology, and what themes or narratives you
explore in these collaborations?
I was a journalist in my earlier professional life and still write, so words and images go hand in
hand for me. It helps to be able to choose whatever form of expression helps most with what I
want to say. The more complex the topic, the better artworks as it ignites on so many different
levels, even just on visual merit. For the AI/Golem piece, for example, going via art and a
medieval legend made it easier to highlight what I wanted to say about AI and to make my points
more accessible to a non-technical audience.
You mentioned your first love for collage, and it has remained a prominent element in your
work. How do you choose the materials for your collages, and what significance do these
materials hold for you?
Anything that’s flat and sticks goes in. This could be a vintage photograph or postcard from an
antique shop or flea market. A piece of the paper bag my shopping came in. Handmade paper
scraps, abstract acrylic or ink painting scraps, origami paper, advertising, train tickets, travel
ephemera, and maps. There is definitely a travel/landscape-y theme going. All part of making the
personal archaeology and sedimentation visible in the work where nothing is wasted.

The Inability To Plan - Mixed media collage on paper, A3, 2021

29
Bright colors and quickly drying media are integral to your art. Can you elaborate on the
role of color in conveying emotions or narratives in your pieces, and how the quick-drying
nature of your chosen media influences your creative process?
My approach to color is intuitive, I have phases of being obsessed with certain colors or
combinations until something new comes up. I always work on a whole series at once, rotating
between pieces. There is also the practical constraint of only having one room that I live, work,
eat, sleep and also make art in, at least for the moment. So strictly no solvents etc, and things
need to be dry enough to pack up at the end of the day.
Having a background in personal development, coaching, psychotherapy, and teaching
yoga, how does your understanding of the human psyche and the mind-body connection
inform your artistic practice? Are there specific themes related to inner journeys that you
explore in your art? How do you balance the diverse aspects of your life?
I want to explore what it is to be human in this world, and having a part-time job and a different
background helps ground that in a non-artist reality. Art helps to go deep into everything murky
messy or entangled. My “other” professional experience helps with gauging that depth and
understanding the context, history, and psychological/somatic background I’m moving around in.
Both practices inform and enrich each other in their deep appreciation of the human journey. Art
then also helps to relay an experience beyond the rational mind and to start a conversation with
others.

Orange Crush - Mixed media collage on paper, A3, 2021

30
Your upcoming solo gallery show at Elms Window Gallery in London is an exciting
milestone. Can you provide a sneak peek into what audiences can expect from this
exhibition? Are there specific themes or concepts you plan to showcase?
Exciting indeed! For this, I am playing with embodiment, how we feel in our bodies from the inside
vs. what we can see from the outside if we don’t use a mirror. It will also talk about presence in a
hybrid world where we only see people’s torsos on a screen and other parts (like my
malfunctioning knees) are unacknowledged and hidden.
In your view, how does mixed media art capture the essence of life, layering experiences
over time to create something uniquely personal? Are there specific techniques or
approaches you find particularly effective in conveying this complexity?
There is a brutal honesty in ripping things up and starting again. Collecting bits and pieces over
time and putting them together into something new. We do it all the time in our lives, building
sediments, digging up the past, and reconfiguring it to build the next installment of our future. But
we don’t usually show that part. Collage and mixed media work forces you to look properly at how
that happens, and to acknowledge that this is what has been going on all along - and to see the
beauty and dignity in it.
Looking ahead, what are your aspirations or goals for your artistic journey?
Get a bigger space to be able to work in bigger formats. Learn more about the world-building and
narrative aspects. Experiment with more immersive, site-specific installations. I’d love to design
an opera someday.
Ambition (red) - Mixed media collage on paper, A3, 2021

31
 Carlotta
Olympia
Pompei

Carlotta Olympia Pompei is a young freelance photographer based in the United

Kingdom, dedicated to capturing the fleeting essence of life through the camera lens. As
a citizen of the world, her heart beats to the rhythm of three beautiful countries - Italy,
France, and the United Kingdom. France, her birthplace, taught her the art of refinement,
while her Italian heritage instilled within her a deep connection to the natural world and a
reverence for its beauty. Residing in the UK, she has discovered a unique blend of
culture and character that has enriched her perception of life.
Since childhood, Carlotta has been fascinated by the way light illuminates the world.
Growing up in Paris, Carlotta nurtured a love for the arts. She became interested in the
tale behind every artist, recognizing how their perspectives gave substance and
authenticity to their work. Always surrounded by family photos, tangible reminders of
diverse experiences, memories, and travels, instilled in her a desire to document.
Carlotta's passion for photography is a precious inheritance from her parents, a testament
to their love for immortalizing moments. From her early days as a '90s kid playing with
Kodak disposable cameras to her first encounter with the possibilities of a digital camera
at age ten, she has been entranced by the power of the lens. Her first Nikon camera
unveiled a world of infinite expression. The enchanting gift of photography lies in its ability
to transport one back to a singular moment - one that is both precise and unparalleled. As
a visual language, photography speaks, communicating an endless array of sentiments.
While Carlotta holds a deep appreciation for all art forms, it is through the lens of
photography that she captures reality, making it her medium of choice - one that is
undeniably reflective of our era.

32
Can you share a pivotal moment or memory that ignited your love for photography and set
you on the path to becoming a photographer?
The transformative experience that truly kindled my love for photography happened when I
unexpectedly discovered old photographs of my father capturing moments with his camera.
Witnessing the artistry and storytelling potential in those images sparked a deep connection,
inspiring me to pursue photography as a lifelong passion. This moment set me on the path to
becoming a photographer, driven by a desire to tell stories through the lens of my own
experiences.
Growing up in Paris, you developed an appreciation for the arts and the stories behind
every artist. How has this cultural environment influenced your approach to photography?
Growing up surrounded by the artistry of Paris, I always held a deep admiration for both French
and Italian Renaissance paintings. This admiration significantly influenced my approach to
photography, as I strive to capture the same timeless narratives and emotions found in those
classic works. Drawing inspiration from the rich heritage of both cultures, I aim to infuse my
images with the enduring essence that made Renaissance paintings so compelling.
How do the distinct cultural elements of different countries manifest in your photography,
and do you consciously seek to incorporate diverse cultural influences into your work?
From the passionate essence of Italy, I focus on capturing life's emotional nuances, infusing
romance into my compositions. French culture influences my attention to detail, fostering
elegance and visual allure. The UK contributes to tradition and narrative depth, shaping my
inclination towards storytelling and exploring historical elements. These cultural facets seamlessly
find their way into my photography, becoming a part of my artistic identity.

33 The Resurrection of Christ. Vatican City, 2022

The theme of documenting moments and preserving memories seems central to your
photography. How do you choose the subjects or moments you want to capture?
In my photographic journey, I gravitate towards subjects and moments that evoke emotions or tell
a story. The process involves a delicate dance between intuition and meticulous planning, as I
seek out instances where authenticity and beauty meet. Each click of the shutter serves as a
means to encapsulate the essence of fleeting moments, aiming to convey a narrative that
resonates with viewers on an emotional level.
Light plays a significant role in your fascination with photography. Can you elaborate on
how you use light to enhance the mood or storytelling aspects of your photographs?
Yes, light is a key element in my photographic storytelling, approached much like a painter's
canvas to evoke moods and enhance the narrative essence of my photographs. Whether it is the
soft, diffused light of overcast days or the dramatic contrasts of harsh sunlight, each lighting
condition provides a unique opportunity to craft a visual story. I often experiment with techniques
such as chiaroscuro to accentuate the emotional depth within my compositions.
The power of photography to transport one back to a singular moment is a sentiment you
express. How do you balance the immediacy of capturing a moment with the broader
narrative or story you want to convey through a series of photographs?
I strive to seize authentic moments as they unfold, ensuring the immediate emotion or essence is
preserved in each photograph. Simultaneously, I maintain a strategic awareness of how each
captured moment contributes to the overarching story. This requires a conscious effort to connect
the dots, allowing individual shots to harmonize within the context of the entire series, creating a
cohesive visual narrative.

34 Invalidovna. Prague, Czechia, 2021

Animals, nature, and places are prominent subjects in your photography. What draws you
to these particular themes, and how do you approach each subject matter?
The allure of animals, nature, and places in my photography lies in their ability to capture diverse
human emotions; each theme demands a unique approach to composition and storytelling.
Prioritizing spontaneity when photographing animals allows me to seize their authentic behaviors
and expressions. Nature, portrayed through a delicate equilibrium, emphasizes both its beauty
and tranquillity, while places, rich in cultural and historical significance, invite immersive
storytelling.
How has technology shaped your creative process, and do you find digital platforms,
influencing how you curate and share your work?
Embracing the digital era from a young age has fundamentally shaped my freelance photography
journey, offering a diverse range of creative exploration. Technology serves not only to capture
moments but also to mold my creative process, encouraging experimentation and immediate
feedback. Digital platforms, particularly my website, redefine curation as a storytelling art,
transforming it into an interactive experience beyond traditional galleries.
In your journey as a photographer, have there been challenges or breakthrough moments
that significantly shaped your growth as an artist?
Overcoming self-doubt marked an important moment in my photography journey, propelling me to
foster artistic growth. To navigate the modern photography landscape, I consistently seek unique
narratives that resonate in a world saturated with imagery. Embracing this philosophy, I ensure
that my work remains relevant and authentic. This ongoing quest for innovation enables me to
evolve within the dynamic realm of contemporary photography.

35 Invalidovna. Prague, Czechia, 2021

Looking ahead, do you have specific goals or projects you're excited to pursue in your
photography?
I anticipate shifting my focus towards abstract photography, specifically exploring the geometry
and patterns in urban landscapes. My goal is to create visually striking compositions by isolating
and exaggerating architectural elements. Through this, I aim to challenge perceptions and invite
viewers to appreciate the artistic side of the structures that surround us. This exploration
represents a deliberate move toward capturing the often-overlooked beauty in the mundane.
Can you share a bit about your creative process, from the initial inspiration or idea to the
final presentation of your work? Are there rituals or practices you follow to maintain a
consistent and authentic photographic style?
My creative process is initiated by merging various inspirations, dreams, and everyday moments
into a distinct composition. Rituals involve a reflective exploration into the essence of a place,
absorbing its atmosphere before I capture its intricacies through my lens and consistency
emerges from a purposeful interplay between planned shots and delightful discoveries, enabling
my visual style to develop organically. The result is a thoughtfully curated gallery that subtly
shares stories of inspiration, experimentation, and the ongoing pursuit of a unique visual voice.
Photography is often considered a form of visual storytelling. How do you approach telling
a story through a series of images, and what role does narrative play in your work?
I focus on capturing scenes of significance, ensuring a natural flow and connection between each
image. The role of narrative in my work is central; it guides the selection of images to create a
cohesive and impactful visual experience. It is about presenting a series that invites viewers to
engage actively, interpret, and find their connections within the visual journey.

36 Old Jewish Cemetery. Prague, Czechia, 2022

 Christie

Christie took up painting again, after many years of abstinence, during total isolation in
lockdown. Meditation stimulated her imagination to produce over a hundred canvases -
and still ongoing. She sent a painting to the Royal Academy Summer Exhibition, aiming
high but not hoping. It was accepted and sold on preview night for celebs in the movie
and film industry. ‘TWINS (Ibeji)’, was purchased by a person from the Yoruba people.
Since that time she has had many paintings accepted for online and live exhibitions,
together with a solo metaverse exhibition of 47 artworks.

Poppies & Sea Urchins.. - Acrylic on canvas, 50x50cm, 2023 Blood Rose - Acrylic on canvas, 50x60cm, 2023

37
You returned to painting after the lockdown. Can you share the catalyst that inspired you
to take up the brush again, and how the meditative process influenced the themes and
styles in the over a hundred canvases you've produced since then?
As a young teenager, I wanted to go to Art College. My dad was on short-time in the factories so I
had to get a ‘proper’ job in an office. I didn’t draw, or paint again. During total isolation in
lockdown, I took up online meditation and it changed my life. All the wonder in childhood, where
life was measured only by the amount of sleep in between, caused my imagination to flow again.
All I can say about style is that I chose the colors – the rest was a pure cathartic outpouring in a
subconscious way.
"TWINS (Ibeji)" was accepted into the Royal Academy Summer Exhibition and sold on the
preview night for celebrities in the movie and film industry. How did this unexpected
success impact your artistic journey, and did it lead to any shifts in your approach to your
work?
I entered a portrait painting for the Royal Academy Summer Exhibition 2023 with little hope of
success. I had no formal training and relied only on intuition, so I could hardly speak when it was
accepted and sold. It seemed like a dream, but after all those years of abstinence, my artwork
was validated and gave me the confidence to believe in myself. Everything still flows joyfully and
intuitively, and I am totally in the moment.

38 Armada- Acrylic on canvas, 40x50cm, 2023

Your painting, "TWINS (Ibeji)," was purchased by a person from the Yoruba people. How
does cultural diversity influence or inspire your artistic expressions, and do you actively
seek to incorporate diverse cultural elements into your work?
When my daughter started school I enrolled at college and gained a place at Sheffield University
the same year, where I studied Eng. Lit and Classics; which inspired my love of Greek Mythology.
In my final year, I studied African Literature as a subsidiary subject, which opened my eyes to the
amazing culture of the Yoruba people; the ‘Cradle of Humanity’. I wanted to set the beauty of The
Motherland in places it had not been seen before and have painted: Demeter & Persephone, The
Three Graces, Titania & Oberon, Persephone Returning, Gentle Iris and Theia & Eos in this
genre.
Beyond the Royal Academy, you've had many paintings accepted for online and live
exhibitions, including a solo metaverse exhibition of 47 artworks. How does the digital
realm play a role in your artistic practice, and do you find that it opens up new possibilities
for engaging with audiences?
I’m not an IT person but have learned through trial and error the usefulness of technology. It’s
very difficult for an unknown artist to have the opportunity of a solo exhibition, but the ‘metaverse’
is the perfect way to achieve this. It’s also great fun making an avatar and running around the
walls until you learn how to use the controls. Friends, family, and contacts can also view the
gallery. The CV expands with online exhibitions and there’s not the hassle of logistics.
The title "TWINS (Ibeji)" suggests a connection to the Yoruba people and the cultural
significance attached to twins. Can you delve into the symbolism and cultural references
embedded in this particular piece?
The Yoruba people are very beautiful and have an amazing take on life, way back to the
beginning of humanity. They believe that twins are divine and descended from their god and that
the last born is the stronger. To this day there are more twins born to the Yoruba people than
anywhere else in the world. I used gold and gold leaf to enhance the godlike features of my twins
and made sure their expressions reflected this nobility.

How do you balance structured intentionality

with spontaneity in your paintings?
Meditation and Yoga should be taught in schools
to benefit children and their parents in a more
peaceful and grounded life. There’s also the
technique of manifestation which is: not to ask for
something in prayer, but to believe it is already
yours by visualizing it: ‘The Kingdom of God is
within You’. Einstein said: ‘Everything is energy
and that’s all there is to it. Match the frequency of
the reality you want and you cannot but help get
that reality. It can be no other way. This is not
philosophy. This is physics’. Through this
process, calmness and intuitive awareness
awaken, without form or intent, the imagination
with manifestation turns the process into a
successful conclusion. Once there were dragons - Acrylic on canvas, 50x50cm, 2023

39
Your artistic journey involves both traditional physical exhibitions and a metaverse
exhibition. How do these different platforms shape the presentation and reception of your
work? Do you see a difference in how viewers engage with your art in these diverse
settings?
There’s nothing better than to be physically present at an exhibition with your artwork displayed
there. It's tangible, it’s real and exciting, whereby all the senses are stimulated. Even if the artwork
is criticized, it provokes a reaction and that’s the true meaning of something creative. Online
exhibitions are useful in getting the work shown but are impersonal and lack stimulation of the
senses.
Can you highlight a few key themes or motifs that consistently appear in your recent
works? Are there particular emotions or concepts you aim to evoke through your art?
I self-published a novel eleven years ago called: ‘My Wicked Aunt Leonora’, about a young girl
who is obsessed with painting the many moods of the ocean. It’s only until recently that I realized
I was doing the same. Most of my paintings are abstract seascapes with vibrant blues and
turquoise applied with a pallet knife. I love the freedom this allows. My favourite place on Earth is
Newquay, Fistral Bay, where the crazy surfer dudes do ‘aerials’, trying to find the defining moment
between heaven and earth.

40 Dragon Fire- Acrylic on canvas, 40x50cm, 2023

Looking ahead, do you have specific goals or aspirations for your artistic practice?
My kitchen table is where the process happens. The ultimate dream of any artist must be to have
a solo exhibition validated by professional artists and curators. I’m still painting bigger, bolder -
and wilder artworks, so if one day I disappear under them all I hope to be rescued by an art lover.
How has the artistic process served as a form of connection during pandemic?
I’m not a crowd-lover, have a pretty garden, and do like to read a lot, so isolation was easier for
me. I could lose myself in painting which quietened the horrors of what was happening outside,
for a while. With family members affected and lost, it made us stronger and we sat it out and
overcame it. My daughter and I visited the Royal Academy when COVID-19 subsided and
everything seemed more beautiful and bigger, giving us a greater perspective on what was
important: family and what we already have right in front of us.

41 Mandala - Acrylic on canvas, 50x50cm, 2023

 Bernadette
Louise

Bernadette makes work in response to deeply personal experiences, but it speaks

beyond autobiography. Creating artwork about difficult scenarios, sometimes domestic
and sometimes disability, she employs psychology and legal research to visually
represent her own family experiences and that of other parents; Parents who are wrongly
accused of fabricated or Induced Illness (Fii), Munchausen’s by Proxy, or Parental Blame.
Studies show that disabled parents appear to be four times more likely to be accused of
FII than non-disabled parents and that 1 in 5 mothers of autistic children, reported being
assessed by social services. These women were 100 times more likely than the general
population, to be investigated for FII child abuse.
These institutional attacks on mothers by local authorities, health, and education, are
rampant amongst the autism community. FII is a way of covering up systemic
incompetence and silencing strong female voices. Parental Blame and FII are nothing
more than a modern-day witch-hunt, intending to punish those who resist neurotypical
norms, oppose the patriarchy, and fight against the system. Research shows that 50% of
allegations of FII were made after a parent had complained about poor service by health,
education, or social care.
Incidentally, evidence also suggests that autistic people are 9 times more likely to die by
suicide and autistic women are at higher risk, 13 times more likely than non-autistic
women to die by suicide. Highlighting these heinous injustices through any medium
possible is the only way to put an end to these attacks on innocent families.
As a mother of autistic children, and being late-diagnosed autistic herself, Bernadette has
needed to redefine what her art practice looks like, what is practical, when can it be done,
and how, whilst still being raw and honest, without tearing herself apart in a live art
setting.
Bernadette’s artwork is a tangible by-product from a time that still traumatizes her family.
Small insights into the dark and hidden world of autistic parenting.

42
In your artistic practice, you address deeply personal experiences related to domestic
scenarios and disability. How do you navigate the fine line between creating art that is
intimately tied to your life and ensuring it resonates with a broader audience beyond
autobiography?
I have always been led by my own life experiences first and foremost. Historically I used art as a
way of exorcizing my inner challenges. When I did this, I think people got on board with the way I
expressed the themes, quite expressive, provocative, and performative even in photography and
installation. It was just interesting from a stylistic perspective. There came a time after having
taken a break from my art, that I had some new, bigger demons to expel.
I was angry about something, so I made art about it to deal with the trauma. In doing so, it
became obvious very quickly my experience was not just mine, and others shared this story too. I
was speaking to a new audience, not an art one at all, but that of parents, with autistic children. I
made a piece called “Accused, an autism mother’ and through my sheer honesty and total
disregard for my privacy and vanity, it connected with people.
I used my art to highlight a scenario that others also lived through, but don’t have the
mechanisms, platform, or confidence to express. My art is a way to bridge the gap between so-
called ‘private’ experience and public conversation.
Your work sheds light on the challenges faced by parents, especially those wrongly
accused of fabricated or induced illness (FII) and parental blame. Can you share a specific
instance or inspiration that prompted you to delve into this subject matter?
In 2015, our son was under assessment for
possible autism, he was atypical, hyper,
controlling, sensitive, intelligent, a very bright
charismatic light. He didn’t present as what I, or
anyone else was considering ‘typical’ autism at
the time. He didn’t fit the ‘Professionals’ view of
autism (he has since been diagnosed Autistic
with PDA subtype). Because they had no
‘answers’ they decided that he wasn’t autistic and
that as parents we were the reason for the way
he presented; that he was highly anxious, but
actually we made him that way; and conversely, I
was apparently exaggerating the extent of his
difficulties. I was accused of FII by the NHS and
we were put under social services scrutiny via a
child protection order. It was absolutely vile and
the most harrowing thing to go through. When it
all stopped in 2016, I had to make artwork about
it. So I made the above piece ‘Accused, an
autism mother’. It was all I could think to do, to
get my voice heard, and a little bit of revenge too
I suppose. The exhibition and subsequent press
interest was a well-executed middle-finger to the
team, my accusers.

43 Untitled - Mixed media on vintage wallpaper, A3, 2023

Psychology and legal research play a role in your artistic process. How do these elements
inform the visual representation of your family experiences and those of other parents?
I think my influences stretch so far and wide, it’s hard to sometimes visually express everything I
want to say. Using direct quotes, or in some instances, real blood, sweat, and tears, the work
encompasses the mundane, and revulsion at once. There really is nothing quite as horrifying as
the actual statistics and evidence base for FII and the moment. Simply by putting something down
on paper, anything to do with FII represents those families, but of course, through my own
heuristic lens. Visually, I have opted to use domestic imagery and fragmented pictures to conjure
the internal conflict and unease in the subject. I don’t have enough blood to do what I want.
The text mentions institutional attacks on mothers within the autism community, with FII
being described as a modern-day witch-hunt. How does your art contribute to raising
awareness about these systemic issues and acting as a form of resistance?
The fact that I am able to share this experience with you, through my art and words right now, is
adding to the discourse. This is something that has been so hidden from wider society, as it is like
a ‘dirty secret’ that families, just have to get over, without any support or network around them. It’s
devastating for families. The institutional tactics are designed to save the system money and
remove the responsibility of failures by Local Authorities and Health Services. I hope that my work
in any guise will expose the issues, use a different method to promote the written research
papers, and actively allow the conversation to grow.

Untitled - Mixed media on vintage wallpaper, A3, 2023

44
Research indicates that disabled parents, particularly mothers of autistic children, are
disproportionately targeted. In what ways does your art serve as a platform for advocacy,
amplifying the voices of those facing discrimination within the system?
As one of those mothers, my work is embedded in my own base emotions. However, I have been
working in the field of autism advocacy through other avenues for a while. I have sort of chiseled
out a role for myself within health to keep on at them about this (and more) so I have started to
bring in the artwork into the NHS health and social care remit. I just keep telling the story. Any
opportunity I get I squeeze FII into the conversation. Having more exhibits and wider exposure
would add to the awareness too.
How does your art challenge societal norms, oppose the patriarchy, and provide a voice
for those resisting neurotypical expectations?
Presently, I think my art could do more of this. If I had the brain space (and physical space) I
would certainly do more to oppose the system more vehemently. The work aims to draw together
some of the aesthetics that intrigue me and by speaking to me, I hope they open doors for others
to think about the work. There are loads to do with the intersectional boundaries imposed on us
as mothers and autistic people. It is a cross-sector societal issue, everyone’s issue, from health,
social care, and education of course, to less obvious like housing and financial stability, social
network, and job opportunities. As Parent Carers we are forced to sacrifice most, if not all of
ourselves to just exist in a neurotypical world.

45 Untitled - Mixed media on vintage wallpaper, A3, 2023

How has your journey influenced the evolution of your art practice? How do you balance
raw honesty in your work without compromising your emotional well-being?
I don’t think I do balance the rawness with my well-being! I’m quite frankly always ‘on’ unless I am
asleep. Every living moment of our life is encompassed by autism and the fight – and that’s not
necessarily by choice. I work in the sector as an Autism Champion, I have two autistic kids, and a
partner who is also late diagnosed. Then my art is about it too now. It’s innate. Our journey has
been one of togetherness and our family unit just doing what is best for us. Fighting the external
factors is what drags me down. It is exhausting to have to constantly remind ‘Professionals’ of the
various legislative frameworks in which we are protected. I would say when I am overwhelmed, I
am pretty much on the edge until I make some art. It is one way of releasing the pressure.
How does your art contribute to the broader conversation around mental health and the
urgent need for societal change?
I think that the work in itself is helpful to the cause. Just highlighting the stats in the context of the
work. It allows having the conversation at different levels. and as I said, it’s all exposure. I intend
to take my work to the top bods in these areas of systemic failure and show them exhibition press
cuttings, the local news always gets the attention of the people who should be listening. It’s like
going to the local MP, people start to act quickly, at least it might get them temporarily motivated
to look at the themes. Then we have a stage to be heard more loudly.
How do you envision the role of art in bringing about tangible change and putting an end
to the attacks on families within the autism community?
I am just going to keep doing what I do and keep banging on about the reality of FII and false
allegations. I don’t think anyone could look at the data and not be shocked by the injustice. I will
reiterate those lived experiences one way or another. People are starting to take note of our
terrible 2015, more research has taken place and is making waves. I intend to start working with
researchers, but also I am aiming to do a PhD that directly links the two subjects, MHArt can do
wonderful things in raising awareness, I just hope it gets the traction it deserves.
In redefining your art practice to accommodate the practicalities of being a mother of
autistic children, what adjustments or innovations have you made? How has this evolution
shaped the nature and execution of your artistic expressions, particularly in live art
settings?
My practice has suffered from a lack of space and time. I just couldn’t do anything for years. I had
a recent urgency in me that needed fulfilling, so I compromised with myself and made my work
small. Compact little collages, that I can make with whatever printer paper I have, sitting on my
bed, in whatever light is left of the day. I have taken over the kitchen a few times, but usually while
cooking the dinner. Previously I was covered in offal at music venues, or eggs at live art shows. I
worked with some amazing artists and wonderful festivals. We couldn’t travel to the shows when
the kids arrived and couldn’t expect them to deal with the sensory overwhelm. I have had to crawl
back into my artist's skin gently and slowly. I am more confident in my practice now I am a bit
older. I have less to be afraid of, I am speaking the truth, the best way I know how. However, my
two boys don’t want to see their mother in a corset covered in blood and I’m not sure I do! It was
always an aesthetic that I used and haven’t been able to revisit in the work as yet. I feel that it’s
only a matter of time, the guts are coming back in more ways than one. Anything to catch the eye,
to draw attention to the cause, add to the discourse. Allegations of FII and parental blame for
autistic families have to stop. Now.

46
 Claire
Manners
Wood

Claire’s textile sculptures often represent her experiences of joy, grief, memories, and
dreams. Each of her sculptures is uniquely informed by both the donor and their fabric –
making her constructions relational, generational, and emotionally significant. She enjoys
the emotional connections when working with donated fabric. Claire’s sculptures use
aluminum rods as a base. These abstract structures are dressed in fabrics using a wide
range of hand and machine sewing techniques, and she often employs unusual elements
to add context, emotion, and representation. A fine art course completed in 2021 moved
Claire from painting into textiles – and she discovered a passion for creating abstract 3D
textile artworks. In 2023 Claire has participated in 11 exhibitions – both online and in
person – in the UK and USA.

City Life, Holborn - Oil on canvas frame, 20x20cm, 2017 4th Floor Reds - Oil on paper, 70x70cm, 2015

47
Can you elaborate on how your experiences of

Cotton fabric, aluminum, wood, nails, plaster, thread, glue, 65x25x20cm,

joy, grief, memories, and dreams shape the
narrative of your textile sculptures?
I am often compelled to process my emotions
through my art, and this is initially generated when I

Japanese Garden (Autumn)

‘see’ a sculpture in my imagination. Sometimes I can
visualize them in detail, and other times it may be a
shape or a particular fabric. Once I have started the

2022
making, the solitary process generates much internal
thinking and emotions, and this helps me work
through my grief or celebrate memories and joy.
Japanese Garden (Autumn) was instrumental in
helping me work through the first year following my
mother’s death and I used dark and sombre fabrics
with red to show the hurt. The kimono is my mother
sitting in her garden.
The emotional connections you mention when

plaster, thread, organza ribbon, 34x28x25cm,

gifted fabric, feathers, aluminum, wood, nails,
working with donated fabric are intriguing. How
do these emotional ties influence the creative Jackie’s Interior Decomposition

process and final expression of your sculptures?

When I work with donated fabrics, I feel like I’m 2021

having an ongoing conversation with the donor, and

absorbing their very special style. For example, in
Jackie’s Internal Disintegration, I felt I was
showcasing in abstract form Jackie’s art practice of
showing the internal struggle versus the exterior
perfection.
Your sculptures are described as relational and
Liberty print fabric, aluminum, wood, nails, plaster, thread, organza ribbon,

generational. Could you delve into how the

unique qualities of both the donor and fabric
plastic figures, filling, covered buttons, glue, 65x25x25cm.

contribute to this relational aspect?

When I use inherited fabrics, not only do I have
internal conversations, but I also recall memories of
her teaching me to sew, helping fix my mistakes, our
many discussions around making, and the shared
Pam’s Liberty

love of particular fabrics, such as Liberty prints and

Japanese cotton.
The sculptures not only reflect these relationships I
share, but the skills which have been passed on to
me from my mother – often skills she has learned
from her mother and/or grandmother. This learning
of generational skills is very important to me. The
handmade flowers on Pam’s Liberty consolidated
and improved some hand sewing skills.

48
The use of aluminum rods as a base for your

Linton Tweed samples, organza ribbon, organza, pearl buttons, pearl ribbon,
sculptures is distinctive. How does this choice
influence the form and structure of your

lace, feathers, recycled satin shoe bag, 76x42x35cm, 2023

creations?
The process of bending for me it is very instinctive
and I find they are easy to bend and contort into
elegant and organic shapes. I am continuing to

Couture Dreams
explore the use of multiple rods in one sculpture
which is both challenging and exciting as you have
so many more variables for shape, form, and fabric.
But they also have to work together. Couture
Dreams was a new experiment to not have multiple
rods intertwining but aligned in a row.
With a focus on hand and machine sewing
techniques, can you discuss the role these
methods play in bringing your abstract
structures to life with fabrics?
Further to the generational skills discussed previously, I try to bring a range of skills to all my
sculptures. Sometimes the fabric dictates the style of sewing, such as the fragility of the tweeds in
Couture Dreams, but I enjoy the handsewn details and ability to add original elements to the
sculptures. I am a big believer in upskilling and learning new techniques where possible and I love
YouTube for this. The sashiko hand stitching in Sashiko Calms Me was a joy to create and I’m
aiming to employ this beautiful stitching again in 2024. The challenge is often how to showcase
the techniques on sculptures as it is not a flat surface.

The incorporation of unusual elements for

T-shirts, linen dress, cotton, organza, aluminum, wood, nails, plaster, thread,
stones, shells, resin, paper, butterfly hair clip, wadding, glue, 75x30x30cm,

context, emotion, and representation is

fascinating. Could you share some examples of
how these elements enhance the meaning of
your sculptures?
In Family Holiday (Greece), I recycled worn out (or
Family Holiday (Greece)

outgrown) holiday clothing from my son, my

husband, and myself on the three rods. The
2023

turquoise ribbons of organza are the water sports

and swimming. The 3D turtle was on an outgrown
and much-loved t-shirt bought in Greece where they
had a turtle sanctuary and closed the nearby
beaches at night so the turtles could hatch safely.
The beach towel was also originally on the front of a
favorite t-shirt. The shells and rocks we had
gathered on our holidays.
The tickets and information were also kept from visits to many historic sites, museums, and
galleries. This makes the sculpture very personal to me but also means it acts as a memory
sculpture – much like a photograph. I look at this sculpture and remember our fabulous holidays.

49
Transitioning from painting to textiles after
completing a fine art course in 2021 is a
significant shift. What prompted this change,
and how has it impacted your artistic
perspective?
The shift was prompted during the fine art course
when we had to complete a project to represent a
significant personal ‘site’. As we were in lockdown in
London, I had to use my home, where I re-
discovered a pile of fabrics and old loved clothing. I
created a cushion, The World is Here With Me,
which represented my garden. Using the fabrics
uncovered the previously mentioned connections
with my mother and strong memories of my life,
travels, adventures and friends in various countries.
The World is Here with Me
It was such a powerful experience that I wanted it to
continue, and I have been developing my textile Recycled fabrics, thread, buttons, resin beads, pressed tin bell,
glue, down cushion
sculptures ever since. 38x38cm, 2020
A short sculpture course using aluminium rods and
plaster was also a lightbulb moment as I discovered
the base materials to realise my artistic style.
Discovering a passion for abstract 3D textile
artworks is a notable journey. How has this
newfound passion influenced your artistic
expression and approach to creating?
I have always read colours as emotions. My
paintings are all about colour and texture, and my
textile sculptures are a continuation of this. I love
thinking in 3D, and the making of my sculptures –
similar to my painting – is also a combination of
layering, experimenting and putting on and taking
away until you are happy with the outcome. As with
paint colours, my fabrics need to work together. The
added emotion coming through from using particular
fabrics is another bonus layer. But as with painting,
my emotional reading of the fabrics and shapes is
not what everyone is going to take away and I need
to step away and let the audience make their own
interpretations.

I liked the Aubergine Better

Oil on paper,
80x60cm, 2019

50
Participating in 11 exhibitions in 2023 is quite prolific. Can you highlight any memorable
moments or lessons learned from these exhibition experiences?
As an emerging artist, I am trying to raise my profile and applying for exhibitions is a great way to
do this, especially with online exhibitions. A year ago my Art CV was empty, so my 2023
resolution was to make it fuller. In addition, several exhibitions have had themes around
emotions, memories and grief and this has linked in well with my sculptures.
There are some fabulous websites which help to collate a range of open calls and
opportunities, for artists, as does course social media. An early piece of advice was to get
my sculptures professionally photographed and this really enhances them in an
application.
But the thrill of having a sculpture in a physical location is second to none and I have enjoyed
delivering sculptures around the UK. It has been immensely beneficial to engage with audiences
and see their reactions to my sculptures, and gain feedback on them.
Looking ahead, are there specific themes, techniques, or aspirations you plan to explore in
your future textile sculptures?
I am aiming to experiment with different rod sizes – to try and scale up my sculpture sizes. I have
many sculpture ideas running around in my head (which is very exciting) and I always aim to try at
least one new technique with every sculpture.
Following the successful commission of Lisa’s Africa last year I would love to generate more
commissions.
This year I am aiming to join a textile art membership group, as meeting regularly with other
textile artists would be inspirational and instructive.
I am very excited for what I will create in 2024!

Corrugated Colour - Oil on paper, 70x50cm, 2019

Lost in the Colour Jungle - Oil on paper, 70x60cm, 2019

51
notes:
Ruby Red | Special Edition | VOL 38 | January 2024 | Tbilisi, Georgia