Spring

Issue
Collect Art
Seasonal Edition
VOL 41

Tbilisi, Georgia
April, 2024

‘More than the Fruiting Body III’ by Lewis Andrews

TABLE OF CONTENTS
Angeline D’Balentine 05
Aoccho 10
Caroline Le Com 15
David Crawford 20
Desiree Lina 25
Hilary Watkinson 30
Jasmine Prodissitto 36
Katrina Cobb 42
Lewis Andrews 47
Marcelo Pedrozo 53
Mingxiang Xiang 56
Nelya Akimova (NELYA-NAKI) 60
Qian Sun 66
Rubica von Streng 72
Tamar Gedevanishvili 78
William Josephs Radford 86
Yev Kazannik 91
Yueming Li 98
Welcome to the Seasonal Spring edition of our art magazine, where we invite you to
embark on a journey through the creative landscapes of our featured artists. As winter
gives way to the vibrant renewal of spring, so too does the artistic spirit awaken with
fresh inspiration and boundless possibilities.

Within the pages of this edition, you will discover a curated collection of artworks
spanning various mediums, from captivating photography to dynamic paintings
bursting with the energy of the season. Our artists invite you to explore the rich
textures of sculpture, the intricate lines of drawing, and the immersive worlds of digital
art, each offering a unique perspective.

Accompanying each artist's portfolio are intimate biographies, revealing the stories
behind the creative minds, as well as thought-provoking artist statements that shed
light on the motivations and inspirations driving their work. Through personalized
interviews, you'll gain insight into the artistic process, uncovering the secrets and
struggles that shape each masterpiece.

In addition to visual art, we are delighted to present a selection of poems. These lyrical
compositions offer a poetic interpretation, evoking the sights, sounds, and emotions
that define this time of renewal.

Join us as we celebrate the arrival of spring and the profound impact it has on the
world of art. From the blooming flowers to the chirping birds, from the warm sunlight
to the gentle breeze, let the creativity of our featured artists and the poetry of their
words transport you to a world of wonder and imagination.

Welcome to our Seasonal Spring edition – where art and poetry intertwine.

Spring Issue | Seasonal Edition | April 2024 | Tbilisi, Georgia

 Angeline D'Balentine

Angeline D'Balentine graduated from Eastern Michigan University with a degree in

creative writing, focusing on scriptwriting, while also minoring in art. Her academic
journey encompassed various forms of writing, ranging from poetry to research writing
and journalism. Throughout her career, she has achieved notable milestones, including
the publication of several poems and the adaptation of one poem into a performance
piece featured in an off-Broadway monologue. This particular show was hosted by Stacey
London from the renowned TV show "What Not to Wear." Additionally, she has seen
success in the realm of stage and film, with multiple stage scripts produced into plays and
one film script adapted into an independent film. She also lends her expertise as a script
doctor, contributing to the refinement and enhancement of various scripts.

Can you share more about your experience studying creative writing with a focus on script
at Eastern Michigan University?
I originally didn’t enroll in creative writing at Eastern Michigan University (EMU). I enrolled for just
art and media, but as I took an “intro to poetry” course as an elective and did very well in it, I
decided to explore another form of writing. I took a playwriting course and did very well in it. I
always knew I liked storytelling, and I realized I was loving any form of creative writing at EMU. I
switched my major to creative writing and made art my minor. I took it a step further and
presented a request to the school board to make my focus scriptwriting.
Some of the courses I took were in writing styles and forms, journalism, research writing, and
screenwriting. I wrote several scripts for stage and film from my courses, two of which won the
local playwright competition and were produced for theater.
How did your minor in art complement your studies in writing, and how has it influenced
your creative process?
In that before I went to college, I was a comic artist and into graphic novels, adding creative
writing to the skill bucket made sense. It has since been a great companion to my writing, and
when I can I also illustrate for some of my written pieces. I sometimes also place my poetry and
prose into my art. I did a painting that was exhibited in the UK a few years ago that was titled
“Quicksand Pieces” that had a painting a women and a poem weaved throughout the piece.

05
Could you tell us about the process of having one of your poems transformed into a
performance piece and performed off-Broadway in New York?
Pure Poetry is the poem that was the one produced on Off-Broadway. How it became a poem
turned performance piece was due 1. It was published in a local Ann Arbor Journal for creative
works and was my first publication for poetry, and 2. From that publication my cousin, who was
also attending EMU alongside me and in theater, asked if she could use it for a monologue to
direct. She was majoring in becoming a theater teacher and loved this piece of mine. Her
direction for it be on stage in a black box theater arrangement was fascinating to see for the first
time.
What was it like to have your work featured in a show hosted by Stacey London, and how
did that opportunity come about?
It felt amazing to be honest. Being nominated for the event was already flattering, but then to find
out it was being hosted by a famous TV show host left me speechless. It was thrilling.
A friend of mine had seen my Pure Poetry poem performed as play piece by a local actor in Ann
Arbor, Michigan (USA). A few years later she was on assignment in New York, and this off-
Broadway festival called Spork was looking for nominations for unique pieces and scripts to
produce for the stage. So, she nominated my piece for the stage. It was selected due to two
reasons; it being originally a poem and went on to be a popular monologue stage piece, and how
I captured the voice of such a character.
You mentioned having several stage scripts produced into plays. Can you discuss your
approach to scriptwriting for the stage?
My approach is allowing time for inspiration, enabling for a character to start a conversation with
me, show me a scene, and then start writing from that central point. I usually lock myself away in
a weekend or so to write at least one act. Three acts take me at least a few months of weekends
(outside of work.)
How does script doctoring fit into your creative practice, and what do you enjoy most
about this aspect of your work?
I originally didn’t even know about this practice or that one could make decent money from doing
it. It was a few years into my career when I started providing this service. It started from an
incident when I had noticed some possible better ways of portraying a story’s metaphor to a fellow
scriptwriter. She enjoyed my insight and went on to share with others in the future what I had
suggested. And so, eventually this led into other offers that offered to pay me for this service. I
started putting it on my resume as a service and talent I could offer.
Can you share any insights or lessons you've learned from your experiences in
scriptwriting for both stage and film?
I think one of the biggest things I have taken away from honing in on mastering the ability to script
write is this central point of catalyst. In that the catalyst signifier in a script’s paradigm is the point
that triggers or accelerates a change or action, and It's like a spark that ignites something bigger.
In drafting out a ton of paradigms and planning out this point of catalyst has translated into other
parts of my life. I’ve been able to utilize this knowledge into other areas of storytelling, writing, art,
and business, including being a director and producer, and performing negotiations.
What inspires your storytelling, and do you have any recurring themes or motifs in your
work?
I would say making a point or the genre of epic play into my writings. This was noticed early on in

06
college that the professors noticed I had a passion and a knack for this motivation and genre. The
epic genre refers to plays and films that tell grand, sweeping stories with a larger-than-life quality.
This doesn’t always mean it would be a long script either. Pure Poetry is short, but it touches on
other epic themes of historical context, the hero’s journey, and characterization ‘scaled.’
How do you navigate the challenges and rewards of bringing your creative vision to life
through writing and scripting?
Writer’s Block would be my number one challenge. That is a real thing, and having dyslexia, it can
sometimes be even more challenging. But over the years I’ve mastered my process in this. It’s
just a matter of giving space for focus, both in mind and physical space. The rewards are great
when they present themselves from honorable mentions to selections to exhibits and magazines
and of course financial rewards. In rewards I always take time to sit it out and mediate on
accomplishments, give appreciation, and find center to keep it humble.
Looking ahead, what projects are you currently working on or excited to explore in the
future?
I’m working on a revision to a play I wrote some years ago that hasn’t been produced yet. It is the
character of Pure Poetry as a narrator for a full-length play titled, “Library of Silence.” It has three
acts to it, which each act is its own one-act and addresses topics of women’s lives.
I written a few films, and my film “Death & Detroit: a Love Story” is showing in Sao Brazil April-
May 2024. That is a tale about taking the concept of Death and making it a woman who tempts
Detroit in to love. Detroit is the city, and she wins in tempting him towards love, which causes
Detroit to fall into the sphere of death. It is more of a movement piece focused on visuals and
sound, including the music of Dannilu, a Brazilian Opera singer with his song Figlio Perduto. I’m
also crossing my style of writing, including poetic style, and my art into the realm of children’s
stories and mid-grade. I recently had an editor work on my first children’s story that I have written.
Working title right now is Owl’s Wisdom.
I’m also planning to provide workshops programs and storytelling retreats. But that is a little
further into the future.

07
Pure Poetry

Toxins, caffeine, nicotine

flowing like a river through the blood stream...

Mama gave me life back thirty two years.

Out I come with the night on my skin.
My eyes like stars and Mama's face was a moon...

Her eyes,
her nostrils,
her mouth a crater
with sweet Mississippi Mud Pie
glowing in the cracks of her teeth.
She whispered with tears and fears into my ears of poetry-
for the sake of Pure Poetry.

Pure Poetry? Why mama give me a name like that?

A name with flowing lines and stanzy form-

In and out, above and below, behind and bent over
for those blue lines of white paper.
They knew I's the lines of poetry!

Magical black words and cursive curves and dotted eyes...

...crossed T's of poetry.
Pens dippin' in me wantin' black ink for their white paper,
making Pure Poetry flow...
Just the sound of me rolls off their tongue.

White paper, brown paper, tan paper,

You name it paper -
Absorbing the flow of my intoxined blood of Pure Poetry.

Pure Poetry.
That's I lying on the paper as their wanted black ink,
with red ink splatterin' and swirling into ebony dreams,
staining Pure Poetry.

08
My eyes are churning mercury tears
and they look and see,
But do they care?
They look, but they ain't seeing, cuz they ain't feelin' -
As they rape my stanzas,
My mama's pages,
My Nana's chapters,
and Pure Poetry's ancestral books sittin'
on the shelves in a library of silenced time.

Yeah, that librarian sittin' at the information desk whispering, "shh."

Her information all wrong!
Her name tag typed and spaced on a black background
saying in white words,
"Keep silent and smile, girl. Be meek and weak.
Lift your cup of tea and be me."

Why her Mama give her a name like that?

Pure Poetry's source ain't found at no information desk.

Goes to isles A through Z and you'll walk reality.

Sure, I'll tip my tea cup and watch it break beyond

the reaches of my charcoaled limbs as black tea spills and
green tea leaves stain the paper.

And Mama's face will smile back in the reflection of me.

They all smiling back at me,
Mama and Nana and generations survived.
My magical black words of courage speak out!

Hand me the ancestral books and I's will blow the hushed dust away,
and proudly hang the sign of closure on the door of this library of silence!

Inspired by Toni Morrison's book "The Bluest Eye"

09
Aoccho
‘’I am a digital artist, and motion graphics is the main medium I use to explore the depiction of
mental states and the relationship between visual perception, emotions, and auditory encounters.
My creative process starts with a single word, a sentence, or even an audio clip. I transform these
into visual elements, imbuing static images with fluid motion to create a dynamic visual effect.
My artworks are inspired by textual descriptions, phonic experiences and emotional experiences.
Due to my multicultural background, I find it fascinating how various languages offer different
ways of describing the same subjects and the unique manner in which languages express ideas
truly captures my attention. My intention is to visualize and embody textual descriptions, cognitive
processes, and sensory perceptions, encompassing elements including written words, auditory
stimuli, and emotional sensations. In my work, “Before even beginning”," I visualize the juncture
where a new idea emerges suddenly, and the process of conceptualizing this new idea. By
blending motion graphics with linguistic exploration, my art seeks to create a connection between
the viewer's senses and the diverse facets of human cognition.’’

Aoccho is a digital artist based in New York City, specializing in motion graphics. Through
her artistic language, she explores the depiction of mental states and the relationship
between visual perception, emotions, and sound experiences. Driven by her multicultural
background, Aoccho's interest lies in the narrative of language differences and the
captivating language phonic experience. This diverse cultural influence also contributes
to her varied aesthetic approach. Aoccho’s personal animated film has been invited to
showcase at the Samskara Exhibition.

Feeling Good, 2023

10
In the Zone, 2018
Your exploration of mental states and the relationship between visual perception,
emotions, and sound experiences is intriguing. What initially sparked your interest in
delving into these themes through motion graphics?
Actually, it all started quite simply. When I saw certain images, heard certain sounds, and felt
certain sensations, ideas naturally sparked within me. I couldn't resist the urge to start
developing these ideas into narratives. Being a motion designer, my main focus is animating
static graphics, using timing and speed to create different emotions. So, naturally, I wanted to
explore and experiment more with the themes that inspired me through motion graphics.
Could you elaborate on how your multicultural background influences your artistic
approach and the themes you explore in your work?
I believe that my multicultural background has made me more sensitive to sound, emotion, and
the experiences of listeners, and has also sparked my interest in these differences. Growing up in
a multicultural environment exposed me to various tones, accents, and expressions in different
languages. Even the same words may carry different connotations in different languages. It's this
diversity that brings about varied experiences for listeners, and it's precisely this aspect that I
want to explore using my skills in motion graphics, attempting to visualize these processes of
perception and sensation.
Can you walk us through your creative process when translating different elements into
dynamic visual artworks?
When I'm inspired and feeling creative, my first instinct is to carefully contemplate my immediate
sensations. I consider how the emotions I'm experiencing manifest—whether they hit me directly
or slowly evolve over time. This differentiation naturally suggests two distinct speeds and visual
presentation styles. My perception of these emotions also leads me to associate them with certain
colors for expression and selection. Essentially, these initial elements lay the foundational tone for
my project.
Your artwork "Before even beginning" offers a glimpse into the process of conceptualizing
new ideas. What inspired this piece, and how did you approach visualizing the idea?
Actually, when I started this series of artworks, it coincided with my desire to begin my journey as
an artist. Because of this, I contemplated creating a piece to commemorate the beginning of my
artistic endeavors. I thought about visualizing the process of ideation, akin to a celebration of my
artistically inclined activities. I began by recalling how, when starting a new piece, a new idea is
like a point of inspiration, a sudden spark. This point gradually expands and develops, sometimes
forming into lines. However, since the idea is still in its infancy, it may flicker uncertainly,
resembling a mosaic grid. But as the idea gains clarity and coherence, it flows smoothly like a
line, advancing and even shifting. This is essentially the genesis process behind this series of
artworks.
How do you see motion graphics as a unique medium for expressing complex concepts
and sensory experiences compared to other artistic forms?
Motion graphics, as I mentioned before, is all about bringing still graphics to life, often
accompanied by sound to enhance the experience. This medium is fantastic for expressing
complex ideas and sensations because it engages multiple senses and unfolds over time. Its
versatility allows for experimentation, making it accessible and shareable across various
platforms. Plus, its potential for interactivity adds another layer of engagement for viewers in
today's digital landscape.

12
Can you share any challenges you've encountered while trying to translate textual
descriptions or emotional sensations into visual motion graphics? How do you overcome
these challenges?
Yes, absolutely. Sometimes during the execution of a project, I may find that the initial idea
doesn't translate well in practice, or that it's not as fully formed as I had thought. Other times, I
might spontaneously come up with new ideas or want to experiment with new techniques.
Surprisingly, I'm quite adept at embracing these little surprises or, I should say, I rather enjoy
them. After all, I'm often amazed at the emergence of these new ideas later on. So, I usually take
a moment to pause, step back from the project, reorganize my thoughts, maybe do some case
study research, and give myself a bit of a break. Then, I'll come back to the project refreshed and
ready to continue.
The connection between the viewer's senses and human cognition is a central theme in
your work. How do you hope viewers experience and interpret your artworks on both an
intellectual and emotional level?
Actually, I don't particularly want viewers to interpret my works in a specific way because
everyone's perceptions, impressions, and perspectives are different. So, I'm open to any
interpretation. For me, when my artwork is completed, I've already delivered my thoughts.
Viewers may agree or disagree, or they may resonate with it in their own way. I welcome different
discussions because, after all, my work is simply an expression of my own intuition and feelings.
It's perfectly reasonable for there to be various interpretations and expressions of different
feelings. However, what truly brings me joy is if my work sparks a new idea in the viewer. That's
the most fulfilling outcome for me.

Are there specific techniques or tools you

rely on heavily in motion graphics
practice?
In my motion graphics practice, Adobe
software plays a central role, particularly tools
like After Effects, Photoshop and Illustrator.
These programs are indispensable for the
creation and execution of my projects. Adobe
After Effects serves as the backbone for
animating visual elements and crafting
dynamic motion graphics. With its extensive
feature set, I can manipulate keyframes, apply
effects, and produce intricate animations that
convey the desired emotions and messages in
my work. Photoshop and Illustrator are
essential for designing and editing graphics
and illustrations, providing the flexibility and
precision needed to develop custom artwork
or refine existing assets. By leveraging these
Adobe tools, I'm able to translate my artistic
ideas into captivating visual experiences that
resonate with viewers. To see and to be seen, 2023

13
Your personal animated film was showcased at the Samskara Exhibition. What was that
experience like, and how do you feel it contributed to your artistic journey?
When I received the invitation letter from Samskara, I was thrilled because they discovered my
artwork, "In the Zone," somewhere and wanted to exhibit it. This invitation came as a delightful
surprise to me. "In the Zone" is my first short animation film, so this invitation holds significant
meaning for me. I see this invitation as a validation of my work. Whether it's being invited to this
exhibition, the venue of the exhibition, or the fellow artists participating, it's all a tremendous
encouragement and positive affirmation for me.
Looking ahead, what new avenues or themes are you eager to explore in your future
motion graphics projects?
Actually, I've been wanting to incorporate 3D and special effects software into my work. I'm slowly
learning these tools, and I hope to integrate them into my projects in the future. As for themes, for
now, I plan to continue exploring abstract concepts and interpretations, as I still have several
topics I want to delve into. However, I've also been contemplating different presentation methods
for my work beyond simple video formats. I'm considering whether there are other more engaging
ways to showcase my creations.
On Hold , 2023

14
Caroline
Le Com
Caroline Le Com was born in 1995 in Quimper, She lives and works in Paris, focusing her
photographic work on capturing everyday life through a timeless lens. Preferring purely
film photography, she adds a touch of nostalgia to her images. Her portfolio alternates
between intimate scenes and street photography.

Notebook of America: A Photographic Year

‘’I just returned from a year spent in Montreal, my suitcase overflowing with memories, objects,
and images. It was essential for me, as if to put a final dot mark on this adventure, to show my
photos and let them live a little longer, together.
I tried to capture the beauty of North American cities while exploring the daily lives of the
inhabitants and searching for my place among them. I draw inspiration from images derived from
our collective imagination and cinematic clichés. I play with framing, colors, and contrasts, and I
use black and white as a tradition of archival and documentary style.
The series stems from a compilation of nearly 360 pictures taken over the course of a year,
representing one roll of 35mm film per month. Opting for all analog, beyond the surprise of the
image, adds a touch of nostalgia to the photographic rendering.’’

15 Feet in the water, Magog, analog photography, October 2023

Your focus on capturing everyday life through film photography is intriguing. What draws
you to this medium, and how do you believe it enhances your exploration of timelessness?
I practice analog photography to capture moments of life that may never be repeated. The
photographic medium, in my opinion, is the memory of gaze and emotions. Analog photography
allows me to explore timelessness through the rendering of the image and the possibility of a
traditional print.
Could you elaborate on how you navigate the balance between intimacy and street
photography in your work? What do you find compelling about each approach?
Both approaches are complementary: one nourishes the other. With street photography, I enjoy
facing the unknown and confronting the city. By photographing intimacy, I aim to capture
emotions. In both situations, it's a practice of truth.
How does living and working in Paris influence your photographic practice?
I like to say that I fell in love with Paris. It's the city that inspires me, and where I feel the best to
create. A few months ago, I moved to Montreal, Canada, and I felt destabilized. I had to redefine
my practice. Montreal doesn't have the same energy. I practiced street photography in a softer
and more thoughtful way. In Paris, I photograph in urgency.

The lookout, New York City, analog photography, April 2023 The guardian, Montreal, analog photography, August 2023

16
 Staying stylish even in the snow, Montreal, analog photography, February 2023

On a cold February morning, taking a photo is complicated. I have to take my hands out of my
pockets, remove my gloves, and face the -15°C weather. The light is incredible, illuminating
everything with the snow. And there's this man in front of me, straight out of a movie. The cold
doesn't bother him; on the contrary, he seems made for it. I quicken my pace and almost slip in
the snow, which is already turning into "slosh" under the sun. I try to frame the shot and click
the shutter. I wonder where he's going like that, without gloves.
How do you use the sense of nostalgia to evoke emotions or convey narratives in your
images?
I've always been fascinated by photographers from the second half of the 20th century who
manage to capture moments of life and make them timeless. They make viewers want to immerse
themselves in the image and experience the illustrated era. I believe that's what I'm trying to do,
and I'm very happy to be able to convey these emotions.
Can you share any memorable experiences or encounters you've had while capturing
moments of everyday life on film?
A few weeks ago, I was strolling in Paris and I was struck by the scene of a man feeding pigeons.
There were about a hundred of them flying around him. It was a very Hitchcockian scene!
Anyway, I approached to take a photograph, and he called out to me, saying, "Don't photograph
me, don't photograph me, photograph the pigeons! Look at how beautiful they are!" It's important
to know that in Paris, it's forbidden to feed pigeons under penalty of a fine. I stayed and chatted
with this man for whom the pigeons had saved his life; he felt obligated to take care of them as
the birds had done for him. It was a very beautiful encounter.
What role does spontaneity play in your creative process when photographing everyday
scenes? Do you plan your shots meticulously or prefer to embrace serendipity?
Spontaneity is what drives me and serves as the starting point for my creative process.
Sometimes, I'm afraid to capture a street scene and I wait for the right moment. But often, that
moment has already passed, and the scene will never be repeated. I trigger my camera, telling
myself: it's now or never!

In your opinion, what distinguishes film

photography from digital photography in
terms of its ability to capture the essence
of everyday life?
Analog photography distinguishes itself from
digital photography by the magic that film
can evoke. You can carefully consider all the
settings and framing of your shot, but
sometimes the chemistry of the film reveals
a color or grain that you can never fully
control. It's this element of surprise that
interests me and that I seek to explore.

A break, a cigarette, New York City, analog photography, April

2023

We took the train from Montreal's Central Station

to New York. We traveled for 11 hours and saw
the beauty of Lake Champlain before meeting up
with friends. Sunday noon, they take us to lunch
in Chinatown. It's mid-afternoon, two cooks take
a break after their shift. They've seen me, they
don't say anything, they almost pose just for me.

18
How do you approach composition and framing when capturing scenes that you feel
embody timelessness?
Thinking about framing and composing the image is essential when I photograph. At the
beginning of my practice, I would make a real effort to follow the photographic rules. Today, I no
longer need to think about these elements; everything happens very instinctively. A good photo is
one where every element is in its place. But most importantly, where the main subject stands out,
and in this case, there's a story to tell.
Are there specific themes or motifs that consistently emerge in your photographic work? If
so, what draws you to these recurring elements?
Yes, of course. I love photographing elderly people, Parisian cafes, and bistros. The two often go
very well together! I enjoy the traces that life has left on faces, bodies, and places. My partner
likes to say that I photograph elderly people because they'll never chase after me if they don't
want to be photographed. (laughs)
Looking ahead, what do you hope viewers take away from experiencing your photographs
of everyday life in Paris?
I would like viewers to realize the beauty of the world we live in. To become aware that beauty
can be found in every street and at every crossroad. All it takes is to open our eyes and be
attentive to our surroundings.

Bell, Bell, Bell, Montreal, analog photography, October 2023

October 22. We returned the keys to the apartment and weighed our two suitcases again. Yoann came to
pick us up. He drove like a maniac and dropped us off at YUL. We checked in our luggage, grabbed a bite
to eat, and tipped our last dollars. It's time to head to the boarding area, and I pass by the phone booths
one last time. They're beautiful (belles in French). I laugh inwardly at the pun, I click. It will be my last
Canadian photo, the adventure ends here.

19
David
Crawford
"I like the notion of “Poiesis “. Bringing images and symbols into the visual realm, that go on to
inhabit a shared human threshold through their aesthetic engagement and viewer reflection.
My Artworks can of course be read on many levels. Occasionally I just enjoy experimenting with
colour and form. I am aware I have historically had a penchant for Nature and Landscape as
subject matter. The play of light on a mountain or the preternatural feeling of a forest. Exploring
natural forms in search of a “Prisca theologia” perhaps? I’m also not sure a visual language can
be adequately described by words alone. It seems almost a betrayal of the true depth of an image
to attempt to speak its full meaning linguistically. Far better to consider an artwork over time and
see what comes to mind. I don’t however view my artworks from a singularly structured aesthetic
paradigm or position. Rather its curiosity that propels me onwards. For me art ought to be both
poetic and enigmatic, as opposed to purely empirically informed literal work.
If my own artworks have a certain look then I hope, it’s a dynamic allusive one".

David was born in Newcastle upon Tyne and spent his formative years in the Northeast of
England. He graduated with a Fine Art BA (Hons) degree in 1987 and his Curriculum Vitae lists
multiple postgraduate qualifications. David worked as a specialist commercial Portrait
Photographer, before concentrating upon his own artistic career. To complement his personal
visual arts practice David studied Art History at Oxford University, England.
He has historically presented at national conferences and taught on a sessional basis in several
UK universities on a range of diverse topics. He currently runs a successful studio in the
Northeast of England. He resides in rural Northumberland. He has exhibited internationally and
across the UK. His work is held in numerous private collections.

20 THE ROAD, 2022

Can you share with us what sparked the
transition from commercial portrait
photography to focusing on your personal
visual arts practice and how it has
influenced your artistic style and
direction?
The transition from portraiture to personal
visual arts practice was for me natural. A wish
to explore new directions that were not
entirely bound to the human form. The
technical photographic aspects of portraiture
still inform my art practice however, as I am
continually mindful of the play of natural light
on forms and the aesthetic photographic
elements i.e. image aspect ratio and
matrix constructed by the viewer,
placement of subject matter in the visual
contemporary culture, and the artist. This co-
frame.
creation of artwork implies that “Meaning” or
With a background in Fine Art and Art
intention can only ever be partly
History, how do you navigate the
acknowledged. This grounds the artwork into
intersection between academic study and
a visual tradition and propels it into the
practical artistic creation in your work?
possibility of interpretation that is both
One is always operating within a historical
dynamic and mysterious.

FRACTURE, 2022 21 THE DELUGE, 2023

THE CLIFF, 2022

SLOW CURVE DOWN, 2022

How has your experience as an educator informed your artistic process and approach to
creating and presenting your work?
My experience as an educator has taught me the importance of dynamic administration in
creating and presenting artwork. There are a range of skill sets required in presenting work and I
would suggest there is also an ethical accountability towards others: so that an artist ought to
ultimately ensure one remains personally authentic and accountable.
Living and working in rural Northumberland, how does your environment influence your
creative process and the themes you explore in your artwork?
The county of Northumberland, England has a diverse cultural heritage and geographically acts
as a borderland between two nations (Scotland and England). My artistic exploration of liminal
space and transience are I feel associated with my current sense of place.
Can you discuss how your experiences of exhibiting in different locations have shaped
your perspective as an artist and the reception of your work?
My artistic perspective is continually broadened by exposure to different voices and diverse
cultures. The 21st century presents existential challenges for us all. By witnessing communal
appreciation of art, I am reminded of the importance of remaining open to others and that through
artistic practice one can influence general human resilience by cultivating restorative, reflective
thinking.

23 CITY COLLAPSING, 2022

As a specialist in portrait photography and a visual artist, how do you approach capturing
the essence of your subjects in both mediums? Do you find any similarities or differences
in your approach?
Portrait photography is often a deeply dyadic experience. As a visual artist the subject matter can
be a vehicle to interrogate polyvalent aspects of the image. Whatever the subject or intention we
are always condemned to “view” imagery from a position of embodied humans who hold
archetypal unconscious bias.
Your studio in the Northeast of England serves as your creative space. Can you describe
your studio environment and how it facilitates your artistic practice?
My studio is located within a commercial art building that hosts multiple artist studios: along with a
separate commercial art gallery space. It is advantageous to be part of an artistic community, as
artistic practice can largely be a solitary pursuit. Engaging with others who have shared
experiences assists in maintaining long-term practice.
What themes or concepts are you currently exploring in your artwork, and how do you
express these through your chosen mediums?
I am currently exploring “Transience” in the human and ecological domain. Lens-based work has
historically been viewed as time-based practice. Reminiscent of how portrait photography theory
explored the influence of gaze: I frame my work as a practice that is grounded in a technological
tradition that is ever-evolving yet remains tethered to contemporary cultural attitudes and
attention.
Your work is held in numerous private collections. How does it feel to know that your art
has resonated with individuals to the extent that they want to own and display it in their
personal spaces?
I feel it is important to hold a personal position of humility in relation to selling artwork. When
others choose to display your artwork in their spaces that is a privileged position for the artist. I do
feel a deep responsibility to ensure that what one puts out into the world contributes towards a
greater good.
Looking ahead, what aspirations or projects do you have for the future of your artistic
career, and how do you envision continuing to evolve as an artist?
I have a solo exhibition scheduled for October
2024 in Northeast England.
I aim to secure additional international shows
during 2025/26.
I feel that the trajectory of one’s artistic career
is subject to the usual human vicissitudes of
life so my hope is that I can continue to make
art that speaks to our shared human
predicament for as long as personal wellbeing
and communal imperatives allow.

MOONLIT QUAY, 2023

24
 DESIREE LINA

Desiree Lina was born in Michigan, USA, in the 1990s and grew up in a home filled with
art and music. Her father was a musician and played the bass. Her mother was an artist
and writer and wrote scripts and poetry while painting in watercolor and inking comics.
Desiree works in several mediums, but her favorite is photography. She also draws and
uses graphite and ink, and likes to draw floorplans. She can also sew and make
costumes as a hobby.

25 Super moon 2023

Your upbringing in a home filled with art and music must have had a profound influence
on your creative journey. Can you share how your parents' artistic endeavors shaped your
own interests and artistic pursuits?
Absolutely! Growing up surrounded by my parents' creativity created a love for the arts in me.
Whether it was my mom's sewing sessions or dad's music nights, their passion for self-expression
definitely influenced me to explore my own artistic side, ultimately leading to photography.
You work in several mediums, including photography, drawing, and costume design. How
do you decide which medium to use for a particular project, and do you find that each
medium allows you to express different aspects of your creativity?
The medium picks me. I choose based on the project's concept. Photography captures the
moon's ethereal beauty, while drawing allows for a more personal and symbolic interpretation.
Costume design lets me express creativity in a hands-on way. Each medium unlocks a different
avenue for artistic exploration.
Drawing floorplans is an interesting aspect of your artistic practice. What draws you to this
particular form of expression, and how do you incorporate it into your broader artistic
vision?
Floorplans intrigue me because they capture the potential for stories within a space. They're like
blueprints for imagination. I sometimes use them in my photography, creating a sense of
anticipation for what might lie beyond the frame.

26 Eclipse Moon November 2022

he Face I love, 2024
As someone who enjoys photography, what themes or subjects do you find yourself
drawn to capturing through your lens, and how do you approach composing your
photographs to convey your artistic vision?
The moon is my muse. Its ever-changing phases and the way it interacts with light inspires me. I
compose my photos to highlight its ethereal beauty and sometimes use landscapes as a
counterpoint, creating a sense of scale and drama.
Your biography mentions that you make costumes as a hobby. How does costume design
intersect with your other artistic pursuits, and do you find that it informs your approach to
photography and drawing?
Costume design lets me explore visual storytelling, similar to photography. It's about creating a
character through clothing. This focus on visual communication definitely influences how I
compose photos and draw, emphasizing details that convey mood and atmosphere.
Can you discuss your creative process when working on a new project? How do you
typically conceptualize an idea and bring it to life using your chosen mediums?
New projects often begin with inspiration from everyday moments – a lunar phase or a captivating
landscape. I brainstorm sketches and experiment digitally before translating the concept into my
chosen medium. Photography might capture the essence, while drawing allows for a more
abstract interpretation.

Strawberry Moon, 2023

28
In your photography work, do you have a preferred subject matter or theme that you often
explore?
As discussed earlier, the moon is a constant source of inspiration for my photography.
Are there any artists or photographers who have had a significant influence on your work
or whom you admire? If so, how have they inspired you, and in what ways do you
incorporate their influence into your own artistic practice?
Yes, I have a few. Artists like Frida Kahlo inspire me with her bold self-expression. Architects like
Mies van der Rohe capture a sense of clean lines and balance that I find aesthetically pleasing,
influencing my compositions. Music, especially Edith Piaf, sets moods and evokes emotions – a
key element I strive for in my photography.
How do you balance your artistic endeavors with other aspects of your life, such as work
or personal commitments?
Balancing creativity with daily life comes naturally. As a former makeup artist, creative expression
has always been my norm. Now, I schedule dedicated studio time, but inspiration strikes
everywhere – a walk in nature, a friend's story, even a memory from my makeup artistry days. Life
experiences constantly fuel my creative fire.
Looking to the future, what are your goals or aspirations as an artist, and are there any
projects or collaborations that you are particularly excited about pursuing?
As an artist, I aspire to keep exploring the moon's beauty through photography. I'm also
passionate about supporting other artists, perhaps even curating exhibitions in the future. The
creative journey is endless!

29 Dune Moon, 2024

Hilary
Watkinson
Hilary Watkinson is known for her contemporary, abstract, and colorful interpretations of
gardens in motion. She began her painting journey in her late 60s, overcoming physical
limitations like arthritis and difficulty gripping a paintbrush. Instead, she employs acrylics
on canvas with a kitchen spatula and pouring paint techniques to evoke memories of
gardens and explore the influence of wind on plant energy. In 2022, while hospitalized
with COVID-19, Hilary experienced substandard care that resulted in a coma. Despite
being unable to move, she could hear the world around her. It took eight hours for her
daughter to bring attention to her condition, leading to a diagnosis of PTSD. Through her
recovery, Hilary turned to poetry as a means of processing her experiences, initially
sharing them only with her psychiatrist before gradually opening up online.

And the poppies open to welcome the sun - Acrylic and mixed media on quality calio stretched canvas, 100x80cm,

30
 Flying

If I could fly for a day And rainy days

Or an hour, or a minute
I would see the world in a different light I would hear laughter
And witness tears
I would see the earth soaking in the rain I would hear whispers
Bringing it to life And laughter and shouting
I would see colours And crying and banging
Green, yellow, blue And cheering and into my mind
I would smell an amalgamation of scents Would flash glimpses
And unpleasantness Of past experiences
As the roses without scent Linked with these sounds
Were combined with the scents of the few
I would hear memories
I would hear the buzz I would make memories
And the whoosh I would learn to put
As the insects and birds wings rushed past me Things into perspective
I would feel joy I would learn
And be care free That all over the world
In the amazement of it all People are happy, sad
Sharing or in solitude
I would smile like a child And that, that is part
I would feel hot Of the pattern of life
And cold I would learn that
And damp Flying is fun
As I fly through sunny spells

31
Sleep

Sleep has wings

it flies around my bedroom
mocking me
teasing me
occasionally landing on my troubled mind.
but just as I tried to catch it
i try to tame it
with mindfulness
with my breathing
with the light
it flashes off
into the corner of the room
and stays there
unreachable.

How strange
that's it catches me
so early
so effortlessly
so inappropriately
at other times
in daylight.

maybe it's nocturnal

this sleep in my life.
maybe I could trade it in
for normal sleep
for lovely kind sleep
that likes nothing better
than the dark in my bedroom
than my closed eyelids
than my troubled thoughts.

this sleep could give me peace

this sleep could make me well
this sleep
one day

32
Your artistic journey began in your late 60s, defying conventional notions of age and
artistic expression. What inspired you to start painting at that stage of your life?
I wouldn't have started painting at all if I hadn't been forced to take a break from my busy life due
to an operation on my foot, which made me unable to bear weight for several weeks. My oldest
son bought me a paint set, and the rest is history.
Your innovative techniques, such as using a kitchen spatula and pouring paint, reflect a
determination to overcome physical limitations. How do these methods contribute to the
unique visual language of your artwork?
I can't draw but I don't need to draw with my methods.
I can paint anywhere --- all I need is my laundry basket of paints, a spatula, and my old clothes.
I take my blank canvas, lay it on the grass, breathe in, and change nothing into the picture I have
been carrying around in my memory.
I copy the action of the wind with a throw of paint and sometimes the wind joins in and we paint
together.
Gardens in action serve as a central theme in your art. Can you elaborate on what draws
you to this subject matter and how you interpret it in your paintings?
I love my garden and enjoy visiting gardens, stately homes, and open gardens where I can sit
with a coffee and a piece of homemade cake, pretending that the garden is mine. I love watching
the way the breeze moves and how the wind changes the movement, encouraging the grasses
and seedheads to respond. I observe the mixture of colours, sizes, textures, strengths, and
vulnerabilities of the flowers. I take in a scene and capture it in my memory to be painted on a
future occasion.

Warmed by the summer sun - Acrylic and mixed media on quality calio stretched canvas, 80x100cm, - Opened garden tranquillity

33
How does your personal journey influence your artwork, particularly in capturing emotions
and memories?
When I paint, I feel happy; I forget everything. If I didn't paint, I wouldn't know how to cope with
the emotions I feel and the fear of going to sleep. In my paintings, I incorporate poppies because I
admire their resilience. They grow in scrubland, where they're not supposed to grow, and I take
this as an example. Life isn't easy for me, but I can still be determined; I can still grow into a new
person.
How does art serve as a therapeutic outlet for you, and what role does it play in your
healing process?
After my hospital stay, I struggled to sleep, and if I wake up early in the morning, I find it difficult to
get back to sleep. Instead, I paint. If it's light enough, I go outside in the garden, or if not, I have a
studio where I can paint. So, at 5:00 in the morning, I could be painting a picture, and I forget all
my worries. I produce something beautiful, creating happiness on canvas even during my most
miserable times.
Your paintings often explore the energy of plants and the effects of wind in gardens. How
do you translate these dynamic elements into abstract and colorful compositions?
When I paint, I capture happy memories and the sensation of the sun on my face, and the breeze
in my hair. When the wind blows, plants come to life, and I find joy in observing how the dynamics
of the flowerbed change. When a strong wind appears, the flowers turn into seed heads,
appearing momentarily lifeless but bursting with the promise of next year's life. I remember the
colors, shapes, sizes, strengths, and frailties of each of these moments, and I translate them into
moments to share on canvas.
Can you describe your creative process when working on a new piece? How do you
approach capturing the essence of a garden in motion?
I start a painting in my head. It seems to grow from my memories of gardens and the garden I
paint in ( I paint outside in all weathers)..I can t help but paint it. Sometimes I am so stressed I
don t know what to do with myself .. so I paint. I am unrestricted to copy the action of the wind
because I don't need to bother about making a mess on the grass or the snow or myself!
Despite facing obstacles, you've found success in sharing your poetry and artwork. How
has this journey impacted your perspective on resilience and the power of creative
expression?
I wrote poems about my experiences in the hospital and the crushing effects they had and still
have on me. I wrote poems about them and read them to my psychiatrist. I shared them with no
one else until recently. I paint as a similar way of expressing how I feel and the energy stress
creates, translates into positive energy seen on my canvas. I paint poppies because I want to
remind myself that although a life can be hard there is a seed of hope and against the odds, life
can be good and beautiful. just like a poppy on a cliff top buffeted by the wind hanging on.
Looking ahead, what aspirations do you have for your art in terms of continued self-
expression and sharing your unique perspective with others?
as well as the colors, people like the 3D aspects of my paintings. I encourage them to feel them,
as you would the bark of a tree moving their hand up from bottom to top the same as a flower
grows. I would like to develop this and combine my ideas based on collage techniques into my
paintings. I have already begun informal workshops as a way of sharing with my friends how
painting with no rules can give you happiness.

34
Fear

Fear is my friend
My best friend
He must be
Because he follows me
Everywhere

Growing in size
As I grow weaker
Taking control
He loves me

He must do
Because he’s always at my side
Behind
In front
And inside me

He lives behind my eyes

In the place
Vacated
By Happiness
He lives
And grows stronger

35
Jasmine
Pradissitto

Jasmine Pradissitto is an award-winning London-based British artist, scientist, academic,

and speaker who has a Ph.D. in physics from UCL and has studied art at Goldsmith’s. A
polymath (LIS Fellow), her critical practice spans painting, sculpture, and technology and
she is the only artist in the world licensed to use NOXORBTM, a newly developed
ceramic material that absorbs nitrogen dioxide (NOx) pollution from the air. Pradissitto
has exhibited worldwide, most recently in Abu Dhabi as part of the green Art Expo, and
has installed two pioneering public art projects in London for The Horniman Museum
Gardens (winner of Museum of the Year Award 2022) and Camden People’s Theatre with
Euston Town, a Mayor of London environmental initiative (PEA AWARD 2021). Her work
based on future innovations (and new modes of thinking), cross-fertilized with the
traditional, is less about the narrative of our past planetary ingressions and more about
our symbiotic adaptation to a post-industrial,¬¬¬ anthropogenic world; something she is
now exploring as part of her first museum solo show in 2025 with The London Water and
Steam Museum.

Breathe above Camden People Theatre in metal, noxorb, and metal, 130x80x80cm, 2021

36
‘’Attention is the rarest and greatest form of generosity: We have to try to cure our faults by
attention and not by will’. Simone Weil.
....Yet there is more competition now than ever for our attention. Without attention, we fail to
sense purpose or to notice the degradation of the world around us, or the loosening bonds of
community, or that we already have many of the sustainable solutions and innovations we
need for adaptation to a new Symbiocene. It fulfills a never-ending need for meaning, with an
empty hit of ‘consumption’. And I believe and is one of the reasons that after 300 years of
industrially led progress, a progress that is now exponentially accelerant, we find we are
regressing and destroying the only home we have ever known.
But there is hope in ‘awe’.
Awe is to be found in art and poetry, the edge of leaves against sharp skies, an act of
kindness, or natural phenomena we know as ‘Science’. It’s the same awe we find in accepting
the ‘space between things’ a ‘Coincidence of opposites’. It’s what drove the first Renaissance,
what could drive the next and it is what helped me find new uses for old materials. I now
realize that doing the research for a Ph.D. has always led me to find new ways of using
established materials or thinking. Innovation is at the heart of my work.
A polymath, sometimes described as a ‘Renaissance Woman’, I once researched for a physics
Ph.D. in the day whilst studying art in secret at night. My critical practice spans painting,
printing with plants, sculpture using ceramic and natural found materials, as well as
technology such as 3d printing and AI. Classically trained, over the last 7 years, I have been
the only artist in the world to pioneer a newly developed, sustainably sourced ceramic
‘Noxorb’, developed by Mantis Innovation, that absorbs nitrogen dioxide (NOx) pollution from
the air. A by-product material not intended for sculpture, it absorbs vast quantities of the
brown by-product of combustion and intensive agriculture that we see in city sunsets. It’s also
the pollution that stops pollinating insects find their flowers or indeed for those flowers to be
able to grow at all and led to my first two award-winning public installations ‘Breathe’ 2021
and ‘Flower Firl who will awaken upon the buzzing of the bees’.
The success of these projects started to help me understand the deep complexities of climate
change, adaptation, water, soil, and plant conservation and that all of it was dependent on
our perception and perspective. And the visual is how we make these as tangible as is
possible . As a result, more recently I have been on projects exploring natural habitats globally
from the remnant prairies in the USA to the Alpine meadows and most recently the desert in
Abu Dhabi. This has led to an even greater interest in biomimicry and conservation as a way
of eliciting the awe which can drive more sustainable behaviour. And just as nature is circular
so has been my path. From science to art, to all subjects finding the dots that join them. I have
always believed artists are some of the most original systems thinkers. And that will be at the
heart of the behavioural changes which will make more sustainable practice almost second
nature. Now an Artist in Residence at the London Water and Steam Museum in London
working towards my first museum show, the narrative will bring together opposites; filling a
steam museum that was once at the heart of the Industrial Revolution with sculptures that
absorb the very pollution it created, or with paintings printed with plants that were once
hunted. Paradoxically, in an era of digital supremacy, it is through the ‘analogue’ of our bodies
which allowed us to survive long enough to evolve, that I believe we can once again create a
second Renaissance.‘’

37
How do you navigate the intersection between science and art in your creative process?
The use of language can force us to silo experiences and thoughts that during ‘experience’ we
find are in effect no different from each other. Science is of course bound by the physical laws,
but art and science, both highly experimental, are simply manners of expression using different
tools. The last time they were truly balanced was during the Renaissance. I am hoping that we
can find a new one.
Could you tell us more about NOXORBTM and how you incorporate it into your artwork?
Noxorb TM is a naturally occurring ceramic, which cures to be so hard, that it has been posited to
be present in the construction of the pyramids. In 2016, my son experienced an asthma attack,
prompting me to contemplate the essence of air. Synchronously, a year later with my first public
art commission, I discovered this material, 3 Kg of which can clean an average room for 60 years
of the harmful brown NOx gas which is a by-product of combustion.
What inspired you to engage with environmental issues through your art, and how do you
see art contributing to conversations about sustainability?
Environmentalism is a phrase I struggle with; it ‘others’ Nature rather than helping us realise we
are of Nature and not in control of it. The planet will recover despite us, but inspired by air and
water as they affect our ‘analogue’ bodies, quickly led to the extrapolation that the by-products of
our progress have also affected soil, flora, and fauna as well as our Biosphere.

Narcissus Biophilia

plant print and watercolour & mixed media plant print and watercolour & mixed media
52x37cm, 2024 52x37cm, 2024

38
Rewilding
pollution absorbing ceramic noxorb, grasses, cornleaves and wood from a forest fire
50x50x50cm, 2020

05
Your upcoming museum solo show at The London Water and Steam Museum sounds
intriguing. Can you give us a glimpse into what visitors can expect to experience?
During the 19th century, the concept of ‘the industrial sublime’ was explored by Turner, Blake,
and Ruskin as England drove The Industrial Revolution’. By exploring the idea of the man-made
sublime in the extraordinary steam engines (the Museum at one point had the largest in the world
which Dickens wrote about) as it forges with Nature, I am looking for a new Symbiocene. The
exhibition will be a mixture of paintings, site-specific interventions, and sculptures using natural
materials hybridized with ceramic and discarded machine parts from old engines.
How do you envision the role of art in shaping our understanding of the future and
fostering innovation?
Our experience of Art, music, poetry, literature, and nature all bypass words. Language limits our
ability to express emotion or awe, and these are both things that I believe we need to attend to
much more in a new Conceptual Age. Innovation occurs when we pay attention to things yet our
ability to attend has never been less in an age of technological distractions.
The concept of symbiotic adaptation to a post-industrial, anthropogenic world is central to
your work. Could you elaborate on what this concept means to you and how it influences
your artistic expression?
We are all an evolutionary result of some sort of community co-existing and living in Symbiosis
with each other and the natural world. We cannot undo past transgressions, and I would argue
that instead of being paralyzed with shame, we need to look more hopefully at how we adapt to
the future in which the manufactured (for which we have less need) lives alongside the natural.
We also are at our most creative when we have the least ‘stuff’. By using this in my practice it
becomes a natural way of living more sustainably.

pollution absorbing cermaic noxorb, tree root, grasses, resin

Chaos the Goddess of the space in between things

120x80x60cm, 2023

40
What challenges do you encounter when translating scientific concepts or environmental
issues into visual art, and how do you overcome them?
Working with new materials requires both experimentation with the process as well as the ability
to stay open to the Zeitgeist. The innovation issue, however, is societal timing and so it often
meets resistance. Very often innovation can be accepted far sooner in one field than another. But
I do believe that Art can now not only drive awareness but also deliver impact in terms of
materiality. leading the way to more sustainable practices.
As an artist who engages with both traditional and cutting-edge technologies, how do you
balance experimentation with maintaining a cohesive artistic identity?
Cohesion is implicit purely because whatever the process, I and my thinking are at the heart of
the practice. Awe and curiosity are still as much an inspiration now as they were when I was a
child but as I grow older, the benefit of having worked in so many different media is that they are
finding a unique Symbiosis of their own. ‘Technology’ whether it be 3D printing or paint is simply
a tool.
Your installations often have a strong interactive or participatory element. How do you see
audience engagement enhancing the impact of your work?
Sculpture occupies the same volumetric space we do, so we resonate with it. At every angle it is
different and thus in some ways, mirrors the 3D world of nature. If my work in any small way can
help us revisit what we simply haven’t noticed for a while well that’s exactly how I feel. I want
others to feel the same wonder in things that I do. When we notice things, they become personal.
And when they become personal, we take care of them.
Looking ahead, what are your aspirations or goals for the future of your artistic practice,
particularly in terms of addressing pressing environmental concerns and fostering social
change?
In the immediate future (2025) I will be fulfilling a dream of placing my nature-inspired works
against an industrial backdrop in a Museum. It will help me tell new stories for old transgressions
as well as take down the unnecessary siloes between art and STEM subjects. Practically, I am
looking at new materials such as algae plastics and new processes such as soundscapes to add
to the narrative which I know will turn into a book at some point about different more holistic ways
of thinking. Something we have not done as a society since the Renaissance.

Corpus Callosum

noxorb and tree root and heather

40x40x40cm, 2023

41
Katrina
Cobb
‘’Returning to art later in life at the age of 40 after careers in architecture and online business, I
draw inspiration from a life rich in global adventures and entrepreneurial pursuits. After slowing
my travel and staying long enough in one place to invest in art classes and art supplies, I found
myself quickly wishing to deviate from my training as an architect and the perfectionistic world of
the real and instead attempt to express feelings, experiences, things hard to put into words into
color instead. What emerged is a self-taught style that could be considered emotional
expressionism or modern impressionism, depending on the piece. My paintings are moments,
feelings, snapshots of an inner world impacted greatly by happenings around me. I’ve been
exploring how to translate that to color, how to anchor it in the familiar of a landscape or pattern,
how to charge it with the same energetic vibration I was experiencing. How to transmute this to
canvas in a raw and authentic way with a palette knife, free of meticulous blending or form or
need for defined boundaries. Through this exploration, I hope to orchestrate emotional resonance
through my art, inviting viewers into a vibrant celebration of life. The woven emotions on canvas
beckon immersion, encouraging audiences to embrace the chaos of color and feeling.’’

Katrina Cobb, an architect by education (Masters, Texas A&M, 2008), and global
adventurer, transitioned to visual arts in 2022. Shaping her artistic journey, she draws
from her background in design coupled with her love of the immersive experiences of
music and travel as a digital nomad, employing a self-taught tactile impasto technique
with a palette knife. The shift from architectural precision to a free-flowing expression
informs her vibrant artworks, showcased in solo exhibitions like "Wanderlust" in San
Miguel de Allende, Mexico, and group exhibitions like the International Contemporary Arts
Fair in Paris, France, and “Panorama” at Van Gogh Art gallery in Madrid. Cobb's work
encapsulates the human spirit's yearning for expression and connection, creating a visual
symphony that doesn’t just depict scenes; it invites you to feel.

42 Special Order from the Universie - Acrylic on canvas, 40x100cm, 2023

Your transition from architecture to visual to some of the most amazing landscapes and
arts is quite intriguing. Can you share what places on our planet, and from those I try to
prompted this shift in your career path, infuse the recognizable and relatable forms
and how has your background in design into my compositions. Music I must credit for
influenced your approach to creating art? providing more of the energy or inspiration - I
I left architecture because I felt the need to get choose a playlist or mood for each piece and
out of the confines of an office, and that let that inform my color choice, the movement,
started my long journey into entrepreneurship the actual creation of the painting a bit more
and travel. It wasn't until years later that I intuitively.
made my way back to art, and to painting
specifically as a new medium. As an architect,
I was attracted to order, rhythm, detail and
would often draw perspectives or buildings the
evoked a memory or sense of place. Now as a
painter, I find more freedom and relief from
the need for perfection and order by creating a
sense of place of feeling in color and
movement, working backwards as it were.
Your bio mentions that you employ a self-
taught tactile impasto technique with a
palette knife. Could you describe this
technique in more detail and how it
contributes to the unique texture and style
of your artworks?
I discovered the palette knife in a class where
I was painting an architectural detail and trying
to add the texture of crumbling stucco and The Depths of Love - acrylic on canvas, 40x40cm, 2023

paint, something wholly organic and removed

from meticulous lines or focus. The ability of
the palette knife to randomize a stroke, the
inherent chaos of a tool that allows paint to
cling to the most remote imperfections in a We Live in The Flicker - Acrylic on canvas, 35x45cm, 2023

canvas surface captivated me. The palette

knife is my personal rebellion against years of
perfectionism. It allows play and a bit of happy
accident into my work, while capturing motion
and energy with texture.
As a digital nomad who draws inspiration
from immersive experiences of music and
travel, how do these influences manifest in
your artwork, and how do you capture the
essence of these experiences in your
pieces?
I’m grateful that my travels have exposed me

43
The Art of Possibility - Acrylic on canvas, 122x92cm, 2024
The title of your solo exhibition, To have a piece displayed in the historic
"Wanderlust," suggests a deep connection center of Madrid, just a stone's throw from the
to travel and exploration. How does the Plaza Mayor, was really special. Madrid has
theme of wanderlust inspire your artistic such a thriving art scene and was one of the
process, and what stories or emotions do first cities I visited in my youth to explore the
you aim to convey through your work? famous art museums there. It felt like a full
Wanderlust was the show that bridged my circle moment to be back decades later, this
initial journey as an artist capturing places I’ve time to see my own paintings on display.
traveled and the architectural details and
perspectives I loved through to the
development of something more expressive,
capturing the feeling of places only imagined.
I’ve always been a traveler, both in the world
as well as internally in the form of deep
introspection. The word still feels appropriate
to my approach, as what I’m painting
nowadays reflects the joy of sharing moments,
feelings, snapshots that I believe are relatable
to many human experiences and explorations.
Can you share some memorable moments
or experiences from exhibiting your art in
different cultural contexts?
The reception internationally has been
incredible, from physical shows in Paris and
Madrid to online features in the UK and other
Resilience - acrylic on canvas, 40x40ccm, 2023
parts of the world. I will never forget the
moment of visiting the expo in Paris and
seeing my paintings displayed on such a
This or Better - Acrylic on canvas, 100x100cm, 2023
grand stage - it was an interesting mix of the
feeling of belonging among the larger art
world with the surreal notion of showing
internationally as an emerging artist for the
first time. I love my local shows in Mexico and
the support I feel here, but I’m also proud to
be able to create something that connects
across borders and cultures, and reflects
more of my wanderer's journey.
"Panorama," one of the exhibitions where
your work was featured, took place at Van
Gogh Art gallery in Madrid in 2024. How
did it feel to have your art displayed in
such a prestigious venue, and what was he
significance of this exhibition for you?

45
Could you elaborate on what emotions or pull on my years of travel and resilience and
messages you hope viewers take away personal reflection into artwork that people
from your work? love to look at, because it transports them.
So much of what makes us human is our I’m currently working on a new collection of
emotional experiences, which I’ve observed more conceptual experiences I hope to
through my travels are similar no matter translate to canvas, as well as a technology
where you come from. We all know joy, project in collaboration with local galleries to
curiosity, grief, love, gratitude, surprise, etc, support the art community here in San Miguel
and the larger moments that we use to define de Allende that was the first to welcome me
those emotions. When I’m painting I aim to with open arms.
capture that universal experience in color, in
something beautiful and hopefully positive, as
a reminder of those shared moments and
experiences.
Can you discuss your creative process
when starting a new piece?
I generally start with an image in mind, either
something that came to me in a dream or
meditation or based on a flash of something I
saw or experienced. From there I like to add a
thick textured background of base values first.
The work then develops in layers of colors
depending on the mood, and often I need to
pause between layers to see what is taking
shape and where to go next.
What role does color play in your artwork,
and how do you use color to convey mood, The World is Your Oyster - acrylic on canvas, 60x60cm, 2023
emotion, or narrative in your pieces? Epiphany - acrylic on canvas, 80x80cm, 2024
I allow an intuitive color selection, and I mix all
my own colors on a palette as I paint rather
than before so that in the moment, depending
on the music or mood of the subject of the
piece, the color I want to use is developed. I
think color is crucial to the feel of the piece,
but I also am committed to my ongoing work
against my own perfectionism so I don’t
belabor the selection with color theory or rigid
rules.
Looking to the future, what are your
aspirations as an artist, and are there any
upcoming projects?
I’m thrilled to continue exploring ways to
express the universal and the personal, to

46
Lewis
Andrews

Lewis Andrews moved to Leeds in 2016 to study a BA(Hons) in Fine Art at Leeds Arts
University. After graduating in 2019, Lewis continues to work in Leeds. In 2022, Lewis
completed his Postgraduate Fine Arts Degree at Leeds Arts University, graduating with a
Masters Degree in the Creative Arts. During his Master’s Degree, Lewis’s practice
became deeply focused on the methodology of translating information and data from
sources within science into artworks.

Lewis’s work acts as a conduit between the realms of art and science. The supply of information
from science fuels the production of visual material which in turn communicates the knowledge of
a scientific endeavour. In short, Lewis’s work focuses on dealing with complex thoughts, ideas,
and facts within nature and science. Some explore those in which we seem to be overshadowed
and overpowered in comparison by the vast distances, size, or quantities. Others investigate
moments of extreme power, creation, and rebirth on a molecular scale or on a scale comparable
to that of the universe. Questioning our relationships, place, and role within the universe,
environment, and natural spaces.

Mushrooms are the most common product we picture when thinking about a fungal organism.
However, the Mushroom is only the fruiting body of the fungus much like an apple is the product
of an apple tree. The Mushroom is where the spores are produced. Below is a complex network
structure of roots and branches belonging to the organism in the form of mycelium. These
structures can behave in a wide variety of ways.
Within woodland fungus (upon which these drawings are based) some Mycelium grows
throughout the soil and wraps around tree routes. Boring themselves into the tree routes, they can
act as an interconnected web between the trees and other plant organisms. This composition is
often called a “mycorrhizal network” and connects these individual trees & plants to facilitate the
transfer of water, nitrogen, carbon, and other minerals. A German Forester called Peter
Wohlleben referred to these networks as the ‘Woodwide Web” as they give the extraordinary
ability to allow trees to communicate with each other. The next time you walk through your local
woodland, think about the amazing networks operating below your feet. These drawings highlight
that there is much more to the fungal world than just the mushroom's fruiting body.

Presented artworks: More than the Fruiting Body I, VIII, IX - Pen on paper, 29.7x21cm each, 2020

47
Can you elaborate on how your work serves as a bridge between the realms of art and
science?
The artworks seem to interact and behave in a means that conforms to the theory of translating
scientific information into something visual in an attempt to convey information to its viewer. If we
were to think then of the audience in one room and a wealth of scientific information in another
room, does that make myself and my practice (as well as any other artist working with this
technique) a doorway? Possibly metaphorically. It’s important to note here that artists and
artworks are not the only possible doorways into this room of scientific information. A simple
internet search could be another metaphorical doorway. Either way, this is why I feel my work is a
conduit. Attempting to connect the two and allowing the viewer to gain a new understanding of
scientific information.
How do you approach the process of translating scientific knowledge into visual material
in your artwork?
- New Knowledge
- New Viewpoints / Impossible Viewpoints
- Comprehension
- Visualising Data
- Collapsing Distances
- Answering Questions
- Open Up Conversations
- Condensing Information
- A Catalyst for information
- Understanding or attempting to Understand
The ten characteristics stated are the result of investigations conducted during my time on my
masters degree in attempting to understand ‘The Informative Encounter’ as a methodology of
working. Similarities between all of them can be made in the sense of them all being used to try
and understand or attempt to understand an entity, process or scientific data. So much so that
‘Understanding or attempting to understand’ is its own characteristic. Every piece of work within
my practice also conforms to one or more of the characteristics.
So, if there is a heavy focus on attempting to try and understand scientific information, one must
ask the question of where the artwork comes in and play a role. The answers are also within the
characteristics. Take for example my ‘Cosmos’ drawings which offer a new perspective to the
viewer other than the photograph from a telescope. ‘Collapsing the distances’ has been used in
my ‘Origins’ artworks to establish the links between the atoms in your body to the delicate life
cycles of stars which fuse together these same atoms within their cores before dying in
spectacular explosions, a supernova. It’s for this reason that the characteristics above are not just
those of the resulting artworks, but also my practice as a whole.
Are there any specific artists, scientists, or thinkers who have influenced your artistic
approach and concepts? How have their ideas shaped your work?
Many, I could easily go over the word count here. The pivotal artists that shaped my practice
would be Antony Gormley’s drawing works and Katie Paterson’s conceptual approach but their
ideas resonated so much with my work. Science and an endless list of Scientific thinkers are a
huge influence on my work of course. With science endeavours evolving and becoming more
complex all the time, so too does my work evolve and attempt to translate complex ideas.

50
Your statement mentions exploring moments of extreme power and creation on both
molecular and universal scales. Could you share some specific examples of these
explorations in your work?
I have numerous artworks that explore either end of the spectrum. What you find is that the
moments of extreme power and creation can be found even in the molecular which might as well
be a whole mini-universe in itself. However, both ends of the spectrum are deeply connected. My
numerous drawings explore the life cycles of stars fusing elements in their cores and dying in
titanic explosions (supernovas). These fuse the elements essential for new stars, planets, and us.
An extremely powerful creation event. Yet without these events, we wouldn't have the molecular
world. One of my ‘story’ works ‘ATP’, details the endless process of cellular respiration every
single cell in my body has to undertake every second of every day to give my cells energy to
function. Without this, I would die. An extremely powerful process on the molecular scale.
What significance does the exploration of the hidden networks operating beneath our feet
hold for you as an artist?
Quite often as an artist, I have an interest in the processes of our natural world and the cosmos
which seem to be overlooked every day. Some notable examples in my works, are your shadow
from blocking photons that just traveled 93 million miles from the sun or the complex response of
the immune system to an invading pathogen to keep you alive. This series is no different. These
drawings highlight the incredible processes of organisms that make the woodland thrive even
when it appears not at its best depending on the season. However, we just walk by. Most
probably looking ahead or up at the trees. We should look down more where we may see the
fruiting body of these hardworking organisms.

Tell us about your favorite medium.

I work very conceptually so my ideas
often decide what medium will be best to
work with the idea in question. A good
example would be when I was exploring
the element Carbon and so used Indian
Ink (which is mostly Carbon) in several
drawing works. In general, my work often
falls into Drawing, Print, Photography,
and occasionally film.
What do you do to keep yourself
motivated and interested in your
work?
Sounds ironic but take breaks. Whether
that be a day, a week, or sometimes a
month. Nobody can work on art 24/7
effectively. When I come back, I’m fully
motivated again. The other main factor
would be continuing to explore ideas and
theories within science which I’m
naturally curious about and then trying to
visualize them within an artwork.

51
Marcelo
Pedrozo
Marcelo Pedrozo, was born on April 23 of 1986, Buenos Aires, Argentina. As a child
curious about art, he began his day in painting at the age of 12, where he discovered one
of his passions. Lover of the abstract, he combines the color palette with emotions and
moods of mind to create his art pieces. Based on the game of colors and textures, and
using different elements such as spatulas, rolls, and even hands, he visualizes different
states of mind to create his artwork.

52 Ocean Blue - Mixed Media on Canvas, 61x61cm, 2023

Can you share with us your journey into Could you describe your creative process
the world of art, starting from when you when working with colors and textures?
first began painting at the age of 12? What How do you decide on a color palette, and
initially drew you to art, and how has your what role do different textures play in
passion evolved over the years? conveying the essence of your art?
My journey in the world of art began with my My creative process begins with the mental
fascination with nature and animals, since the visualization of colors and textures as a base,
combination of colors caught my attention. then I like to work on the details of layers, that
When I compare it to the present, the is why for me textures are important since
combination of colors and maximalism is still they generate a realistic atmosphere.
there but with an abstract vision. You mentioned using various tools such
Your art is characterized by a love for the as spatulas, rolls, and even your hands in
abstract. What is it about abstraction that your artistic practice. How do these tools
appeals to you, and how do you approach contribute to the expressive nature of your
translating emotions and moods into your artwork?
pieces? The use of various tools such as spatulas,
What I like about abstraction is the complexity brushes, pencils, hands, plaster, among
of what one cannot explain with words, I others, contribute to my expressive self, where
categorize colors with emotions, textures with I could call it my playground space, where I do
moods, in most of my art pieces I use black not put limitations on myself when I am
and white as details, and I play with different creating.
colors to generate a balance

Contorno El Luto
Acrylic & Plaster on Canvas Acrylic on Canvas
91x76x3cm, 2019 91x76x3cm, 2018

53
Your pieces often visualize different states
of mind. Can you walk us through how you
translate these mental states into tangible
visual representations on canvas?
Well, one of my series "Supernova", is the
emotional representation where it was a mix
of emotions, one of them is passion but at the
same time the opposite is anxiety, using these
emotional states as a creative engine.
How do you navigate the balance between
planning and spontaneity in your artistic
process? Do you prefer to have a clear
vision of your artwork before starting, or
do you allow room for experimentation and
improvisation?
At the beginning, I started improvising, where
it took me to make pieces that I didn't like at
first, but then I asked myself "why do I feel
that it is incomplete", where then I told myself
Supernova #6
what took me to do this, the answer was "
impulse", and there where I began to navigate Acrylic & Plaster on Canvas
91x76x3cm, 2022
deeper and plan, where the fusion of planning
- improvising, is the key to experiment. Supernova #3

Acrylic & Plaster on Canvas

Supernova #5 - Acrylic on Canvas, 91x76x3cm, 2021 91x76x3cm, 2021

54
Buenos Aires, Argentina, where you were As an artist, how do you view the
born, is known for its vibrant artistic relationship between art and emotion?
scene. How has growing up in this cultural What role do you believe art plays in
hub influenced your artistic style and eliciting emotional responses from
approach? viewers?
Buenos Aires is home, where I generated that Art is a way of expressing emotions, I always
passion for art, from the neighborhood "La say the same thing, one creates art, and at
Boca" where the houses are painted in vibrant the same time generates something for the
colors, to street art, which obviously viewer, since the same thing that led me to do
influenced me since I was a child growing up it is also giving the viewer creative space to
in a city where art is visible in different forms understand what they see , or not,
Are there any artists or movements that Looking to the future, what artistic goals or
have had a significant impact on your projects are you currently pursuing? Are
work? How do you draw inspiration from there any new techniques or themes you're
other artists while maintaining your unique excited to explore?
artistic voice? I am working and experimenting a lot in mixed
When I was a child I was fascinated by nature, media, where I really love it, since I am using
that's why I really liked impressionism. materials that I have never worked with, which
Currently, I identify with maximalist abstract is part of my new series that is about my Latin
art. I believe that each artist has a vision to American aboriginal ancestors from Brazil and
express in their own way. Argentina.

Amanda Flower Boy

Acrylic and plaster on canvas Acrylic and plaster on canvas
91x76cm, 2019 127x102cm, 2024

55
Mingxiang
Xiang
''I always would like to be a transmitter of romance, to explore some of the memories that I want
to cherish through paintings. We live together with so many intricate living beings, and memory is
the container for our consciousness, storing the faintest connection between people and the
social environment or the natural environment. People write diaries or take photos, but I want to
keep collecting and hoarding short and small memory fragments by illustrating, so that these
different emotions can span time and space, telling little stories in a simple but meticulous,
ordinary and gentle way.
I specialize in using opaque watercolor as the primary tool for painting, with watercolor, gouache
and colored pencil as secondary media. Different from light and airy watercolor works, I want to
express a feeling of "this is from a memory", so I will deliberately reduce the saturation and
contrast of the painting and blur the edges to create a dreamlike hazy feeling. I’m always more
subjective in extracting the emotional tones and emphasizing the memorable details among the
complicated information.''

Mingxian Xiang was born in Guiyang, China in 1997. She graduated from Central Saint
Martins - University of the Arts London in 2023. Mingxian specializes in using opaque
watercolor to do her illustration works. Her work Melancholy Life has been shortlisted in
the category Emerging Illustrator of the V&A Illustration Awards in the UK. Mingxian is
now active as an illustrator and 2D animator based in London.

Iris - Opaque watercolour, 26x18cm, 2024 56 Tree - Opaque watercolour, 26x18cm, 2024
WAITING - Opaque watercolour, 26x18cm, 2022
Your work has been recognized gouache. When unifying the color tone of the
internationally, including being shortlisted entire illustration, this medium mixed with an
for the V&A Illustration Awards in the UK. amount of water can magically create a
Can you share with us how these "powdery" hazy feeling.
accolades have impacted your artistic Unlike traditional watercolor works, you
journey? deliberately reduce saturation and contrast
Being shortlisted for the V&A Illustration in your paintings to create a sense of "this
Award was a big surprise, it was my first step is from a memory." How do these artistic
as a new graduate to officially become an choices reflect your personal style and
illustrator. This solidifies my idea and makes vision as an illustrator?
me feel more confident to continue doing this The adjective I hope people can associate
creative work. Also, it confirmed to me that with my work is "soft and gentle". Although my
people will get moved by the small details in works reflect my subjective memory, I hope
life, as long as they are sincere enough. that the audience can recall a cherished
How do you approach translating abstract moment in their minds through these
concepts into tangible visual illustrations. I think that guiding people to
representations? reflect or reminisce to achieve a kind of
There are too many tiny events in the world psychological comfort is a gentle way of art
that construct the details of our lives, and I’m therapy.
a quite sensitive and empathic person who
can capture the emotional fluctuations of the A Mother
Opaque watercolour,
moment in an event and find that romantic 26x18cm, 2022
carrier object.
Can you discuss how you navigate the
complexities of memory in your
illustrations and the techniques you use?
Although sometimes our memories might be
long and vague, I believe that there will be an
item or a one-second scene that is specific
and I only need to record this clear moment in
the form of a painting. There is no need to tell
the whole story, striking a chord is the thing
that people are good at. For evoking nostalgia
I usually just create the faded or yellowed filter
on a painting like old photos, as old photos
and the word "memory" are always
inextricably linked.
You specialize in using opaque watercolor
as your primary medium. What drew you to
this medium?
Opaque watercolor is a special medium that
combines the characteristics of gouache and
general watercolor. It has better coverage
than watercolor but is more transparent than

58
Can you walk us through your creative style and more commercial. But when I do
process? illustrations, especially on paper, I will focus
When I travel, I take random photos without on more subjective and personal emotional
caring about composition and color, because I expressions and will have a deeper
only need the massive information in the exploration of the development and innovation
photo. When I pick details in a photo, I would of my art style.
think about what kind of connection an object Looking ahead, what artistic projects or
has with its owner or the environment, and themes are you currently exploring, and
what kind of story there is between them. what aspirations do you have for the future
Based on these clues, I will construct the first of your artistic career?
concept about color and composition to I plan to try mixed materials to explore richer
establish the emotional tone of the entire ways of artistic expression. I hope to work as
illustration. After that, there will be a rendering an independent illustrator in the future,
process that requires a lot of patience until a illustrating book covers and interior pages. If I
painting is completed. have the opportunity, I will start creating
How do you balance simplicity with graphic novels and picture books for children.
meticulousness in your artwork?
I tend to blur the overall background and
focus on the details of one of the story-telling
objects or characters, so people would know Lost Summer
which specific object the "memory story" Opaque watercolour,
26x18cm, 2024
wants to emphasize comes from when looking
at this painting. This clue can be used to
associate the story behind the scenes.
Can you share with us some examples of
the stories or emotions you aim to convey
through your illustrations?
There is a series in my illustrations called
"Melancholy Life". The main subjects of this
series are the back views of passers-by that I
observed during these years. The original
intention of creating this series was to convey
the feeling of living in the UK as a foreigner.
I'm currently working on a new series
remembering a summer when I got together
with a lot of my friends because we all went
our separate ways after that.
As both an illustrator and 2D animator,
how do you navigate the differences in
storytelling and visual expression between
these two mediums?
Since I am greatly influenced by Japanese
animation, when making 2D animation my
style will be subtly closer to the Japanese

59
Nelya Akimova
(NELYA-NAKI)
Nelya Akimova (NELYA-NAKI) is an artist who creates striking oil-on-canvas images and
also works with digital photographic art.
The main direction of the artist's research is the desire to comprehend the illusory nature
of our reality and invite the viewer to take a different way of perceiving our world -
"Welcome to the Game on Earth!"
So, in her art, an artist Nelya Akimova (NELYA-NAKI) rethinks the reality of the existing
world and creates various possible versions of human destinies and AVATARS.
Her images are reminiscent vastness and purity of snowy expanses that exist in contrast
to the commanding presence of modern concrete architecture. By applying oil to the
surface of her canvases, Akimova is able to create a rugged quality within her
compositions that is reminiscent of concrete.
Akimova works using an intuitive process, applying paint to the canvas without a
preconceived idea of how the composition will evolve; figures emerge out of the white
expanses of paint, forming elegant simplicity through implementing a minimalist palette
and strong contrast between light and dark.
NELYA-NAKI also creates digital photographic art. Sometimes she feels like she's
predicting the future. Getting on the working field of the program, the photos are bent,
twisted, and stretched, as if life itself passes through them and breathes in the idea. And
now, she can already see how the image begins to emerge. He looks fun, sad, or smiles
mysteriously, depending on the sensations that she catches in space. The creation of
digital images helps her to rethink and convey the search and acceptance of her
subpersonalities. Who am I? Who are we?
Before she decided to focus on creating art full-time, Akimova enjoyed a successful
career working in the pharmaceutical industry. She felt called, however, to live a life
beyond the stability and predictability that she had become accustomed to. Moving to
Prague in 2018 was the beginning of a new chapter in her life when she began working
on her new collection of paintings. It was the border between the past and the future.
Even though her creative journey lasted only less than 5 years, her works have already
been presented at exhibitions in many countries around the world - the USA, Italy,
France, Austria, the Czech Republic, and Greece. Also in October 2023, her work was
exhibited in London at the Focus Art Fair at the legendary Saatchi Gallery. An important
event for her was a solo exhibition in 2024 in one of the central galleries in Prague. It
gave her new insights. And now she is preparing to participate in the exhibition "Personal
Structure", which is part of the Venice Biennale 2024.

60
Can you tell us about your journey from working in the pharmaceutical industry to
becoming a full-time artist? What inspired this transition?
You are right, before I was born as an artist, I worked in the pharmaceutical field for 20 long
years. I am very grateful for this work because it allowed me to see the world and observe the
transformation of many people. But one day there was a break in my life, my inner voice began to
sound more and more insistent. He called me to take canvas and oil. And I left my job and
completely immersed myself in creativity. I painted day and night, and the smell of oil attracted me
most magically.
Could you elaborate on the concept of "Welcome to the Game on Earth" and how it
influences your work?
I believe that our existence on earth is like a big game. We come here, putting on spacesuits - our
bodies and personalities, Avatars. And we have the chance to enjoy incredible adventures and
experiences. We had already chosen them in advance, but forgot everything while immersing
ourselves in the game. And the surrounding reality exists to help us make a series of choices and
ultimately remember our cosmic origins and step to a new level. This awareness runs as a main
line through all my work. The purpose of my art is to draw the viewer's attention to his inner voice,
and inner light, to trust him and understand the intention of the soul that once chose this
incarnation and this fate. And so break free.
How do you approach the creation of your oil-on-canvas images?
My work is essentially channeling. I have no preliminary idea of what will be depicted on the
canvas. I apply layer after layer of paint, achieving a surface that imitates a concrete slab covered
with snow. And then I see images and stories appear on the canvas. All I have to do is assemble
the plot and make them visible. It's a very intuitive process, almost meditative. Often I don't notice
how many hours have passed.

What was the Queen afraid of when she left the Game?" Unexpected sympathy

Oil on canvas, Oil on canvas,

100x100cm, 2019-2022 100x100cm, 2019-2022

61
"Welcome to the Game ON EARTH!“
What if it's true that our whole life on Earth is a big GAME, and we are all just AVATARS?
And we can choose our destiny for the next 100 years.

I have already played this game many times. But each time I remembered the rules of the
game only when the game was over.
And now, I arranged everything perfectly, chose my parents, and agreed with their souls
how they would educate me, how they would pass on the rules of the game to me, which,
as it turned out later, they themselves did not remember.
Finally, I was born. And I forgot everything again for the first 50 years. But it seems that
this time the secret is revealed, I began to see clearly.

Life is like a lost subway car going to eternity

Oil on canvas,
100x120cm, 2019-2022

62
Your paintings often depict snowy expanses juxtaposed with modern architecture. What
draws you to this contrast, and what do you aim to convey through it?
When creating my paintings, I use my own technique, which was born from my desire to combine
the technicality and roughness of modern concrete surfaces with the purity of nature.
Shades of concrete bring the beauty of creation, of building a new world. This is how purity,
undisguised honesty, and strong reliability of the material are combined with the ability to embody
the most daring and flying ideas of architects.
You mentioned working intuitively, allowing figures to emerge without a preconceived
idea. How does this spontaneous approach contribute to the overall meaning of your
work?
My artwork guides me. Often the images that come to my canvas are unfamiliar to me. I can
reflect on their meanings for a long time, search inside and outside for information that resonates
with my story on the canvas. And finally, sometimes even after a year, I understand what the
Universe wanted to tell me.
For example, this happened with the painting "The birth of a new man. last try" This painting was
originally called "Death by Fire". It was created in 2019 when terrible fires destroyed the forests.
But later I noticed that there were observers on the canvas. And I realized that the story on the
canvas is much deeper than just death.
Now, this artwork captures the essence of the birth of a new individual and the simultaneous
emergence of a new society. Through the lens of pain, blood, and conflict, sincerity and tolerance
are born. The cosmic onlookers observe this sacred process without undue pity, understanding
the necessity of this sacred process. They believe in us.
I chose this painting to be presented as part of the exhibition at the 60th Venice Biennale.

Our whole life is a game Earth. Signal failure or to be continued

Photography & Digital Manipulation, 2023 Photography & Digital Manipulation, 2024

63
In addition to oil painting, you also create digital photographic art. How do these mediums
differ in their expression of your artistic vision?
The concept of my work, the idea of the Game on Earth, does not change depending on the
means of expression and instruments. But creating digital art is also an exciting and magical
process. Here I use photographs I took of various surfaces. They act as a building material.
Could you share some insights into your creative process when working with digital
images? How do you navigate between predicting the future and conveying the search for
identity?
Just like in oil painting, in creating digital art, I also work without a preconceived idea. Once in the
working field of the program, the photographs bend, twist, and stretch, as if life itself is passing
through them and inhaling an idea. And now I can already see how the image begins to appear. It
is depending on the sensations that I perceive in the space. Creating digital images helps me
rethink and convey the search and acceptance of my subpersonality. Who am I? Who are we?
Today we are broken, sharp as pieces of glass, we do not know who to rely on, or how to collect
ourselves. But, I understand that if you accept each of your pieces - a fragment, there will be hope
and an opportunity to start building yourself and treating yourself and others with care and
respect. I am aware of my transformation and see how it is synchronized with the transformation
of our entire society. That's why I feel like I sometimes predict the future.
Moving to Prague in 2018 marked a significant turning point in your life and artistic career.
How has this change of environment influenced your work?
Prague completely changed my consciousness and my creativity. This is a magical city. It was
here that my second life and my immersion into my own inner world truly began.

Diving into a past life Where are my wings?

Photography & Digital Manipulation, 2023 Photography & Digital Manipulation, 2023

64
Your art has been exhibited in various countries and prestigious galleries, including the
Saatchi Gallery in London. What impact have these experiences had on your artistic
journey?
An exhibition is stressful, but it is also a great happiness to show your art to people. During each
exhibition, I gain many awarenesses and ideas.
One day, after an exhibition at the Saatchi Gallery fair, a complete stranger messaged me on
Instagram saying that my paintings would change his life. And I am grateful to him for
understanding the main purpose of my art - to change the lives of my viewers.
As you prepare to participate in the Venice Biennale 2024, what themes or concepts do
you plan to explore in your upcoming work? How do you envision this exhibition
contributing to your artistic development?
This is a very significant event in my life. I am very grateful to the curators of the European
Cultural Center and Gabriele Fine Arts Gallery for their high appreciation of my work and for this
opportunity.
The theme of the exhibition in which I am participating in the Venice Biennale: “Personal
Structures / Lucid Dreaming”, it will take place at Palazzo Bembo in the very center of Venice
from April 20 to November 24, 2024, and, taking this opportunity, I would like to invite all readers
to visit our exhibition.
As I said above, I will present the painting "The Birth of a New Man. The Last Try." This picture is
just about predicting the future. We, humanity, are now going through a difficult period, breaking
through pain, blood, and aggression. But we will definitely come to the Goodness, Acceptance,
and Freedom era. I know that for sure.

The birth of a new man. last try In the avatar store

Oil on canvas, 100x80cm, 2019-2022 Oil on canvas, 80x50cm, 2022

65
 Qian Sun

Qian Sun was born in Wuhan, China. She has been engaged in clothing and jewellery
design for more than ten years and loves designing and discovering the overlooked
beauty in life. life. And studied psychology for three three years. She is motivated to use
her profession to help others. Her work pushes the boundaries of traditional jewellery
design, combining her understanding of fashion with the fine skills of metal craftsmanship
to give the pieces a unique emotional value and memorable meaning. In her continuous
exploration and use of materials, techniques and forms, she demonstrates a revolutionary
understanding of traditional jewellery and a deep insight into the use of materials.
Silver, dog hair, copper wire, silk, 30x17x5cm, 2024
Wishes
Silver, dog hair, copper wire, silk, 25x19x4cm, 2024

Silver, dog hair, copper wire, silk, 25x19x4cm, 2024

Whisper
Spring

66
‘’Pets play quite an important role in human life, and we rely on their companionship in countless
moments. The life of pets is very short compared to humans, and the pain of parting and the
nostalgia for the memories of time spent together make such spiritual companionship invaluable.
spiritual companionship invaluable.
The designer herself has a Schnauzer (Mango), which has accompanied her for more than seven
years as she grew up, got medical treatment and studied abroad. She almost lost her dog due to
an accident in the UK. Driven by this sentiment, the artist uses her pet dog's hair as the raw
material, applies material manipulation techniques to her work, and combines it with precious
memories of her dog to create jewellery that can be kept. Wearing jewellery ornaments is a way
of interacting with memories in the artist's view, and such interaction transcends the limitations of
time and space, becoming a deep-seated form of emotional communication. The work embodies
rich personalities and emotional connections, and also becomes a contact point between the
wearer and the fond memories of the past, and the artist believes that art conveys emotions and
has a commemorative role, and that through the work it can perpetuate the emotions between
humans and animals, and also shows The artist's deep understanding of love and loss, life and
death in the mutually beneficial symbiotic relationship between humans and pets.

In this way, we commemorate and co-exist with them.’’

Moonlight Waltz - silver, dog hair, copper wire, silk, 2x8.5x4cm, 2024

67
Your background in clothing and jewelry design spans over a decade. Can you tell us what
initially drew you to this field, and how your passion for designing has evolved over the
years?
What initially drew me to this field was my love of beautiful and unique objects from a young age. I
have always been drawn to fashion and art, and combining the two to express my ideas and
emotions through different materials has been a natural progression for me.
Over the years, my creative development has been accompanied by constant growth, challenging
myself, and deepening my understanding of both design and myself. This passion for design has
always been a source of satisfaction and fulfillment for me, driving me to continually explore new
ideas and push the boundaries of my creativity.
Studying psychology for three years must have had a significant impact on your creative
process. How does your understanding of psychology influence your approach to
designing jewelry and discovering beauty in life?
My knowledge of psychology has made me realize that each piece of jewelry may carry a specific
emotional or symbolic meaning. Therefore, I aim for my designs not only to be aesthetically
pleasing but also to consider the emotional and psychological impact they may have on people.
In my jewelry designs, I integrate psychological principles by utilizing elements such as colors,
shapes, and textures. Additionally, I incorporate special materials with healing effects to trigger
people's emotional and psychological responses. By observing life and understanding behaviors,
emotions, and ways of thinking, I aim to discover psychological needs and reflect them in my
designs.

Your work is described as pushing the

boundaries of traditional jewelry design.
Could you elaborate on how you blend your
understanding of fashion with the fine skills
of metal craftsmanship to create pieces with
unique emotional value?
Firstly, my understanding of fashion stems from
my sensitivity to fashion, forming my own
aesthetic perspective. Secondly, I firmly believe
that exquisite craftsmanship is the cornerstone
of creation. I thrive on challenges and enjoy
experimenting with unconventional materials
that others may never have used before.
I firmly believe that every unique piece of
jewellery has its own story to tell. Aesthetics
and craftsmanship are undoubtedly important,
but I see them as complementary to the
emotional depth and unique story that underlies
each piece. By incorporating emotion and story
through detail into my designs, coupled with
impeccable craftsmanship and aesthetic
appeal, imbues my pieces with a unique value
that draws people in and resonates with them.

68 Summer Night Dream - silver, dog hair, copper wire, silk, 5x8.5x4cm, 2024
What inspires you when it comes to designing jewelry? Are there specific themes,
materials, or cultural influences that frequently appear in your work?
When designing jewelry, my inspiration primarily arises from my emotions and experiences in life,
as well as my curiosity about various subjects. The recurring theme in my work revolves around
spirituality and my fascination with psychological research. Each project prompts me to delve into
different materials and cultural knowledge relevant to the subject matter. I immerse myself in
gathering materials and information that guide me in the right direction for each design endeavor.
Your exploration and use of materials, techniques, and forms demonstrate a revolutionary
understanding of traditional jewelry. How do you approach experimentation with new
materials or techniques, and what challenges do you encounter along the way?
First, I usually familiarise myself with the material through extensive reading and research. Then, I
start to constantly experiment with different production methods to come up with the optimal
solution. Once I have a thorough understanding of how to utilise materials efficiently, I combine
existing techniques with new process methods to enhance the aesthetics of the design. I am
constantly revisiting and refining my designs at different stages. I firmly believe that it is only
through this iterative approach that I can truly realise the potential of my materials and create
jewellery that reflects my artistic vision.

Sunshine Blossoms - dog hair, silk, copper wire silver, 5x9x5cm, 2024

Golden Spring - dog hair, silk, copper wire silver,

10x4x4cm, 2024

Spring wish - dog hair, silk, copper wire silver,

5x9x4cm, 2024

69
Collaboration is often a key aspect of artistic endeavors. Have you collaborated with other
artists or designers in the past, and if so, how did those collaborations influence your
creative process?
I have worked with different artists and one of them, whose exquisite craftsmanship is marvellous,
is also my leading light. Firstly, different artists specialise in different fields, and through
collaboration, I can be exposed to new techniques and learn more about materials, thus
increasing the feasibility of future designs. Secondly, collaboration allows us to understand other
artists' ideas about their works, and the suggestions they give are usually parts we have not
considered. In addition, as ten years is a short time for an artist, working with more experienced
artists is extremely beneficial to personal growth and professional development.
As someone motivated to use her profession to help others, how do you envision your
jewelry making a positive impact on people's lives beyond just being aesthetically pleasing
accessories?
First of all, that's why I studied psychology, I want art to be not only an expression but also a
means to help others in a scientific way. Secondly, I am committed to using sustainable and eco-
friendly materials and processes. Instead of just using traditional materials, I want to show that
what people see as rubbish can actually be used and has a special value. I want people to see
the beauty in life that has been overlooked.
Foliage Fantasy - dog hair, silk, copper wire silver, 9x9x5cm, 2024

70
Your work aims to give pieces a memorable meaning. Can you share an example of a piece
you've created that holds a particularly special significance for you, and what inspired its
design?
“A Feast of Flowers” means a lot to me.

In May 2023 I nearly lost my dog who had been with me for seven years, it was one of the
toughest times of my life, but ultimately I was lucky. I was so impressed with his courage and
resilience that it prompted me to start researching dog hair. It stemmed from my fear of loss. He
provided close to a year's worth of hair to support my creations, and after a year I finally had the
flexibility to use this material to create a necklace for him that truly remembered our story.
The story of this piece is of us walking together through the hospital gardens, which were alive
with all kinds of wildflowers in bloom. It is also a symbol that reminds me of the importance of
cherishing the present moment.

Looking to the future, what are your aspirations as a jewelry designer, and are there any
upcoming projects or goals that you're particularly excited about?
One of my plans is to delve deeper into the existing methods of art healing and combine them
with my specialties to expand my audience. I aim to make art therapy jewelry more visible to a
wider audience. Additionally, I plan to further explore the combination of dog hair with other
materials and collaborate with other artists, such as ceramicists. Through this collaboration, I
hope to explore innovative design concepts and craftsmanship techniques to create more creative
and unique pieces. I am eagerly looking forward to unveiling my new collection.

71
Rubica von
Streng
Rubica von Streng graduated from Berlin’s University of Arts UdK as a masterclass
student in 2018. Her works, such as the paintings of the monumental “PortLand” cycle,
have found a place in highly recognized art collections in Germany and abroad. They
often deal with the beauty of nature, biodiversity and the future of civilization.
Abstract portrait and landscape painting enter an exciting liaison in her oeuvre. Her multi-
layered, aesthetically composed oil paintings appear watercolor-like and radiate an
unexpected lightness, however heavy and complex the subjects. The artist achieves this
balancing act by means of her self-developed so-called arpeggio painting technique:
wafer-thin layers of highly diluted oil paint are applied one after the other, creating a
powerful ensemble of overlapping color spaces and forms that interact with fragments of
varying shapes. “Von Streng’s works are profoundly intelligent, well-founded and
responsible,” says René Spiegelberger, CEO of Hamburg-based Spiegelberger
Foundation. “They open a new chapter in abstraction. Her way of dealing with highly
topical themes manifests itself in an impressively stringent manner”.
PortLand in Umbria
Paintings from the project “An End to Jealousy” (2019-2020)

Journeys to and through Italy have not only inspired fictional protagonists such as the Swiss
couple Lowitzer from the short film ”An End to Jealousy” (written and directed by Frank
Lassak and Rubica von Streng; D/I 2020) or their cinematic role models from Andrei
Tarkovsky‘s classic “Nostalgia” (USSR/I; 1983). Many artists of the past centuries spent
months, often years, in southern places of longing such as Tuscany, Umbria, or Capri – where
they created magnificent works of art that are still famous today.
For Rubica von Streng, the project „An End to Jealousy“, which she co-created in 2019/2020,
was a multi-disciplinary experience. The results of her monthslong stay at various places in
the region are expressed, among other things, in numerous paintings that convey the
atmosphere of spring in Italy. Therein, she incorporated narrative fragments and pictorial
elements known from her acclaimed “PortLand” cycle. „The unique landscape in Umbria and
its moods are expressed by applying special color aesthetics,“ explains the artist.
Nevertheless, these are no ordinary landscape paintings, she emphasizes: “The land and its
inhabitants merge in the pictures – quite similar to the original, PortLand‘ cycle.“
At various locations in Umbria – in old castles, in medieval towns, on an abandoned
farmstead, in a Renaissance palace and in the ruins of an Etruscan settlement – von Streng
has produced a total of eight paintings (oil and acrylic on canvas) as well as 15 watercolors
for „PortLand in Umbria“. From June 21 – July 28, 2024, selected works of the series will be
shown in her solo show „PortLand – Anatomy of the Future”, at Kunsthalle Brennabor,
Germany.

72
Can you tell us about the inspiration behind your project “An End to Jealousy” and how it
came to fruition?
That’s quite a story. Where shall I start? Actually, it began in January 2019, when I sat together
with Frank Lassak, a Berlin-based writer and photographer. We share more or less the same
passion when it comes to cinema, literature, etc. He filled me in on the idea and asked me if I
wanted to collaborate. I agreed and we spent a few days together, working on the plot, the
storyboards, the key scenes – and how we could find the right people for the project. In February
of that year, we traveled to Italy for location scouting, aided by a local assistant. Two months later
we had a powerful team, a great cast, written contracts with all locations – and the necessary
funds to make it happen.

Typical sunset colors as seen from Montecchio Castle, one of the Rubica von Streng painting at Ponte Buriano. The bridge became
locations where “PortLand in Umbria” and “An End to Jealousy” were famous as it can be seen in the background of Leonardo da Vinci’s
produced. „Mona Lisa“.

© Efacts Photography, 2019 © Efacts Photography, 2019

What drew you to Italy as a setting for your creative endeavors, and how did your
experiences there influence your artistic vision?
Well, Italy is Italy. So many great artists of all time have found inspiration there. And then, there is
“Nostalghia”: the movie by Andrej Tarkovsky. The story of “An End to Jealousy” can be seen as
an enhanced remix of that classical auteur film. Obviously, we added some new artistic elements,
as I have mentioned already. The project had a very strong impact on me, as it was a great
example of multi-disciplinary teamwork. Many artists from various countries and cultural
backgrounds were contributing to it. Jointly standing at the helm felt fantastic – also because it
meant a high level of responsibility.
Could you share some insights into your creative process while working on the “PortLand
in Umbria” series?
The color palette of my paintings was expanded by the hues and shades that are typical for the
region. They are all found in the paintings of the series. Also, I had ample opportunity for plein air
work. Another important aspect: Frank and I allowed each other maximum artistic freedom. He
came up with ideas for the perfect frames of the photographs, and I developed ideas for the
paintings. Sometimes, we spent hours discussing, but we never interfered with each other’s
creative expression. This artistic partnership culminated in directing and editing the short film side
by side. It was a once-in-a-lifetime experience – for both of us.

73
You mentioned incorporating narrative fragments and elements from your “PortLand”
cycle into your paintings. How do these elements contribute to the overall narrative of your
artwork?
In general, fragments are hints. They add “abbreviated plot lines” that viewers may or may not
find. Sometimes they are essential, for the work to be fully understood. Think of David Lynch, if
you like, or of Cy Twombly, when it comes to paintings. In “PortLand”, however, those elements
have more freedom: they can be red herrings but they don’t have to be seen like that.
How does this concept manifest in your paintings?
There are two different aspects: on the one hand, “PortLand” is about merging the land and its
inhabitants in a predominantly abstract way; on the other hand, the cycle shows portraits of the
land. Those portraits, however, must not be confused with traditional landscape painting, since
they contain more layers than just the more or less beautiful “surface” you would find in, for
instance, naturalist works. In “PortLand”, I’m always taking the anthropomorphous side into
account, i.e., how we, humanity, affect or change the properties of the land, and of nature in
general.
What challenges or opportunities did you encounter while creating art in various locations
across Umbria, from old castles to Renaissance palaces?
Getting everything done within a relatively short amount of time for sure was the biggest
challenge. On top of that, logistics were also a bit complicated, since we had to travel between a
dozen locations. But, thankfully, all the people we met and whose cooperation we relied upon
were absolutely helpful and flexible. And, mind you, who wouldn’t want to work in a Renaissance
palace or an 11th-century castle? It was marvelous.
With your upcoming solo show “PortLand – Anatomy of the Future” at Kunsthalle
Brennabor, what themes or messages do you hope viewers will take away?
It would be wonderful if they took the chance to delve into my artistic view of the challenges we’re
facing in today’s world – and of the opportunities that lie ahead. The method I applied to produce
“PortLand”, i.e. my arpeggio painting-technique, has enabled me to create multi-layered paintings
so that viewers have the chance to “enter” that visual world from several angles. I think it’s
important for people to overcome their lethargy and rather get their act together so we all have a
chance to preserve the beauty and diversity of the only planet we have: for us and for future
generations.
Looking ahead, what future projects or artistic
explorations are you excited to pursue?
First of, in the coming two years I will set the focus
on the next part of “PortLand”. Conceptually, the
direction is already clear, and I’ve noticed that the
cycle offers many more opportunities for artistic
exploration. Currently, I’m also looking into
creating more sculptural works, but it’s still too
early to disclose any details. And then, of course,
there’s always the surprise inspiration – the
chance encounter, so to speak. Unexpected as it
may be, it happens more often than not.

74 PortLand in Umbria I - Oil & Acrylic on Canvas, 170x160cm, 2020

PortLand in Umbria III - Oil & Acrylic on Canvas, 170x160cm, 2020

PortLand in Umbria II - Oil & Acrylic on Canvas, 170x160cm, 2020

PortLand in Umbria IV - Oil & Acrylic on Canvas, 170x160cm, 2020
PortLand in Umbria VI - Oil & Acrylic on Canvas, 170x160cm, 2020

PortLand in Umbria V - Oil & Acrylic on Canvas, 170x160cm, 2020

 Tamar Gedevanishvili

Tamar Gedevanishvili is an artist from Tbilisi, Georgia,

Throughout her illustrious career, Tamar has showcased her works in numerous
exhibitions, marking her presence in the global art scene. Her debut solo exhibition in
1987 at the Merani Publishing House laid the foundation for her future endeavors, setting
the stage for a prolific artistic journey.
In 2021, Tamar embarked on a new chapter as an educator, assuming the role of
associate professor at GIPA (Institute of Public Affairs of Georgia). Specializing in
"Drawing," visual communication/advertising, and communication design, she imparts her
wealth of knowledge and experience to aspiring artists, nurturing the next generation of
creative minds.
Tamar's artistic prowess reached new heights with her solo exhibition titled "Improper
Intersections" at the Museum of History, Karvasla, in June 2022. Curated by Lika
Mamatsashvili, the exhibition showcased a captivating collection of acrylic paintings and
graphic works, captivating audiences with its thought-provoking themes and innovative
techniques. Her works from the "Improper Intersections" series, characterized by their
paper and acrylic compositions, captivated audiences with their compelling narratives and
exquisite craftsmanship.
Driven by a sense of solidarity and social responsibility, Tamar actively participated in the
"Free City" project in 2023, a collaborative effort by Georgian artists in support of the
Ukrainian people. Her art transcended boundaries and served as a powerful expression
of unity and compassion.
Continuing her artistic endeavors, Tamar showcased an art performance titled
"Connections" on May 6, 2023, dedicated to Europe Day and implemented by the
European Union and United Nations Development Program. Her polyptych presentation
at the Expo Georgia Pavilion underscored her ability to evoke profound emotions and
spark meaningful dialogues through her art.
Tamar's contributions to the art world were further highlighted in group exhibitions such
as "Our Times," organized by the Kettari Foundation, and "Holiday/Fiesta" at N9 Gallery.
As Tamar continues to push the boundaries of artistic expression, her impact on the
contemporary art scene reverberates far and wide, leaving an indelible mark on the
canvas of art history.

78
Night terrace - Acrylic on cardboard, 160x120cm, 2022

79
Your educational background spans both architecture and graphic design. How have these
disciplines influenced your artistic journey and the themes you explore in your work?
I have always been drawing since childhood, and I never thought of becoming an architect. My
parents were from this field and they recommended me. However, I am very grateful that I studied
at the Faculty of Architecture for two years, and then switched to graphic design. The learning
process was exciting. I realized that architecture expands visible, spatial thinking in a different
way, makes the Interdependence of forms scalable, and places it in the existing context. I think
that precisely architecture has developed important qualities and visions for me, which are
probably inseparable for me today. While studying graphic design, I switched to engravings,
creating styles and fonts. I worked very hard, the engraving carried me away. I also created many
of my own original fonts.
Can you tell us more about your solo exhibition "Improper Intersections" at the Museum of
History, Karvasla? What inspired the collection of acrylic paintings and graphic works
featured in this exhibition?
In June 2022, my solo exhibition " Improper Intersections " was held at Tbilisi History Museum
(Karvasla) under the curatorship of Lika Mamatsashvili. This series was created during COVID-
19, for almost a year, inspired by photos, and old photography. The subject of my research is
mainly a person, his feelings, emotions, and his attempts in this world. Sometimes we regret the
feelings we experienced in the past, we don't want to lose them, we think we will get to the place,
the house where we were possessed, but often we don't have that feeling anymore, because we
have changed, the house has changed, or the people who were there are no longer there. .. and
suddenly this feeling can overtake us in a completely inappropriate place, in a completely different
place. That's why, while looking at these photographs, I found my feelings in the people captured
in these photographs, transferred them, and placed them in another environment. This is why the
title " Improper Intersections " was born.
Your participation in the "Free City" project showcased solidarity with the Ukrainian
people. How did this project impact your artistic perspective and approach to social issues
through art?
After the beginning of the Russian-Ukrainian war, Georgian artists decided to express solidarity
the the Ukrainian people - a joint panel "Free City" was created under the leadership of the art
studio "Fresca". in which many Georgian artists took part. This panel conveys the essence of the
free and peaceful environment in which all progressive-minded people aspire to inhabit.
Whether it's an artist or a person from another profession, I think that everyone has a duty to
stand by the person in need, I think solidarity is a great thing, because we all live on the same
planet. Art can speak its own language and express support for the Ukrainian people.
Your art performance "Connections," dedicated to Europe Day, was a significant highlight at the
Expo Georgia Pavilion. Could you share the inspiration behind this polyptych presentation and its
connection to the theme of European unity?
In celebration of the European Union Day in May 2023, an artistic performance called
"Connections" was held at Expo Georgia, curated by Khatuna Khabuliani. where 16 artists took
part. A polyptych was created, a unified panel, which was united by the blue color of the
European Union.
In my part of this polyptych, I depicted the spring as a symbol of goodness, human rights,
equality, and the thirsty people around it, who try to share the European values that we strive for.

80
From the series ‘For a whole life’ - Pen on paper, 21x30cm, 2024
Being part of group exhibitions like "Our Times" and "Holiday/Fiesta" provides a
collaborative platform. How do these collective experiences shape your artistic practice
and interaction within the artistic community?
In June 2023, Kettari Foundation organized a group exhibition "Our Times". Curators: Khatuna
Khabuliani, Elichka Nadareishvili.
The concept of the exhibition was based on perceptions and impressions of the current time in
which post-Soviet Georgian artists and not only artists have to live.
The building itself, where the exhibition was organized, represents the former Institute of
Parasitology, which symbolically echoes the attempt to see the old spaces in a new way and
acquire a different meaning.
Here I presented two works - "Where does the border go?" "I hear your voice."
Collective experience is very interesting at this time, relationships, exchange of emotions and
thoughts... binding of individual and joint ideas.
In December 2023, a group exhibition "Holiday/Fiesta" opened in N9Gallery, curated by Maka
Iovadze. I think that this exhibition echoes the holiday that people carry with them all the time. It
can be anything - the joy of being together and communicating, the blue sky, the rustling of trees.

Overtaking - Acrylic on canvas, 200x160cm, 2023

82
Your statement reflects on displacing sensations onto different surfaces, creating
'improper' coalitions. How does this concept manifest in your artwork, and what message
do you aim to convey through these juxtapositions?
It's as if I want to solve a problem with this, a problem that has no answer and I know it. It's
strange, but I still continue this search. When I was a child, there was a strange iron pole in the
backyard of the house, I still can't figure out what it was for, because it was stuck in the ground
near the fence above. There was a little thick wire tied to this pole, which seemed to move and
didn't move at all, then I thought that the key was hidden there, if I could remove this iron, I would
"remove" something. I am still searching today
You mention the intersection of past sensations with the present, creating a 'true' portrait.
How do you navigate the boundaries between memory, reality, and imagination in your
artistic process?
I keep thinking - where is the person? Here, in this reality, or somewhere in the past, maybe in
someone's mind or in your own dream? It is an untouchable state, the boundaries of time are
erased, as if we are inventing some yardsticks to measure where we are. But I may step into a
completely different place now, or I believe that everything that surrounds us, that exists, or that
we think about - images and objects - can intersect in inappropriate time and space, creating an
invisible visual illustration that is called our "true" portrait.

A test of passions -Acrylic on canvas, 200x160cm, 2024

83
Your work often explores the visual
illustration of the invisible. Could you
elaborate on how you translate
intangible concepts into tangible
artworks, particularly through the use
of acrylic and paper?
This is quite a difficult issue. It is one
thing to have feelings and thoughts, and
another is how to form them, or more
precisely, what form should be that
which expresses them. Of course,
intuition plays a big part here, you don't
do something for some reason and vice
versa. In my case, I feel that a direct
illustration does not express the feeling I
want to express, but rather a more
indirect one, sometimes even its
opposite. I avoid drawing the house that
is specifically in front of me, on the
contrary, I am looking for a completely
different house, located somewhere
else, but that "feeling" will be preserved
there. Because the icon stored in my
memory does not correspond to the
realistically existing object. There he
slept another look, so I'm looking for this
look, motif and I find it somewhere else.
I often think about where my characters
are, and what the environment might be,
but I see that they cannot fit in there,
they oppose me, and I realize that they
are right, as if I am not creating them, I
am acting according to their dictates. It's
the same with color - some color just
doesn't fit in any way and it's gone. This
mood has a different color. I often spend
weeks thinking about where my
characters are, they don't fit in anything,
and then suddenly they fit into some
environment like a puzzle.
It is a very interesting process, risky.
What will come out, what will appear,
you don't know what will be created. I
am still amazed by this process.

84 Acrylic on paper, 200x70cm, 2022

As an associate professor specializing in drawing and visual communication, how do you
balance your role as an educator with your personal artistic pursuits?
I really like to be with young people and at this time I think I am happy. With them, I completely
forget about my drawing and I want to help them find themselves, and give them self-confidence,
their purity fills me with positive energy and great love. It's strange, but I don't want to show them
what I can do, I want to show them what they can do. This is a very harmonious relationship for
us.
Looking ahead, what themes or projects do you hope to explore in your future artistic
endeavors?
I think I don't have time, I'm in a hurry and I want to squeeze out a lot of things that I don't know
either. Further plans are related to search, and work.

From the series ‘For a whole life’

Pen on paper,
21x30cm, 2024

85
William Josephs Radford
William Josephs Radford, born on August 23, 1998, in rural Andalucía, Spain,
experienced a childhood immersed in natural beauty and creative exploration. Growing
up amidst the picturesque countryside, Radford's days were filled with adventures, from
stick fights to bonfires, shaping his unique artistic perspective.
From an early age, Radford displayed a remarkable artistic talent, often seen with a
pencil in hand, sketching away during his time at the local village school. This innate
curiosity and passion for self-expression laid the foundation for his career as a fine art
photographer.
At 15, Radford acquired his first camera, sparking his fascination with photography and
setting him on a transformative path. He later pursued a formal education in fine art
photography at the University of Gloucestershire, further honing his craft and expanding
his artistic horizons.
Radford's work is characterized by striking compositions and thought-provoking subject
matters, often challenging conventional thought processes. His mastery of light painting
and the use of color create captivating visual narratives, earning him recognition and
acclaim in the contemporary art scene.

Series of ‘Semi-detached’

In the pursuit of artistic evolution, "Semi-detached"

marks a departure into uncharted territories, exploring
intentional camera movement (ICM) and lens masking.
These avant-garde techniques redefine conventional
photography, offering a fresh perspective on capturing
moments. Through the intricate interplay of ICM and lens
masking, the images in "Semi-detached" transcend
traditional boundaries, inviting viewers into a realm of
visual poetry.
Enhancing this experimental approach are familiar tools
such as light painting and color flash gels, skillfully
employed to imbue each composition with depth and
emotion. The result is a collection that embodies a state
of semi-detachedness, a delicate balance between
reality and abstraction. Importantly, the integrity of each
photograph remains intact, with no alterations made
using Photoshop or digital manipulation.
Size - 30'’x20 each.

86
Your work is known for its striking painting, as each adds its own unique
compositions and thought-provoking personality to my work. In the case of 'Semi-
subject matters. What inspires you to detached,' these techniques resonated with
challenge conventional thought processes the project's theme, allowing me to convey a
in your art? sense of detachment and altered perception.
I have always been drawn to art and artists Can you walk us through your creative
that go against the grain; it's this quality that I process when working on "Semi-
believe lasts the test of time and shapes the detached"?
medium. So throughout my pursuit as an The early stages of the project are almost
artist, I strive to inherit this way of thinking, completely experimental. I would take my
looking at subjects that divide while trying camera with me on nights out in Oxford, not
techniques that delight. particularly trying to depict anything in
"Semi-detached" represents a departure particular, just capturing fragments of drunken
into new territories, exploring intentional chaos. As the concept began to develop and I
camera movement and lens masking. What grappled with ICM, it became a tool for
motivated you to experiment with these conveying these blurry moments. As for the
avant-garde techniques, and how do they subjects - They present themselves to me
redefine traditional photography for you? once I am semi-detached. Like falling into a
I find joy in experimenting with various flow state, I let my mind loose and let my body
techniques, from double exposures to light do the rest.

88
The interplay of intentional camera I use them to complement the intentional
movement and lens masking in your work camera movement and masking; it adds
creates a unique visual experience. How another layer to the photograph. Using the
do you navigate the balance between flash to create a base, then layering other
spontaneity and intentionality in your elements on top. Similarly, I will use light
artistic practice? painting to impose new elements into the
It's very unpredictable; sometimes spontaneity composition or add a layer of color.
takes the reins, and it's a split moment. Other The concept of "semi-detachedness" is
times, the composition and lighting are very central to your collection. Could you
controlled, spending multiple hours trying to elaborate on what this term means to you
get the shot. Mostly, it's a balance between and how it is reflected in your
the two, being in that frame of mind brings photographs?
forth spontaneity. Then, the intentionality I received some difficult news before starting
carves the rawness into something more the project, which spiraled into 6 months of
legible. escapism. I found it very hard to be fully
Light painting and color flash gels are key present, and overall, the experience left me
elements in enhancing your experimental feeling rather detached from reality. I had very
approach. How do you incorporate these few people to talk to about what I was going
tools into your compositions, and what through, so I internalized my distress and
role do they play? used my work as a distraction.

89
In "Semi-detached," you emphasize the on the viewer or expect them to follow a
integrity of each photograph, with no particular train of thought.
alterations made using digital How do you see your artistic practice
manipulation. What significance does this evolving in the future, particularly in terms
commitment to authenticity hold in your of exploring new techniques and themes?
artistic philosophy? I plan to continue developing my style and
My first mentor/role model within photography trying new techniques, looking for unexplored
always stressed the importance of getting as territory. The less explored a territory is, the
close to the final result as possible in-camera. more excited I am to explore it.
This really stuck with me, and now in a world Lastly, could you share any upcoming
of Photoshop and Artificial Intelligence... I projects or exhibitions that we can look
think it's important to point out that everything I forward to?
capture is created in-camera. I'm thrilled to announce that my debut
Your work invites viewers into a realm of photography book, inspired by my character-
visual poetry. What do you hope viewers building project, is in the works! While I'm still
take away from experiencing your fine-tuning the details, I can hardly contain my
photographs? excitement for its upcoming release. Stay
My aim is to raise these topics for the viewer tuned, as I aim to unveil this captivating
to contemplate through their own frame of collection by summer!
reference. I try not to impose an experience

90
Yev
Kazannik
Yev Kazannik is a visual artist specializing in analogue printing techniques with
synthesized sound, showcasing a unique blend of artistry. Born in Homel, Belarus,
Kazannik splits his time between London and Berlin. Having studied photography at the
London College of Communication, he garnered over 15 years of experience as a
commercial photographer, featured in esteemed publications like The Guardian and FT.
Transitioning from traditional camera methods, Kazannik delved into new analogue
processes like Lumen Printing and Photogram.
His work delves into profound themes of time, light, and the complexities of the human
psyche. Through purely analogue methods, Kazannik explores the intangible realms of
existence, delving into the mysteries of consciousness and identity through abstract
hand-printed pieces. His art has received international recognition, finding its place in
both private collections and esteemed museums.

91
‘’As a visual artist, I work predominantly with analogue printing techniques
exploring through light-sensitive materials and darkroom techniques themes of time and place,
the human mind, and its constructions. I’m also interested in synthesized sound and sculpture.
Hailing from Homel, Belarus, I currently divide my time between London and Berlin. With a
background in photography from the London College of Communication, I've amassed over 15
years of experience as a commercial photographer, featured in prestigious publications like The
Guardian and FT, Wax Poetics, and NME. Transitioning from conventional camera methods, I've
delved into innovative analogue processes such as Lumen Printing and Photogram.
Most of the images in this submission are part of "Ephemeral Echoes (Baltic Blues)," a multimedia
art project documenting the profound impact of climate change on Baltic Sea ecosystems. This
ongoing endeavor aims to capture the visceral essence of the Baltic coastline, visualizing
scientifically collected data on pollutants like PFAS and algal blooms, and bringing attention to
pressing climate issues.
Having spent my formative years in the Baltics and continually returning to this climatic zone, I am
deeply drawn to the inspiring yet vulnerable ecosystems of the sea. My artistic endeavors involve
the integration of found objects - sea plants, minerals, and various samples collected from the
coastal line. Sea water itself serves as a crucial element in preparing darkroom solutions, adding
a unique dimension to my creative process.
In my project "Poetics of Space," I explore themes of home and belonging through an intuitive and
serendipitous approach. By observing the interplay of light within internal habitats, I delve into the
intricate patterns that shape our sense of home.
Through my art, I navigate the mysteries of consciousness and identity, expressed through
abstract hand-printed pieces. These works have garnered international recognition and are
cherished additions to both private collections and esteemed museum exhibitions.’’

Untitled 303 from Baltic Blues

Cyanolumen, 67x61cm, 2021

"Ephemeral Echoes (Baltic Blues)" is a

multimedia project documenting the
impact of climate change on Baltic Sea
ecosystems. This ongoing initiative
merges art and activism, shedding light
on environmental issues through a
creative lens. My artistic process
involves the integration of found objects
- sea plants, minerals, and various
samples collected from the coastal line.
Sea water itself serves as a crucial
element in preparing darkroom
solutions, adding a unique dimension to
my

92
Untitled 300 from Baltic Blues
Cyanolumen, 67x61cm, 2021

"Ephemeral Echoes (Baltic Blues)" is a multimedia project documenting the impact of climate change on
Baltic Sea ecosystems. This ongoing initiative merges art and activism, shedding light on environmental
issues through a creative lens. My artistic process involves the integration of found objects - sea plants,
minerals, and various samples collected from the coastal line. Sea water itself serves as a crucial element
in preparing darkroom solutions, adding a unique dimension to my

93
Your journey from commercial photography to exploring analogue printing techniques is
fascinating. Could you share what sparked this transition and how it has influenced your
artistic vision?
It felt like coming back to that first experience of becoming enamoured with analogue photography
back in my early teens. The allure of the tactile darkroom process and the unpredictability
inherent in the analogue process always captivated me. Returning to it fostered a more intimate
relationship with my art. This shift helped with clarifying my artistic vision, imbuing my work with a
sense of authenticity and a rich, textured aesthetic (and colour scheme) that resonates with
themes and subjects that appeared more important at the time.
Your work delves into profound themes such as time timelessness, light and the human
psyche. What draws you to these subjects, and how do you approach exploring them
through your art?
Well, I guess they serve as my guiding inspiration, allowing me to explore the depths of the
human experience of this life and consciousness itself. Light, in particular, plays a pivotal role in
shaping our perception of reality, evoking various emotions and perspectives depending on the
time and context. Through my art, I aim to infuse each piece with layers of symbolism and
metaphor, I aspire to offer viewers a unique lens to contemplate the mysteries of existence and
the essence of humanity.
"Ephemeral Echoes (Baltic Blues)" seems like a deeply meaningful project. Could you
elaborate on the inspiration behind it and how you aim to bring attention to climate change
through your artwork?
The climate emergency is undeniably one of humanity's most pressing challenges, and we must
address it urgently. Art offers yet another channel of communication where one can engage
emotionally and intellectually with other people and address current issues. Through "Ephemeral
Echoes I aim to evoke a sense of urgency and reflection and hopefully inspire to take meaningful
action.
"Ephemeral Echoes" and much of my recent work employ found objects, upcycling techniques,
and non-toxic photographic chemistry. These practices align with my commitment to sustainability
and environmental consciousness, ensuring that my artistic process itself reflects the values I aim
to promote.
Can you tell us more about your creative process when integrating seawater into your
darkroom solutions? How does this aspect enhance the conceptual depth of your art?
I guess we can look at it as an act of merging traditional photography techniques with
environmental considerations. I engage directly with the natural elements, reflecting a deeper
connection to the place and the environment. The seawater in darkroom solutions and so
introduces unique textures, tones, and chemical reactions and supports a dialogue about our
relationship with the natural world.. Then again, found coastline objects cast the shadow of the
real ecosystem into the piece.
"Poetics of Space" explores themes of home and belonging. What personal experiences or
observations inspired this project, and how do you convey these concepts visually?
The inspiration behind "Poetics of Space" is rooted in personal experiences of familiarity and
connection to specific architectural features and elements of urban design in Berlin, where I
started spending more time after the beginning of 2021. These spaces evoke memories of
childhood homes, and places of comfort, that are connected to a sense of belonging, the theme I

94
got interested in at the time of the move. Drawing parallels between my homeland of
Kaliningrad/Königsberg and Berlin, I aim to convey nostalgia, intimacy, and the universal longing
for a place to call home. Through symbolism and attempts to depict some spatial elements, I
visually explore these concepts, adding metaphorical layers to themes of future planning and
manifestation.
Your abstract hand-printed pieces delve into the mysteries of consciousness and identity.
Could you discuss how you translate these abstract concepts into tangible artworks?
For me, the creative process is deeply intuitive and exploratory. It starts with researching the
subject extensively, then moving into a contemplative period when I try to think of the topic. I often
use physical practices to move things within and help allow these complex ideas to percolate
through my mind. I try to keep the process as ritual-like as I can. Then, in the studio, I try to
channel these thoughts and emotions into the photo emulsion.
How do you navigate the balance between intuition and intentionality in your artistic
process, particularly when exploring themes as complex as consciousness and identity?
I trust my gut feelings and let them lead the way, digging deep into my inner thoughts to discover
fresh angles and ideas. When I blend my gut instincts with clear goals, I aim to make art that digs
into deep stuff like who we are and what makes us tick. But I also want it to stay true to who I am
as an artist and what I'm trying to say.
While intuition fuels my creativity, I aim to make art that digs into deeper stuff like who we are and
what makes us tick. How can we live happier and more meaningful lives? But I also want it to stay
true to who I am as an artist and what I'm trying to say.
Whenever possible I try to stay in touch about my work with friends and colleagues. Getting their
feedback is crucial and helps me to see things from different angles. I love working with other
people and am currently actively looking for collaboration opportunities.
As you continue to evolve as an artist, what new directions or projects are you excited to
explore in the future?
Let’s see.. I'm getting quite excited about finishing Baltic Blues.. I grew up on Baltic Sea and am
soon in an art residency on the Baltic coast so could not think of better conditions for extending
9and hopefully finishing) this project getting it ready for an upcoming solo show.
Let’s see… I'm getting quite excited about finishing "Ephemeral Echoes".. I’m not sure whether
this is the final name of the project; the working title of the project is Baltic Blues. I grew up on the
Baltic Sea and will soon be in an art residency on the Baltic coast. I could not think of better
conditions for extending (and hopefully finishing) this project, getting it ready for an upcoming solo
show.
One thing I really want to try is to introduce to my experimental printing practice some elements of
modern digital art, riding the best of both worlds and not losing the analogue feel I so appreciate.
I'm also keen on incorporating synthesized sounds to my art, making it a multi-sensory experience
for viewers. I’m continuously exploring how my art can spark conversations and make people
think. My aspiration for universal happiness and alleviating pain and hardship experienced by all
beings..
I have a soft spot for working with wood — it's one of my favourite materials to work with and I’d
like to spend more time in a workshop..

95
96
Plans 0, 1, 2

Lumen Print, 180x118.9cm, 2023

My project focuses on the theme of belonging, inspired by my personal experience of moving to a new city and country yet
once again. Through my exploration of shared architectural features between my home city and Berlin, I aim to create a
new body of work that reflects on how architectural features urban development, and elements of nature can affect our
mental states.

nspired by the Berlin Dadaists as well as the Constructivists and the Bauhaus, with the Plans series, Kazannik embraces
alternative printing techniques, breathing new life into his works through repurposed imagery and experimentation with
industrial materials. This layered approach creates metaphoric imagery, evoking a dynamic and multilayered style. In the
darkroom, Kazannik’s process allows for intuitive exploration and serendipitous discoveries. Observing the patterns
shaped by light in internal habitats, his work circles back to the exploration of the concept of home.
97
Sad Flowers is an ongoing series that examines the human minds powerful ability to associate and relate to an image in a
way that is subjective to our personal conditioning (nature/nurture). It is the accessibility of plants and flowers, their natural
cycle, and ephemerality that the artist is drawn to. Kazannik embraces their seasonal qualities, experimenting with a
diverse array of flora, depending on the places he visits throughout the year. Regardless of where he finds his natural
material, they follow the same law: they bud, blossom, and die.

GREATER KHINGAN FIELD FLOWERS Keep it Quiet

Lumen print on Ilford MGIV paper, Lumen print on Ilford MGIV paper, Lumen Print,
84.1x59.4cm, 2021 84.1x59.4cm, 2021 50x40cm, 2023
Yueming Li

The Library - Digital, 10x53.7cm,

‘’Having lived in different countries, I believe that visual language erases barriers between diverse
languages and cultures. My upbringing in varied cultural contexts has situated me in an "in-
between" state, blending Eastern and Western expressive approaches. My creative inspiration
draws from everyday life experiences and introspection within myself, as my visual expression
serves as a bridge of sharing and communication. In the process of my feminine consciousness
awakening, I am acutely aware of the historical dominance and norm of men in shaping the
discourse, exposition, and interpretation, despite the root of my culture growing from the
matriarchal society. Departing from my hometown and looking into my culture from the
perspectives of both the observer and the observed, I aspire to contribute my perspective in my
related fields leave my mark, and offer a woman’s viewpoint, imagination, and interpretation.
Through my work, I invite the audience on a journey of imagination and self-exploration, bridging
divides and fostering understanding.’’

Driven by a fascination with the narrativity of visual art, Yueming Li seeks to delve into the
visualization of emotions, feelings, and the inner world through metaphors and symbols.
Her artistic prowess has been widely recognized, with notable achievements such as
winning a Silver Medal in the esteemed 2023 Guangzhou Illustration Art Festival and a
Bronze Award in the Communication Exhibition for Asia-Pacific Visual Arts. Moreover,
she has been honored with the Merit Awards in both the 2022 and 2023 iJungle
Illustration Awards and the 2022 China Illustration Art Yearbook. Additionally, her works
have been shortlisted in the 9th China Illustration Biennial and 2024 Communication Arts
Illustration Competition and exhibited in the Guangzhou Illustration Art Festival and in the
"Art On Loop" Exhibition in both London and Athens.

98
Your artistic journey has been marked by notable achievements, including winning awards
at prestigious events such as the Guangzhou Illustration Art Festival and the iJungle
Illustration Awards. Can you share with us how these experiences have shaped your
artistic vision and approach?
The significance of these experiences lies in the feedback I receive from others. When I convey a
concept through my artwork, I am eager to understand what viewers perceive and how they
interpret the content of my work. Continuously exploring and refining my visual language, I am
never content with maintaining the status quo. Therefore, feedback helps me adjust my
exploratory direction and enriches my artistic journey..
Your artist statement highlights the influence of your upbringing in diverse cultural
contexts. How has this "in-between" state influenced your creative process and the
themes you explore in your artwork?
The influence of the "in-between" state on me is most directly reflected in my tendency to observe
both the external world and myself from the perspective of the "other." In my artwork, I attempt
express my ideas from a third-person perspective. In terms of the creative process, I explore the
combination of different techniques, integrating techniques from Chinese brush painting with
theories from Western traditional realistic painting. An illustration of this approach is my piece
titled "Wood Dragon," which was shortlisted in the 2024 Communication Arts Illustration
Competition.

Wood Dragon - Digital, 31x21cm,2024

99
Your work often delves into the
visualization of emotions and feelings
through metaphors and symbols. Can you
discuss how you approach translating
abstract concepts into tangible visual
representations?
I typically translate abstract concepts through
associative thinking and amplify emotional
expression by crafting immersive
atmospheres. Mind-mapping plays a
significant role in my creative process. By
exploring associations and extending
meanings, I choose specific objects to
represent abstract emotions and concepts.
For example, in my series "Auditory
Hallucinations," pieces such as "Chaotic" and
"Like Mist, Like Fog" utilize glass figures and
imagery of smoke and clouds to depict the
intangible effects of auditory hallucinations.
At the same time, I emphasize the emotional
aspect through composition, lighting, and
colors. In my piece “Melting Candles,”
besides depicting women limited by the
slender aesthetic norms of candles, I also
emphasized the oppressive vibe with a large
amount of dark blue.
You mentioned being inspired by
everyday life experiences and
introspection. How do these personal
experiences inform the narratives and
imagery in your artwork?
Life experience is the wellspring of my
inspiration and the starting point of creation,
but they are deeply personal. Therefore, I
attempt to build an unreal space for these
experiences in my work and depict them with
fantastical imagery. Moreover, I believe that
human emotions are fundamentally universal,
and through research, I seek out and
incorporate elements and symbols in my
work that resonate with people. My personal
experiences are the roots of the real world,
but they grow into trees of imagination and
fantasy.

Flowing Moonlight - Digital, 43x27.8cm, 2021 100 Melting Candles - Digital, 29.7x21cm, 2021
 Like Mist, Like Fog - Gouache on paper, 26x39cm, 2023

Your artistic expression serves as a bridge of sharing and communication between

cultures and languages. How do you navigate the challenges of communicating complex
ideas and emotions through visual language?
I guide the viewers and evoke resonance through the visual content of my artwork, as there are
shared cognitions among people regarding the meanings of objects. When confronted with
complex concepts, emotions, and feelings, I analyze and concretize them based on the universal
understanding. Sometimes, I choose to present my works in series, deconstructing complex
content and visually presenting it from different perspectives. This approach allows for a deeper
exploration and engagement with the subject matter, facilitating a more nuanced and multifaceted
interpretation by the audience.
As a woman artist, you aim to offer a unique perspective and interpretation, particularly in
fields historically dominated by men. How do you see your role in challenging traditional
norms and shaping discourse within the art world?
I am an active member of the women's community, expressing myself in my own unique way. On
the Chinese internet, an increasing number of women are uniting and advocating for one another,
and I proudly consider myself part of this sisterhood. Two phrases deeply resonate with my role:
"A spark can make a great fire" and "constant dripping wears away the stone." Through years of
learning and creating, I've come to recognize the potency of visual expression. Consequently, I've
opted to portray the challenges confronted by women with unambiguous content.

101
Your cultural background
includes roots in a matriarchal
society. How does this influence
manifest in your artistic practice,
and what aspects of your heritage
do you consciously incorporate?
I center non-male perspectives in
my works, striving to depict and
present the experiences, struggles,
and inner worlds of women rather
than portraying them as object,
constrained by patriarchal norms. In
ancient Chinese mythology, humans
were created by a primordial
goddess with clay, and it was also a
woman who created drawing and
painting. My practice focuses on
critiquing and striping away the
patriarchal gaze in my work, as my
ancestors did thousands of years
ago when they were creating.
in various exhibitions. Can you
tell us about the significance of
showcasing your work on a
global stage and the impact it has
on your creative process?
It is incredibly exciting for me to see
my works facing a broader
audience. As I mentioned earlier, I
am eager for feedback and diverse
interpretations, and exhibitions in
different countries and cities
provided this opportunity. Cross-
cultural exchanges bring me various
perspectives and new inspiration.
During the creative process, I delve
deeper into my visual expression,
hoping to make my works more
appealing. For example, I choose
elements and symbols closer to
everyday life to enhance relatability
when adding visual metaphors and
allusions.

Echoes From Inside - Gouache & Digital, 35x15cm, 2023

102
How do you hope viewers engage with your work?
I hope that viewers with diverse cultural backgrounds and life experiences will share their
perspectives and interpretations of my illustrations with me. I often leave spaces for them in my
artwork descriptions, avoiding imposing my own thoughts on them. I envision my works as the
source of rivers, with different understandings flowing as its tributaries from various angles.
What aspirations do you have for the
future of your artistic career?
Currently, I am working on a series exploring
how past experiences shaped me. In
Buddhism, there is a concept that the past
does not exist, the future will never come, and
we only live in the present. However, as I
reflect on my memories, I am keenly aware of
how the “past” has left its mark on me, and I
attempt to document the introspection on this
topic. Moving forward, I am committed to
further exploring and refining my visual
language. As a woman in my field, I aspire to
amplify the voices of women in my culture,
bridging the gap and enriching the narrative
landscape with diverse perspectives.

Bury Me - Digital, 21x29.7cm, 2023 103 A face - Gouache & Digital, 27x25.5cm, 2023
Spring thoughts:
Spring Issue | Seasonal Edition | April 2024 | Tbilisi, Georgia