Self

Collect Art | Special Edition | VOL 44 | May 2024

Self-Portrait by Tamriko Melikishvili

 TABLE

of content

05 MARTIN GOLLAN
11 AMARAJYOTI
16 MICHELLE BAHARIER
22 RICKY WOODMAN-POVEY
27 LIZZIE MAYERS
29 RAGINIE DUARA
34 MAGDA BOND
39 LAURYN BREDE
44 WILLIAM JOSEPHS RADFORD
 Exploring Self-Portraiture

Welcome to a special edition of our art magazine, Volume 44, dedicated to the
theme of Self-Portraits. In this edition, we delve into the intriguing world of
self-representation through the eyes of international artists, each offering a
unique and personal perspective on the theme.

Self-portraiture has long been a captivating genre in the realm of art, allowing
artists to explore and express their own identities, emotions, and experiences
in a deeply introspective manner. The self-portrait continues to evolve as a
powerful means of self-expression.

In this volume, we are thrilled to showcase a diverse collection of self-portraits

from talented artists around the globe. Through paintings, drawings,
photographs, and digital art, each artist offers a glimpse into their inner world,
inviting viewers to ponder questions of identity, self-perception, and the
human experience.

Accompanying each artwork are insightful biographies, artist statements, and

personalized interviews, providing readers with a deeper understanding of the
artists' backgrounds, inspirations, and creative processes. As you explore the
pages of this magazine, we hope you will be inspired by the rich tapestry of
self-portraiture presented within.

Join us on a journey of self-discovery and introspection as we celebrate the

beauty, complexity, and diversity of self-portraits in Volume 44 of our art
magazine. Thank you for embarking on this artistic exploration with us.

Warm regards,

Collect Art Editorial Team

 Self-Portrait
05 Drypoint, 25x17cm, 2023
Martin Gollan is a painter, printmaker, and illustrator working in the northeast of
England. After three years of learning about and making sculpture at Edinburgh
College of Art in the early 80’s, Gollan returned to painting. Recently he has taken up
printmaking and also provided illustrations for a number of left-wing publications.

‘’On one level these works are a record of sorts of my face. However,
they are also a collection of loosely arranged marks following, not
especially accurately, contours and shapes. There is no psychological
intent to these self-portraits. They are instead more a akin to a
disinterested topographical study, albeit a sloppily executed one. ‘’

What drew you back to painting after your initial exploration of sculpture?
The move was largely down to practical considerations, namely the lack of affordable space
and materials. At college I had been cutting sheets of metal with oxyacetylene then welding
them together for which ideally you have an adequately equipped workshop. I suppose if I had
been more determined to continue with sculpture I would have found a solution, perhaps
using different materials and scale, like Giacometti in his wartime hotel room. However, I also
wanted to get back to painting, at least for a spell.
Can you share with us your journey into printmaking and how it has influenced your
artistic practice?
I think I was drawn to printmaking in part because of the process involved in making a print,
especially when using intaglio techniques. It was a factor too, process, when at art school I
choose sculpture over painting. I suppose it depends on what exactly you’re doing but I’d
suggest that it isn’t’ enough just to have an idea to express specifically in sculpture or
printmaking, you need to understand the process involved otherwise it’s not going to work,
although you could still end up with something interesting. In terms of its influence on my
artistic practice, I’m not sure, though it is maybe it’s making me think more about the marks I
make and adopting a more economical approach.
How do you approach providing illustrations for left-wing publications, and how does this
differ from your other artistic endeavors?
As you might expect, I share the ideas and positions expressed in the work I’ve provided
illustrations for, which mostly are collections of poetry and there are often varying degrees of
collaboration with the writer, which differs from my usual practice where I’m the sole author,
though with influences and ideas stolen from others crowding in. Also, the illustrations and
cartoons are a response to social, economic and political strategies at a point in time and
seek both to criticise or mock those strategies and attempt advance a left perspective. It’s
maybe too grand a point to be made about my own output, but satirical cartoons and
illustrations are I think at best a didactic practice pointing to different ways of organising
how we live.

06
Self-Portrait - Drypoint, 21x17cm, 2023
Your self-portraits are described as a "record" of your face. Could you elaborate on what
this means to you?
I described the self-portraits as record because they’re something that I have done for years
and still do, mostly with no intention of showing any of them publicly. Sometimes I’ll draw or
paint a self-portrait because I can’t of anything else to do at that time or because I want to
try out some different approach or materials. Looking up a dictionary definition of the word
record, “a thing constituting a piece of evidence… an account kept in writing or some other
permanent form”, neatly sums it up for me.
You mentioned that your self-portraits are more akin to a "disinterested topographical
study." Could you explain this approach further?
What I’m trying to get at is that for me the self-portraits are neutral and that there is no
attempt, for example, to offer a psychological study of how I’m feeling at the time or to
express a particular feeling or mood. Topography is a mapping term, an attempt to create an
accurate representation of an area of land. I’m not that interested in accuracy and I am not
interested necessarily in making things up, I want to have a person or thing as a reference
point, a topography of sorts, from which to depart from. I often associate the word
topography with the painter David Bomberg, who is a key figure for me.
How does your process differ when creating self-portraits compared to other subjects?
Recently I’ve been reading Philip Guston’s ‘I paint what I want to see’ a collection of essays
and interviews. In one there’s a reference to Baudelaire comparing paintings that are
complete, but in fact may appear unfinished, to paintings that are finished, but are ‘tickled’ to
the point that they should be in a museum, so effectively dead. I think I have a tendency
towards this ‘tickling’ when painting another person, which might betray a certain lack of
confidence on my part. When I paint myself I can do what I want, whatever the result.

Self-Portrait - Etching, 29.7x21cm, 2023 08 Self-Portrait - Drypoint, 25x20cm, 2023

Self-Portrait - Drypoint, 21x14.5cm, 2023
What role do marks, contours, and shapes play in your self-portraits, and how do they
contribute to the overall composition?
Marks, contours and shapes organise the picture plane and at a basic level gives whoever
might be looking at this piece of paper or canvas that I’ve made marks on, something
interesting to look at. For me, the paper, board or canvas that I’ve worked on is as much a part
of the finished piece as whatever is drawn or painted on it. In some ways this might take me
back to sculpture, where we consider the whole object in the round. The logic of this, I think, is
that I could make a very detailed drawing or a single line on a piece of paper and each would
have equal validity.
Are there specific techniques or materials you prefer to use when creating self-portraits?
No, not really. I’m inclined to think that everything I do is essentially a drawing, and a line
drawing at that, so materials don’t matter so much if I can make a definitive line, so ink, paint,
etching tools, graphite and wax pastel are all useful materials. As for the surface, I was
reading recently about Jim Dine using scraps of cardboard as surfaces for making etchings
from and I’m increasingly interested in using materials like cardboard that is otherwise
thrown away into recycling, as a surface for drawing or printing with.
How do you navigate the balance between accuracy and interpretation in your self-
portraiture?
I’ve often looked to expressionism
where fidelity to the subject
wasn’t/isn’t primary and recently,
I’ve had more confidence in
abandoning notions of likeness. I
think the illustrations and cartoon
work I’ve been doing has been an
influence here. I do still try and catch
something of a likeness but by rising
to the challenge inherent in
caricature it is by capturing likeness
in exaggeration or emphasising a
particular feature.
What do you hope viewers take
away from experiencing your self-
portraits?
I hope people looking at them will
find them interesting and that they
might recognise some deliberate
strategy or approach rather than a
progressive inability to draw, though
there’s something to be said for bad
drawing.

Self-Portrait - Drypoint, 21x14.5cm, 2023

10
Amarajyoti lives in Nottingham and trained in Art and Design in the 1960s, attending
Sheffield, Liverpool and Leeds Art Colleges. She taught Art for 20+ years in secondary
and further education before giving it up to travel to India and Ireland to study Yoga
and returning to Nottingham to teach Yoga and Meditation. During this time she
continued with her painting which has become more abstract over the last few years.
She has exhibited in several Nottinghamshire exhibitions over the past 40 years and at
the Fronteer Gallery in Sheffield in 2021, Surface Gallery Abstract, Nottingham and
Cupola Gallery, Sheffield in various exhibitions and as well as several national and
international online exhibitions over the last few years. She had a solo exhibition
‘Paintings on Paper – mostly’ in November 2023.
She paints in her small studio in Nottingham UK.

‘’Painting for me is a meditative experience, where I connect with the process of

applying, removing, and exploring color, form, and texture on a flat surface. It is
wordless and physical and each piece evolves from this process of discovery.
Original imagery/ideas may come from my daily meditation practice as ethereal
concepts, seeds of possibilities, which then are made whole by the act of painting
itself.
Each painting is a journey to bring into being that which is unknown into a solid
physical experience.
I have had some major health issues during the last couple of years so some of my
work has been exploring these with paint and sometimes ‘mending’ them with gold
(Kintsugi). Other works have been about finding balance amidst difficulties, both
personal and global.
Colour always features strongly in my work and I often use gold leaf and sometimes
jewels (imitation)
Self-portraits are not part of my usual response to life, but I have painted several
abstract versions in response to various challenging diagnoses.’’

11
 Courage & Wisdom
Acrylic/ Mixed media on paper, 28x20cm, 2022

12
Your artistic journey has seen you transition from teaching art to studying yoga and
meditation, before returning to painting. How have these different phases influenced your
artistic style and approach?
I have painted all my life but when I was teaching art I worked mainly in textiles and combined
painting on fabric with stitching. Practicing Yoga and meditation has given me an ‘inner
vision’ which has resulted in my work developing over time into more abstract paintings. A
few years ago I began to focus solely on painting.
Having trained in Art and Design in the 1960s, how do you feel your artistic practice has
evolved over the years, particularly in relation to the shift towards abstraction?
I always wanted to produce abstract work but I had to allow it to evolve over time. I used to
travel, always taking my sketch book, and develop these sketches into semi abstracted
landscapes. During Covid, as I was no longer travelling, I began to work with the ‘inner
images’ from my meditation practice and this is when my work started to become more
abstract.
Could you elaborate on how your travels to India and Ireland to study yoga impacted your
artistic perspective and the themes you explore in your paintings?
I did quite a bit of abstracted landscapes when I was in Ireland and I was illustrating a yoga
book in India. I think I just became more confident with my use of colour over time (and India
is a very colourful place). My study of Yoga Psychology has been used in some works. As I go
deeper into my own self, archetypal symbols often appear and using these has been relevant
over the past few years. For example I worked with a series based on ‘Hiraṇ yagarbha’ or the
golden womb/egg which for me expressed creation (and destruction). I often use Sanskrit
names for paintings as I prefer the viewer to create their own experiences of the works.
You recently had a solo exhibition titled 'Paintings on Paper - mostly' in November 2023.
Can you share the inspiration behind this exhibition and the significance of working
predominantly on paper?
I am currently working mainly on paper simply because I have run out of space to store larger
pieces on canvas or board. Pieces on paper are easier to store!
How does your environment, specifically your small studio in Nottingham, influence your
creative process and the artworks you produce?
It’s great just to be able to nip outside to my studio and work on my paintings and come in for
a coffee when I need to. The downside is it is very small so doing a large piece is difficult. The
last large piece has been lent to friends as I don’t have anywhere to put it.What has been the
most rewarding aspect of showcasing your work in different settings?
Selling work is always a thrill but letting some pieces go can be a challenge as they become
like your children.
Your paintings have become more abstract over the last few years. What prompted this
shift towards abstraction, and what do you hope viewers take away from your abstract
compositions?
During Covid, as I was no longer travelling, I began to work with the ‘inner images’ from my
meditation practice and this is how my work started to become more abstract. My work is very
personal to me and whatever people take from it, is personal to them, but some part of me is
connecting with the viewer and this may be on a very subtle level. Also, as my work is
vibrantly colourful I hope it brings them joy.

13
Can you discuss your relationship with color and how you use it to convey emotions or
evoke certain moods in your paintings?
I work very intuitively and I am in a semi-meditative state (no thoughts!) when I work. I
normally start with a wide brushstroke of colour which is whatever moves me in that moment.
Everything else follows. I have always had a good eye for colour but as my eyesight worsens
this may become challenging. If I start to ‘think’ about work too much it normally doesn’t work
and I have to paint over it. Of course I am aware of values and tones but as I said, much is
instinctive.

Family Time
Acrylic/ Mixed media on canvas,
30x30cm, 2021

14
How has your experience as an art educator informed your own artistic practice?
Teaching is about bringing out what is already inside but instilling enough techniques to build
confidence to do this. Many of my past students went on to Art College and some became art
teachers themselves. I had a teacher at Sheffield Art College many years ago who gave me
confidence and I was fortunate to meet up with him many years later (in an Ashram in Wales)
and thank him. As for my work, I need to keep on doing it and learning from what doesn’t
work as much as from what does.
Looking ahead, what artistic goals or projects do you have in mind for the future?
At the moment I’m working on several pieces based on research into anxiety for ‘a pint of
science’ exhibition. I have no idea what will develop or follow from this. I will wait and see.
Each painting is a journey into the unknown, a personal adventure.

15 When We Are Mad - Acrylic/ Mixed media on canvas, 30x30cm, 2022

Michelle Baharier is an acclaimed award-winning graduate of The Slade School of Fine
Art, London, she exhibits her work internationally. A multidisciplinary visual artist
whose artistic practice is strongly influenced by her lived experience of disability,
resulting in paintings and participatory art/performative events, inclusive to all. Her
oeuvre includes colourful and expressive paintings, portraits, collages, poetry
photography, phone drawings storytelling performance, and digital/video. She aims to
break down barriers concrete and spiritual faced by people, explores our hearts not a
head response to the world around us, with a view to advance equal rights. Baharier’s
awards include: Arts Council England, Responsa Foundation, Equality Works, and
others for her work. She is an artist member of: The Bethlem Gallery, Artists Collective,
The Bookery Gallerie, The Sharp Gallery, She is a member of the IN/Visible Disabled
Women's Arts Collective, South London Women Artists, Outside-in, and is a blogger
for Disability Arts on line. Her Published poetry is available in the Poetry Library.
Baharier is a trailblazer, she has Dyslexia/Neurodiversity. She Founded the Charity
CoolTan Arts, run by and for disabled people. During her tenure from 1993 – 2016, she
won twenty -seven prestigious awards, demonstrating her commitment to changing
barriers and discrimination. Currently, she is commissioned by the London Transport
Museum and Tuff Gallery. She has won an award with AXIS Arts in April 2024. Her
work is held in a number of public institution collections.

‘’As an artist, I love what I do, My work is emotionally charged and energetic and I am inspired
by the diverse tapestry of my experience as a woman, with invisible disabilities who needs to
knock down barriers to participation. My work often deals with challenging social issues, such
as prejudices about disabilities and mental health, my life is informed by my own invisible
disabilities. I do this by using a variety of mediums and techniques, including storytelling, to
invite viewers to explore the depths of emotion, and the essence of being. My powerful
paintings are vibrant, my photography, is atmospheric, sometimes haunting and evocative,
my performances are visceral and may engage participation, my collages and drawings are
often spontaneous, I intend to create a dialogue between the viewer, igniting their
imagination, and arousing subconscious and connection to their emotions. Drawing from
personal experiences and the world around me, my art becomes a vessel for creating
mythology and introducing activism and change, I paint portraits of unknown people who do
extraordinary things and I take photographs of the world around me and write poems of my
everyday life. Ultimately, my goal as an artist is to spark curiosity, foster empathy, open up
conversations, and transcend barriers, serving as a catalyst for transformation and positive
change.’’

16
 Made up PPE
Acrylic on canvas, 20'’x16'’, 2022

17
Missing company
Print, A3, 2022

18
Your artistic practice encompasses a wide range of mediums, from painting to poetry,
photography to performance. How do these diverse forms of expression contribute to
your overall artistic vision?
My artistic vision is to create atmospheric works, this is because I want to create a
conversation with a viewer, it's a private moment, I hope the work will provoke an emotional
response and a connection, no matter what medium.
Your work is strongly influenced by your lived experience of disability. How does your
personal journey inform and shape the themes and narratives in your art?
My work has been shaped by the way I have experienced situations, especially stigma towards
disability. I also have several mental health conditions. So some of my work is about how
others have made me feel as a disabled person. My Art also helps me create a response and
enables me to express my emotions. Added to that is my experience as a working-class
woman. All of which ends up in the mix such as my painting of Medusa.
As a trailblazer in the art world, you founded the charity CoolTan Arts, dedicated to
supporting disabled artists. Can you share with us the inspiration behind starting this
organization and its impact on the community?
The charity grew out of a squat, where I and others run a gallery and workshops we all had
mental health issues. Running the squat had helped us keep out of hospital, so we thought it
would help others and it we wanted it run by and for people with disabilities. We did this so it
was Art for Art's sake, not therapy, as we were all people who had been to art school and
wanted to be professionals in our practices.
In your artistic endeavors, you aim to break down barriers, both concrete and spiritual,
faced by people. How do you approach this goal through your art, and what strategies do
you employ to promote inclusivity and equal rights?
I work in two ways intuitively, by just doing it- and letting it flow, I also use a lot of research.
Most of my friends are disabled people, and many have achieved remarkable things, such as
campaigning for accessible transport. I am painting a collection of them for collections in
museums. I am also choosing my own subjects for issues close to my heart, women's rights, So
I have been painting Medusa to represent the Iranian women who are being murdered by their
government.
You've been commissioned by prestigious institutions like the London Transport Museum
and Tuff Gallery. Could you tell us about your current projects and how they reflect your
artistic ethos?
With Turff I was commissioned to create five
billboards to celebrate and showcase the
experience and history of disability and catching a
bus. With the London Transport Museum, I am
painting disabled staff members who are
trailblazers in the organization. Bring to life
disabled people who do very ordinary things and
make change is important to me to record our
history/herstory as we are excluded from most of
history.

Undercover, 2022

19
Dyslexia and neurodiversity are integral parts of your identity. How do these aspects
influence your creative process and contribute to the unique perspective evident in your
work?
It is impossible for me to know what would I be like if I was not Dyslexic. It is also really hard
as you have to learn about what is different about you, ie: I have an 8, audio deficit, I don't
hear certain sounds, it affects how I sing and hear or miss hear words. I can't unravel myself,
so I have learned to undo the stigmas attached to it and confront people by telling them.
People still get annoyed with my comments, online especially – they will remark on bad
spelling and grammar, and I'll then answer and say I am a disabled person with Dyslexia- we
need to learn to live in an inclusive world and welcome difference as normal not as something
wrong. This is what I trying to bring to people's attention in my work.
You're actively involved in various artist collectives and organizations focused on
disability arts. How do these collaborative spaces support and enrich your artistic
practice?
As an Artist I work on my own, I am very isolated so I decided to join some groups. We all
share our work and we talk through our process, we often teach each other about our process
and new materials, and we also put on exhibitions together.
Your published poetry is available in the Poetry Library, showcasing yet another facet of
your creative output. How does poetry complement and intersect with your visual art
practice?
Poetry helps me – I have again made up poems from a very young age, Poetry and song lyrics
are very emotive and help me deal with difficult times.

Throughout your career, you've received numerous awards and recognition for your work.
How do these accolades motivate you, and what significance do they hold in your artistic
journey?
It is always a boost to your confidence when someone else says they like your work, but an
award, cements this and tells others to take a look, people often need recommendations to
promote new ideas, which is a bit sad, but true, as many people are not confident, they fear
academic/Intellectual rights and wrongs. Even I find it hard sometimes to wonder if am I any
good – we all have imposter syndrome somewhere.
Looking ahead, what are your aspirations and goals as an artist, both in terms of personal
growth and making a broader impact on society?
I would love to have the work I make about disabled people's very ordinary achievements, to
do everyday things be a part of society, to be in the National Museum, such as the National
Portrait Gallery, and the House of Lords and comment’s. As well as MOMA in the USA. I would
also like to not have to teach to earn enough to subsidize my income, so I can just make art, I
would also like a studio that is at least 12 by 12 meters with a 3-meter ceiling so I can do really
big work. Where I could create some installations too. To have opportunities to expand and
explore in different ways. Being part of the Venice Biennale and other such events widened my
audience. So my work was out in the real world.
Art for me should be about 'does it make you feel something.' It's about a private
conversation, about your baggage and the viewers' baggage.

20
 One Of those days
Giclee print, A3, 2017

21
Ricky Woodman-Povey is an Australian self-taught mixed media textile artist based in
the South West of England. With an innovative spirit and a deep reverence for the
tactile, Ricky merges traditional textile techniques with elements of mixed media,
cyanotype, and printmaking, creating pieces that are not only visually arresting but
rich in texture and depth.

‘’Drawing inspiration from the natural world, my work often features organic shapes and
patterns, as well as bold and vibrant hues. My work is a dialogue between material and
concept, where every stitch and imprint is a narrative thread, weaving together stories
inspired by the natural world, the complexities of human psychology, and the timeless tales of
mythology.
My artistic journey is one of exploration and connection. Drawing inspiration from the
intricate patterns of nature, the nuanced tapestry of human emotions, and the mythological
archetypes that shape our understanding of the world, my aim is to create works that
resonate on multiple levels. Each piece invites the viewer into a space of contemplation, where
the lines between the physical and the metaphysical blur.
Fibre stitches together the history of human civilization. It is a vital part of the way that we
engage with the world around us and an enabler of self-expression. As long as there have
been fibers, there has been fiber art. My vision is to make textile art a staple for fine
contemporary art consumers.
Each technique adds a unique element to my work, allowing me to explore different textures,
colors, and forms in my artistic expression. The fusion of these diverse techniques results in a
rich tapestry of creativity that reflects my deep connection to nature and my passion for
experimentation in the world of textile art.’’

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Could you elaborate on how the natural world influences your artistic process and the
themes you explore in your pieces?
I moved to the United Kingdom a decade ago from Australia and since then have lived in rural
areas. This has given me access to woodlands and forests packed with trees and plants I had
never before encountered. As well as depicting the pastoral landscapes that surround me, I
have also collected numerous things for mark-making, printing, and making pigments or
dyes. I recently found a bag of dandelions in my freezer collected in a field many summers ago,
which I used to dye wool for an undecided future project.
Can you share an example of a piece where this narrative aspect is particularly
pronounced?
I’ve recently been working on a series of self-portraits (a couple of which are pictured) using
animals to represent the personality archetypes proposed by Carl Jung. “Self Portrait (self)”
explores the obscurity of the self and is composed of various digital images applied to
patterned cotton using cyanotype, with embroidery following the floral pattern of the original
fabric. Because of the many layers, it was a challenge to stitch, but I wanted to include it to
help tell the story of the complexity of self and the layers we present to the world.
How do mythological archetypes manifest in your pieces, and what significance do they
hold for you?
Storytelling is one of the things that make us human, and I’m fascinated by the way various
ancient cultures used their mythologies to describe their understanding of the world and the
culture of the time in which they lived. Gods and goddesses were used as a stand-in to
describe complicated concepts like life, love, and war, but also as a way of making sense of
natural phenomena like day and night, or the changing of the seasons. One personification I
have revisited a number of times is the Green Man, who is a Celtic being representing the
rebirth of spring.
How do you achieve balance in your art, and what do you hope viewers take away from
their experience with your pieces?
I think this is why I’m drawn to mythology and psychology; because both are a way of
describing things that aren’t tangible. One of the aims of my art practice is to bring some of
these unseen forces to life through my work. I want people to get as lost in my art as I do
during the process of creating it. I believe that art is a gateway to the metaphysical because,
whether maker or viewer, art is both physically and mentally the closest we can get to each
other’s souls.
Fibre is described as stitching together the history of human civilization. How does this
historical context inform your approach to textile art, and what role do you see textile art
playing in contemporary fine art consumption?
Fibre has been alongside humankind since the beginning. It has helped us to stay warm and
modest, express ourselves, furnish our houses, and sail our ships as we explored and
expanded. Fibre has fuelled economies, created dynasties, and enabled technological
evolution (the first computer was designed to codify cloth weaving!) It’s the history of textiles
that keeps me focused on textile art. There has been a resurgent interest in textile art, with
keen investors looking for things beyond old master oil paintings. I hope to be part of the
unraveling revolution of fine art consumers looking to fiber-based media as an exciting new
thing.

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 Self-Portrait (Self)
Mixed media on cotton, 29.7x21cm, 2024

This piece is part of a series of self portraits using animals to represent the personality archetypes proposed by Carl Jung. It is composed of various
digital images applied to patterned cotton using cyanotype, with embroidery following the floral pattern of the original fabric.

24
Your work combines traditional textile techniques with elements of mixed media,
cyanotype, and printmaking. What inspired you to merge these different mediums, and
how do they contribute to the overall narrative of your pieces?
When I started producing textile art about a decade ago, my pieces were made purely from
hand-rolled wool felt. While there will always be a place in my work for felt, sometimes a
different technique or medium is required to tell the story I want to tell. The inspiration to
merge media comes from a lifelong learning journey. As I develop new skills or learn new
techniques, my first thought is how to incorporate these into my artwork to enhance the work
or evolve my practice.
Each technique you employ adds a unique element to your work, allowing you to explore
different textures, colors, and forms. Can you discuss how you decide which techniques to
use for a particular piece, and how they contribute to the overall aesthetic?
I adopt an intuitive approach to technique or medium. A concept might rattle around in my
brain for months because I am unsure on how to execute it. One day I will wake up and know
exactly how to achieve it. The current piece I am working on is a depiction of Echidna, the
Ancient Greek mother of all monsters, which I didn’t know how to approach - until I stumbled
on some snakeskin leather samples in my material stash. I have spent the last week collaging
a still life of an amphora depicting a beautiful goddess, made entirely of snakeskin.
Experimentation seems to be a core aspect of your artistic practice. What drives your
passion for trying new techniques and pushing the boundaries of textile art?
I didn’t go to art school, so I missed a couple of years of devoted experimentation with
materials, style and techniques. Because of this, or perhaps in spite of it, I try to continue to
push myself into unknown territory to develop as an artist. With the grounding of textiles as
my medium of choice, I’m able to consider different ways to integrate mixed media or different
approaches into more traditional techniques like weaving, dyeing or felting.
Can you share any challenges you've faced in your journey as a self-taught artist,
particularly in mastering the diverse range of techniques you employ in your work?
My biggest enemy as a self-taught artist is my inner saboteur. Sometimes I will obsess over
the smallest details because I don’t feel like my work is good enough - or as good as others I
admire. To overcome this challenge and increase my resilience, I focus on honing my skills, try
to avoid comparing myself to others, and have built up a network of close friends and other
artists to give me an honest critique.
Looking ahead, what aspirations or goals do you have for your textile art, and how do you
envision your artistic practice evolving in the future?
Currently, I am working towards my first solo exhibition. The specifics of the show are still
being worked out, but the one thing holding me back is a sizeable cohesive collection of works
that will attract an audience. I have also been applying for art residencies so I can devote a
period of time to increasing the scale of my work, which will be more conducive to a solo show.
Beyond this goal, I hope to continue to share my works with a diverse audience in a global
setting.

25
 Self-Portrait (Persona)
Mixed media on silk 29.7x21cm, 2024

This piece is part of a series of self-portraits using animals to represent the personality archetypes proposed by Carl Jung. It is composed of various
digital images applied to Silk, which has been painted with acrylic ink and embroidered with sequins, beads, and appliqué.

26
 Lizzie Myers is an artist based in rural Somerset, UK.

'Artist as Medusa, innocent victim of the gods'

Oil on board,
42x30cm, 2024

Self-portrait of artist depicted as Medusa the gorgon. The sea god Poseidon
seduced the mortal Medusa in the Temple of Athena and raped her. Athena,
goddess of heroic endeavour and war, mightily aggrieved by the act taking
place in her Temple and defiling it, and took vengeance upon Medusa, turning
her hair into snakes and everything Medusa gazed upon to stone.
29 Beyond Blues - Acrylic on canvas, 24'’x16'’, 2023
Since the early childhood days of scribbling in notebooks and attending weekend art
school, art has been an integral part of Raginie's life. Though formal art schooling was
brief, the therapeutic allure of creating wordless marks on paper persisted, shaping a
lifelong devotion to visual expression. Harnessing the potency of artistic mediums,
Raginie integrated art into her academic pursuits, utilizing photography and film to
delve into youth mental health capturing diverse lived experiences. Reluctant to label
herself as self-taught, Raginie acknowledges the invaluable contributions of numerous
mentors, teachers, and inspirational figures who nurtured her artistic growth. Through
an ever-evolving journey marked by encounters with various role models, artistic
styles, and mediums, Raginie has emerged as a bold colorist. Her work, whether in
portraiture or cityscapes, is characterized by vibrant hues and a penchant for
capturing the vitality of her subjects.

‘’My artistic identity is firmly rooted in my bold and vibrant approach to color, whether it's
through expressive portraits or capturing the dynamism of bustling cityscapes. My creative
journey has been a continuous exploration, influenced and enriched by a tapestry of diverse
sources. I have drawn inspiration from an array of role models, each contributing their unique
brushstrokes to my artistic palette. I've embraced various art mediums, and experimented
with different techniques, and although without any formal training, I've absorbed the
wisdom of dedicated teachers, mentors, and fellow members of my art community, all of
whom have left an indelible mark on my artistic evolution. My journey is an ongoing narrative,
a testament to my passion for growth, and a tribute to the power of artistic expression.’’

How did you develop this unique style, and what draws you to express yourself through
such vivid palettes?
I've been drawn to the captivating energy and emotive power of bold and vibrant colours.
While initially engrossed in creating lifelike representations, I experienced a transformative
moment when I encountered Voka's dynamic artwork, which sparked a desire to infuse my
own creations with a similar sense of vitality and expression. What truly fuels my passion for
vivid palettes is the recognition of their ability to evoke emotions and create a sense of
dynamism within a composition. I'm captivated by the playful yet impactful use of
brushstrokes and mark-making that vibrant colours afford, allowing me to convey depth and
complexity in my work.
Can you share some specific examples of role models or experiences that have had a
significant impact on your artistic evolution?
As mentioned earlier, my journey into bold colour expression began with inspiration from an
artist called Voka, whose dynamic artwork ignited my passion. Exploring this style led me to
discover a community of contemporary artists such as Dimitri Sirenko, Jamel Akib, Tania
Rivilis, Izumi Kogahara and Asmaa Khoury, each leaving their mark on my artistic evolution.
Alongside these influences, mentors like Charla Maarschalk, Luzdy Rivera, Axel Martinez, and
Corey Moortgat have played crucial roles in guiding my exploration of bold colours and
expressive techniques. They have generously shared their expertise and insights, helping me
navigate the complexities of colour expression and mark-making.

30
Despite not having formal training, you've absorbed wisdom from teachers, mentors, and
fellow artists. How have these interactions shaped your artistic growth and perspective?
Absorbing wisdom from mentors, and fellow artists has been integral to my artistic growth
and perspective. It's like collecting puzzle pieces over time, gradually forming a whole new
perspective. While mentors have shared crucial insights and techniques, incorporating this
wisdom into my practice and developing my unique style hasn't been straightforward.
Balancing art with a full-time job has its challenges, but being part of an art community
keeps me motivated and reminds me that even small steps count.
Could you elaborate on how you integrate art into your academic pursuits, particularly in
exploring youth mental health through mediums like photography and film?
I've always had an interest in youth mental health, but it wasn't until I dove into my PhD that I
started to push beyond traditional research methods that I felt insufficient for capturing the
depth of experiences. I embraced innovative methods that not only captured the essence of
what these young people were going through but also empowered them to take the reins as
researchers of their own experiences. Transitioning to projects using arts-based methods like
photography, film, music, drama, poetry, etc., and addressing issues like substance addiction
and adolescent loneliness, provided a powerful platform for voices often silenced by stigma or
overlooked as insignificant.
You mentioned attending weekend art school and having art be a part of your life since
childhood. How do you think these early experiences have influenced you?
My early experiences attending weekend art school were way back in my pre-teen years but
played a pivotal role in shaping my relationship with creativity as I began grasping the
fundamentals of doing art and realized the joy of transforming objects into this two-
dimensional piece of paper. Kids usually dread school homework, but those from art school
felt like playtime to me which made me realize that my happiest moments were spent with a
palette of colors, witnessing the magic of bringing them together in my own creations. While I
wouldn't say that my current artistic style is directly influenced by those early experiences,
they undoubtedly laid the foundation for my journey as an artist, and with each stage and
phase, I've gradually evolved into my current artistic style.
Can you share a memorable lesson or piece of advice that has stuck with you throughout
your career?
While I've taken note of many specific techniques and insights into color usage and creating
impact from my mentors, there's one piece of advice that has truly resonated with me. That
advice is to take my time with my artwork. It's easy to rush through a piece and settle for
quick completion, thinking it's the best I can do. But my mentors encouraged me to challenge
myself, take risks, and strive for continual improvement with each piece I create.
What emotions or messages do you aim to convey through your use of color and subject
matter?
In each of my works, I strive to evoke a range of emotions and while there are specific
messages intended for each piece, I also aim to create space for viewers to explore their own
subjective experiences. Some may find themselves drawn closer to the emotions portrayed,
while others may perceive a sense of distance or have their own unique interpretation.
Regardless, my ultimate goal is to ignite a sense of connection or probably encourage the
viewer to uncover a story behind the subject.

31
 Neon persona
Digital Art, 21'’x21'’, 2022

'Neon Persona' celebrates the kaleidoscope of identity and the

boundless possibilities of self- expression.

32
How do you approach the balance between self-expression and capturing the essence of
your subjects, whether in portraiture or cityscapes?
Balancing self-expression with the essence of a subject is a delicate dance that involves both
intuition and technique, but most importantly time that is spent in thinking, feeling and
planning. For example, when painting a portrait for commission, I spend time studying
references and observing the individual's unique features, expressions, and personality traits,
whatever is possible within limits, and draw mock-ups to integrate them into my style using
some unique marks or abstractions that reflect the subject’s character. Similarly, when
tasked with a cityscape commission, I encountered the challenge of harmonizing the colour
palette with the décor of the intended living space and it's moments like these where
balancing artistic expression with external considerations can be particularly demanding, as
the subject's essence may call for one approach while practicalities dictate another.
Sometimes, simple techniques like using stencils can help create marks that tie up both my
style and the character of the subject, allowing both aspects to coexist and enrich each other.
As your journey continues to evolve, what new themes or techniques are you exploring in
your artistic practice?
Currently, my focus lies on mark-making techniques, where I explore the nuances of line,
texture, and composition. By blurring edges and leaving space for viewer interpretation, I aim
to create artworks that engage the imagination and invite personal reflection. Moreover, I'm
actively incorporating more elements of impressionism and abstraction into my paintings. I
see this as a way to push myself creatively and embrace a bolder, more expressive approach to
storytelling.
Looking ahead, what aspirations or goals do you have for your art, and how do you
envision your creative journey unfolding in the future?

While I have aspirations and goals for my art,

I recognize the importance of remaining open
to unexpected opportunities and discoveries,
the happy accidents that can lead me in
entirely new and inspiring directions.
Currently, my focus is on moving away from
realism and towards creating impressions,
believing in the power of suggestion and
trusting that viewers can complete the
picture with their own imagination and
experiences.
As for the future of my art, by continuing to
create and seek out opportunities to
showcase my work, such as the platform
you've offered, I hope to connect with more
people and share my art with a wider
audience. Ultimately, I aspire for my artworks
to find their way to new places and touch the
lives of people from diverse corners of the
world.

33 Hat-titude - Soft pastels, 12'’x9.5'’, 2023

Magda Bond is an emerging artist working mainly with the medium of analogue
photography and alternative photographic processes. Her creative side emerged early
on, but she decided to pursue other career options available at the time, only to get
back to art within the last few years. The long bottled-up need for creativity resulted in
Magda’s intuitive approach, namely experimenting and trying new techniques out
starting with Cyanotypes, Lith, through the Mordançage process, Caffenol, onto
Pinhole camera and Tintype photography.
Magda lives in Bristol, a very creative city that has some wonderful people happy to
share their photographic expertise with others. She honed her analogue photography
skills with Tim Pearce from Negative Thinking and was introduced to alternative
processes with Sophie Sherwood, Amy Koenig and Martin Edwards from the Bristol
Folk House.

‘’I love experimenting with light-sensitive materials and various chemistry to push the
boundaries of what analogue photography can do to feed my creative side. I find joy in trying
out new things in the darkroom and jumping from one photographic process into another,
experimenting and learning along the way. I love the playful aspect of learning something new
and then trying to combine it with what I already know. Accidental creations are my favourite.
My other major love is the cyanotype process which I regularly expand upon, incorporating
digital transfer film of photos I've taken or adding colour to the paper before covering it with
the cyanotype solution. The joy of experimentation and a drive to learn are the major aspects
which encompass my artwork and push me to create.’’

Boilersuit IX - Cyanotype, A5, 2023

On my mind - Cyanotype, A5, 2023

34
Your journey back to art seems to have been fueled by a "long bottled-up need for
creativity." Could you tell us more about this journey and what ultimately led you back to
art?
It started with photography, digital to be precise. To me, photography became an escape from
reality, then I got into analogue photography, willingly locked away in a darkroom agitating
the trays, and from there I got into alternative photographic practises. Many workshops and
courses later, it turned into this joyous activity that brought out my creative side.
What draws you to analogue photography and alternative processes over digital
photography?
The unpredictability of the process - you never know how your images turn out, or if it’ll work
at all, and that uncertainty is quite freeing to me. Also, with alternative photographic
processes, it’s hard to get the exact same image every time. It’s possible, but then again I don’t
have much patience for faffing with it, that’s why the uncertainty and unpredictability of the
process works well for me, it takes away the pressure of perfection.
How do you approach experimentation in your artistic process, particularly when trying
out new techniques and processes?
I’m nosy by nature and nurture so that helps. I stay open and curious and ask a couple of
questions about what I’m being taught/ shown. That’s the thing, I always start with people, YT
videos are helpful but not when you’re doing something for the very first time. Once I’m
comfortable with a new technique, the experimentation begins.

Self portrait - Analogue with digital tranfer film, A5, 2024

35
Pieces of me - Analogue with digital tranfer film, A5, 2024

Peek-a-boo - Analohue with digital transfer film, A5, 2024

Can you share some examples of "accidental creations" that have become favorites of
yours, and how they have influenced your artistic direction?
I tried to create some watergrams and kept getting poor results. I was getting frustrated and
disengaged so I decided to play with things by adding drops of oil to water. This was a
revelation to me! The images were so different, unique, unpredictable yet fun.
What is it about the cyanotype process that captivates you, and how do you incorporate it
into your artistic practice?
I love the colour, Prussian blue, plus the accessibility of the process – those were my initial
attractions. You don’t need a darkroom, sure you need to avoid coating the paper in the direct
sunlight but you’re not tied down to one place. I create cyanotype images regularly and I feel
the most comfortable with this process.
How do you balance the traditional aspects of analogue photography with the more
modern techniques you incorporate, such as digital transfer film?
“Digital” is not a dirty word to me, I like combining both analogue and digital in my artistic
practice. The balance comes in naturally to me as I generally use the digital transfer film to
show a captured event involving people and/ or animals.
Could you walk us through your creative process when working with different
photographic processes, from Cyanotypes to Pinhole camera and Tintype photography?
I choose objects or settings that I know would work well with a particular technique. How do I
know they would work well? I read a decent amount of books on photography and online
articles. Then I put all of that, plus the knowledge and expertise of the Bristol photographic
tribe, into action and see what comes out. If I like it, I keep going, if I don’t like it, I add
something to it and get positively surprised by the results.

37 Funny face - Cyanotype, A5, 2024

What role does the city of Bristol and its creative community play in shaping your artistic
practice?
The photographic community of Bristol is very approachable and generous with their time
and expertise. They’re happy to share their knowledge and love of analogue photography with
us, the newbies. I must mention here a couple of names that were essential in getting me onto
my creative route: Tim Pearce from the Negative Thinking, Sophie Sherwood, Martin Edwards,
Wendy Leocque and Amy Koenig, all four from the Bristol Folk House.
How do you see your work evolving in the future, particularly in terms of experimentation
and learning new techniques?
The sky’s the limit they say, so I’m hopeful in getting my hands into new creative things. I
already started adding embroidery to some of my photos, I reckon I’ll carry on with that, might
even include pieces of fabric. I’ve got a set of inks that I want to add to my water-oil mix to see
how this will play out. And large format photography or maybe learning the Sabatier effect
(pseudo-solarisation), there’s so much out there!
What do you hope viewers take away from experiencing your artwork, particularly in
terms of the joy of experimentation and the drive to learn that you embody in your
creations?
I’m hoping it’ll make them smile and feel like they can try the technique themselves, that
they’ll see it’s okay to have fun and learn something new, it doesn’t have to be prefect or
pretty, it can just bring them joy, and that the creative processes are for everyone, whether
you think you’ve got talent or not, there’s an immense joy in creating and learning.

38 Summer colours - Ink on paper, A4, 2023

Born in Peterborough in 2001 and later relocating to Middlesbrough in 2011, she is one
of five children, having four sisters and one brother. With eight years dedicated to
studying the arts, she has earned a Bachelor's Degree in Fine Art and a Master's
Degree in Arts Practice, acquiring the skills and knowledge of a qualified artist
practitioner. Currently residing with her parents, she works full-time in hospitality to
support her ongoing arts practice, where she continually creates new imaginative
projects. Her artworks have been exhibited both virtually and physically in various
locations, including Pineapple Black in Middlesbrough, Stockton Library in Stockton-
On-Tees, The Arc in Stockton, The Holy Art, Tebbsgallery, and many others.

‘’Using the process of scanography otherwise recognized as photocopying images as an

alternative approach to photography, images of myself are captured; engaging with emotion
and explicit substance to convey truth to identity by using raw material. Images are slightly
edited for printing, and then with an experimentational approach images are cut, framed, and
scaled. Because I know myself better than any other subject, I know myself better than anyone
else, I purposefully selected myself as my subject and muse, depicting my experiences through
performance and imagery. I am strongly influenced by jenny Saville's artworks, her unique
portraits of raw exposure to the flesh showcasing vulnerability and truth. Thus, capturing my
insecurities and vulnerabilities.’’

Self-portrait
Scanography, 2024

Naked with truth, no

cover no false
presentation. ultimately
a self-portrait capturing
feminine vulnerability
and insecurity. A
captured moment in
time in which I was
experiencing emotional
matters of loneliness
and self-doubt.

39
Your artistic journey has seen you utilize scanography as an alternative approach to
traditional photography. What drew you to this technique, and how does it contribute to
conveying truth to identity in your artworks?
Throughout my artistic practice, I have experimented with a range of materials continuously
trying new things. Mostly, my artwork focuses on the idea of painting and sculpture,
capturing objects' natural marks via scanography; ultimately converting 3D objects into 2D
drawings or paintings. Using the same idea I have placed myself in the centre of the painting. I
found that this technique alone is unpredictable, a quality that drives my art. But also, it
captures reality. In this case, capturing the truth of identity by direct exposure to personal
features, feelings, and expression. Due to the nature of the process, scanography, cannot be a
fraud but a detective into the truth.
As someone who knows themselves better than anyone else, how do you navigate the
balance between self-expression and self-reflection in your art?
No matter the artwork, self-reflection is always an essential part of the process. Continuously
reflecting on technique, methods, and skills and how these can be developed further. For that
reason, self-reflection allows me to navigate through self-expression by supporting my
development of composition, color, and expression within the images. For example; facial
expressions, pose and even lighting. All of which contribute to the depiction of self-expression
throughout my self-portraits.

Self-portrait
Scanography, 2024

40
 Self-portrait
Scanography, 2024

Similarly, these images capture a frozen moment in time. often, I am in my room continuously drowning out reality with music, using my
art as escapism. these aim to capture the discomfort of everyday life and the hold it can take on a spiritual soul trapped in a vesal.
Thus, depicting feelings of loneliness and doubt.

41
Can you elaborate on the significance of using yourself as both the subject and muse in
your artwork? How does this personal connection influence the creative process?
I have an emotional connection to my art, since the beginning of my artist process I have
always been most creative when feeling certain emotions. Experiences and feelings sit in the
mind, playing like a silent movie. These thoughts become a force of expression, a meditation,
generating my own personalized influences. This is one of the reasons why I use scanography;
capturing immediate moments in time when feelings are still fresh and real.
Your artist statement mentions a strong influence from Jenny Saville's portraits of raw
exposure and vulnerability. How do you incorporate these elements into your own
artwork, and what aspects of Saville's work resonate most with you?
What I appreciate most about Saville's work is her ability to capture the raw sensations of
expression. Her portrait compositions are calculated to generate a sense of discomfort and
distress demonstrated through a slight bend in the neck or straight facial expressions;
complimented with her mark-making.
Using scanography I am able to press upon the glass or adjust bodily movement. Thus,
influenced by her distorted portraits, for example, Rosetta II, I also aim to formulate feelings
of discomfort. To add, the majority of Saville's muses are depicted nude. Vulnerable. For that
reason, I wanted to also work in the nude to remove any distractions from clothes or logos
and present myself as me; enabling any vulnerabilities that may arise throughout the
experience.
Moving from Peterborough to Middlesbrough has likely influenced your artistic
perspective. How has your environment shaped the themes and concepts explored in your
artwork?
Firstly, if I hadn't moved then the chances of studying at the Northern School of Art may not
have happened; which has impacted greatly on my practice. Secondly, my life experiences
would have been different, therefore my themes and concepts could have potentially changed.
My experiences of moving and meeting new people and new places have contributed greatly
to how I feel and react. All of which have contributed to my need to self-express and create.
With a Bachelor's Degree in Fine Art and a Master's Degree in Arts Practice, how have your
academic studies informed and enriched your artistic practice?
Understanding the history of art has impacted my artistic practice dramatically. Before
studying, I was traditionally drawing and painting with pencils and acrylic. However, after
much research into artistic movements, Clement Greenberg, Micheal Fried, and Rosalind
Krauss; all in which are great influences. I realized I wasn't restricted to one method of
creativity. For that reason, my artist practice became knowledgeable about the expanded
field, and I started using nontraditional methods such as scaography. Creating new forms of
paintings.
You mentioned working full-time in hospitality to fund your arts practice. How do you
manage the balance between your day job and pursuing your artistic endeavors?
Honestly, it is a struggle; working 9 or more hours a day, five days a week can be tiring. For
that reason, I make art when I can whilst continuously looking for opportunities online or
locally.

42
How does the exhibition environment impact the way your work is perceived by viewers?
My practice investigates both 2D and 3D processes, so exhibiting virtually and physically is
ideal. Of course, this does change how the audience views my work. In physical exhibitions, my
work tends to be larger in an attempt to invade the audience space. I encourage the audience
to interact and experience the work rather than observe from a distance. Likewise, interacting
with the work becomes a smaller experience when displayed virtually. As the audience has to
appreciate the work from a distance. However, these pieces tend to be smaller; exploring other
means of expression such as solitude. However displaying images of solitude virtually
becomes ideal, as individuals can attend the exhibition without the business of the exhibition.
In your creative process, how do you approach the editing and manipulation of scanned
images to convey specific emotions or narratives?
In these recent pieces, I have tried to avoid as much editing as possible as I want them to be as
real as reality. Falsing no features or textures of the image. Giving the audience the
opportunity to consider the real experience and emotions that happened throughout the
process. While also wanting the audience to self-reflect their own solitude.
Looking ahead, what new imaginative projects are you currently working on, and what
themes or concepts are you eager to explore in your future artwork?
Soon, I want to take these images and potentially paint them. I have already begun printing,
cutting, and arranging them physically rather than displaying them digitally. Ultimately,
investigate 2D and 3D versions of my self-portrait.

43 Self-portrait - Scanography, 2024

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 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 use of color create captivating visual narratives, earning him
recognition and acclaim in the contemporary art scene.

"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.

Each presented photograph is 30x20 Inches.

45
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 process when working on "Semi-
that I believe lasts the test of time and detached"?
shapes the medium. So throughout my The early stages of the project are almost
pursuit as an artist, I strive to inherit this completely experimental. I would take my
way of thinking, looking at subjects that camera with me on nights out in Oxford, not
divide while trying techniques that delight. particularly trying to depict anything in
"Semi-detached" represents a departure particular, just capturing fragments of
into new territories, exploring intentional drunken chaos. As the concept began to
camera movement and lens masking. What develop and I grappled with ICM, it became a
motivated you to experiment with these tool for conveying these blurry moments. As
avant-garde techniques, and how do they for the subjects - They present themselves to
redefine traditional photography for you? me once I am semi-detached. Like falling
I find joy in experimenting with various into a flow state, I let my mind loose and let
techniques, from double exposures to light my body do the rest.

46
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 do another layer to the photograph. Using the
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 composition or add a layer of color.
spontaneity takes the reins, and it's a split The concept of "semi-detachedness" is
moment. Other times, the composition and central to your collection. Could you
lighting are very controlled, spending elaborate on what this term means to you
multiple hours trying to get the shot. Mostly, and how it is reflected in your
it's a balance between the two, being in that photographs?
frame of mind brings forth spontaneity. I received some difficult news before
Then, the intentionality carves the rawness starting the project, which spiraled into 6
into something more legible. months of escapism. I found it very hard to
Light painting and color flash gels are key be fully present, and overall, the experience
elements in enhancing your experimental left me feeling rather detached from reality.
approach. How do you incorporate these I had very few people to talk to about what I
tools into your compositions, and what was going through, so I internalized my
role do they play? distress and used my work as a distraction.

47
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
commitment to authenticity hold in your terms of exploring new techniques and
artistic philosophy? themes?
My first mentor/role model within I plan to continue developing my style and
photography always stressed the trying new techniques, looking for
importance of getting as close to the final unexplored territory. The less explored a
result as possible in-camera. This really territory is, the more excited I am to explore
stuck with me, and now in a world of it.
Photoshop and Artificial Intelligence... I Lastly, could you share any upcoming
think it's important to point out that projects or exhibitions that we can look
everything I capture is created in-camera. forward to?
Your work invites viewers into a realm of I'm thrilled to announce that my debut
visual poetry. What do you hope viewers photography book, inspired by my
take away from experiencing your character-building project, is in the works!
photographs? While I'm still fine-tuning the details, I can
My aim is to raise these topics for the viewer hardly contain my excitement for its
to contemplate through their own frame of upcoming release. Stay tuned, as I aim to
reference. I try not to impose an experience unveil this captivating collection by summer!

48
n o t e s :
Self-portraits | Special Edition | VOL 44 | May 2024 | Tbilisi, Georgia