AUGUST, 2024 VOLUME 48

COLLECT ARTMYSTICAL WORLD

SPECIAL EDITION
‘NOTHING HERE’ BY HANZHI ZHONG
 INSIDE
Richard Kenton Webb 05
Kathy Wray 12
Aravind Enrique Adyanthaya 17
Hanzhi Zhong 24
Dorienne Carmel 29
Kirsi Vahtera 36
Anisa Mosaiebiniya 42
Duwenavue Sante Johnson 46
Marianne McCarthy 52
Ana Priscila Rodriguez 58
Gen Doy 64

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 Introduction
Welcome to Volume 48 of our art magazine, a special edition dedicated to exploring the
enigmatic and captivating theme of the ‘Mystical World.’ As we delve into this ethereal
realm, we invite you on a journey that transcends the ordinary, venturing into the realms of
the unseen, the unexplained, and the magical. In this edition, we celebrate the artists who
dare to venture beyond the mundane, capturing the essence of mysticism through their
imaginative and evocative works.

The concept of a mystical world has fascinated humanity for centuries. It is a domain where
reality intertwines with fantasy, where the boundaries between the tangible and the
intangible blur, and where the ordinary transforms into the extraordinary. Mysticism evokes
a sense of wonder, curiosity, and contemplation, urging us to look beyond the surface and
explore the depths of our consciousness and the universe. It is within this space that art finds
its profound and transformative power.

In this special edition, we have curated a diverse array of artistic expressions that encapsulate
the mystical world. Our featured artists employ a variety of mediums, from painting and
sculpture to digital art and photography, each bringing their unique vision and interpretation
to the theme. Their works not only enchant the eye but also provoke thought and
introspection, inviting viewers to embark on their mystical journeys.

As we explore the mystical world through the eyes of these remarkable artists, we are
reminded of the transformative power of art. It can transcend the limitations of language and
logic, to evoke emotions and memories, and connect us with the deeper, often elusive,
aspects of our humanity. This edition serves as a celebration of that power, showcasing
works that not only mesmerize but also inspire and provoke.

We invite you to immerse yourself in this special edition, to let your imagination wander, and
to discover the myriad ways in which the mystical world manifests itself in art.

We hope that this journey into the mystical world leaves you with a renewed sense of
wonder and a deeper appreciation for the boundless creativity of the human spirit.

Enjoy the exploration.

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Richard Kenton
Webb
Richard Kenton Webb is a British artist and educator. He is one of the few British artists trained at
both the Slade and the Royal College of Art, studying under and alongside many well-known artists.
He carries these conversations in his DNA. Webb has taught at many top art colleges in the UK.
Having lived in Gloucestershire for 35 years, he moved to Plymouth in 2020 to join the team at Arts
University Plymouth as Subject Leader for BA (Hons) and MA in Painting, Drawing, and
Printmaking. Webb has been awarded several prizes and residencies. In 2016, he was shortlisted
for the John Moores Painting Prize, and in 2020, awarded first prize at The London Sunny Art Prize.
Then, in 2022, he was invited to the prestigious Josef and Anni Albers Foundation Residency in
Connecticut USA. Whilst in America, he embarked on a suite of 72 drawings for his Manifesto of
Painting. In 2021, Webb completed 10 years of work dedicated to a Conversation with Milton’s
epic poem Paradise Lost -128 drawings, 40 paintings, and 12 relief prints. This led to a commission
of 12 drawings in response to Milton’s poem, Lycidas, for the Milton Society of America; a chapter in
The Synergies of Drawing and Painting Paradise Lost, Milton Across Borders and Media, OUP
(2023); and a solo show at Milton’s Cottage in Chalfont St Giles to mark 350 years since Milton’s
death. Webb’s work links color and narrative, fusing his drive to share, teach, and inform. Webb
exhibits internationally and has works in private collections around the world. He is represented by
Benjamin Rhodes Arts, London where he recently had both solo and two-man shows.

Ambrosial I - Oil on linen, 121x305cm, 2017 -5- The Second Silence - Oil on linen, 100x214cm, 2016
My work is about hope, wonder and colour.

I believe that painting is a human language that will never disappear. The materials and our imaginations
fuse into visual poetry, communicating a hidden realm. This is how an artist can make visible that which
might not necessarily be seen. I have been on a pilgrimage into colour. Colour is paint. I make all my paints
from pigments. I’m exploring the meaning and mystery of each colour as a metaphysical conversation. Whilst
teaching at the Slade School of Fine Art in London in the early 1990’s, I posed the question ‘Is colour a
language?’. From 2000 to 2005, I went on to create 22 diptychs representing a Colour Grammar; then, 22
sculptures as Colour Forms; and from 2007 onwards, explorations into Red and Orange, then a Warm / Cold
Contrast, Yellow, and then a Light / Dark Contrast (my Conversation with Milton’s Paradise Lost) - 128
drawings, 40 paintings and 12 relief prints. The colour Green has been my subject since arriving in Plymouth,
culminating in my thesis, A Manifesto of Painting.
To know colour is to probe the heart of the human condition. For me, colour is the language of love –
heavenly colours and earthly colours, expressing the language of God. I have dedicated my life to a response
to colour as a language because colour transcends the Holy of Holies. I’m excited about where this prophetic
imagination could take me. This is what William Blake calls ‘the creative imagination’, in direct opposition to
the synthetic imagination. As Blake puts it, ‘Jesus the imagination’ as opposed to ‘Satan the selfhood.’
I see myself in this English tradition of William Blake and Samual Palmer and I am attempting to fathom the
depths of inspiration, psyche, and spirit to express my love for my Creator.
I am looking forward to exploring blue and then violet very soon. Finding the personality and breadth of a
colour’s identity is a great journey, a pilgrimage of my soul, searching into the eternal imagination of the
living God. It is only when I am fully submerged in a colour that its wonder, beauty, and sublimity open like a
flower. This is how I can respond honestly and with revelation to what I find and receive.

For me, this is an immersion into the soul and poetry of colour. This is my pilgrimage.

The Cloud of Unknowing

Oil on pigment board, 85x60cm each, 2018-2023

Triptych: The intimacy of a family's encounter with God.

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Can you elaborate on how themes of hope, wonder, and colour shape your artistic vision?
It’s always started with colour. My pilgrimage into colour has triggered a deep sense of wonder and
hope. So, it’s all interlinked. I’m in wonder at the unique quality of each colour – each so very
different. This moves me to dream and yearn for something ‘other’, outside and opposite to what
we hear about in the world around us.
You have a unique approach to colour, treating it as a metaphysical conversation. How did this
concept evolve, and what does it mean to you personally?
Because I make all my paints, colour is matter, not light. So, colour becomes a physical, embodied
and unique experience. This inspires associations and meanings concerning what Emmanuel
Levinas calls ‘The Other’. I created my Colour Grammar which I have used to teach since 1998. After
my exhibition called ‘The Colour of God’ in 2000, I made 44 paintings exploring the Grammar of
Colour. I wanted to look at each colour family. For example, I explored and mapped all the pigments
within the family of red. I felt the presence of archetypes, or what Plato called ‘ideas.’ I then made
22 metaphysical forms of the perfection of each colour.
Your 'Conversation with Milton’s ‘Paradise Lost' resulted in 128 drawings, 40 paintings, and 12
relief prints. What was the most challenging aspect of this extensive project?
The hardest part of this was the fall of mankind in Books IX and X. It was such a challenge to
explore two deeply connected personal relationships – one with my partner and the other with God.
Also, how could I possibly deal with such a familiar narrative and turn it into a living reality? My
solution was to put the central characters into a theatre – a play within a play. I imagined Adam and
Eve as actors performing a story that they thought could change at any point. However, their
theatre had become real. For me, this was a living, breathing and intimate response. You need to
know that this was an integral part of my journey into colour because I was exploring the light / dark
contrast of good and evil.
Can you discuss your experience of creating 72 drawings for your 'Manifesto of Painting' during
your residency at the Josef and Anni Albers Foundation?
I arrived at the Albers Foundation with 100 sheets of paper, some sticks of charcoal and a few
pencils. I left two months later with 72 drawings expressing my philosophy as an educator and
artist. In a way, this is my PhD, in my language, outside of words. The Albers Foundation is situated
in a huge, rocky wood, next to a national park. Just five minutes away from my studio was a bunker
containing the inspiration for the work of Josef and Annie Albers. Free to roam, I braved the woods,
despite the warnings of a bear. This is what two months of undisturbed space and time can do for
an artist.

-7- Plymouth Comet - Oil pigment on plywood, 75x229cm, 2023

Your journey into exploring the colour green culminated in your thesis, 'A Manifesto of Painting'.
What insights did you gain from this deep dive into a single colour?
I’ve been deep-diving into every colour since 2007. Ultimately, every colour has an over-riding
personality which I try to explore and uncover. In one word, green is language.
How does this spiritual perspective inform your creative process?
In 2000, I had a retrospective exhibition called ‘The Colour of God’. It was like a pilgrimage to a
heavenly tabernacle. Inside that tabernacle was a holy place where love dwells. I saw that symbolic
arc of colour as a task to define. That’s what I’ve been trying to do since then. I try to communicate a
metaphysical conversation – God’s language in colour.
Your dedication to creating your paints from pigments suggests a very hands-on approach. How
does this practice enhance your connection to your work?
It’s humbling to be able to make my paints from the pigments provided by the earth. It feels so right.
I allow each colour to talk to me. I watch and wait for something to happen. And then, an alchemy
takes place. My imagination combines with the physical matter and all my senses to express
something truly surprising.

-8- Epiphany of the Other - Oil pigment on plywood, 183x214cm, 2023

You have been influenced by the English tradition of William Blake and Samuel Palmer.
How do these artists inspire your exploration of imagination and spirituality?
I remember the first time I saw Blake’s work. He sits within the English landscape and
poetic traditions. I’ve always been drawn to the landscape as a metaphor. This is where
Palmer comes in. Palmer was a pupil of Blake. Both were very English visual poets. My
work is also informed by Dante, Shakespeare and Milton. Like Blake, they comment on the
human condition and ask us to consider injustice on both macro and micro levels. Blake saw
the creative imagination as a great attribute. He completely understood how the human
imagination and the materials can become one. Matter is not inert or separate – we have
the power to transform matter into genuinely remarkable visions. Blake was a true prophet.
This is integral to the artist’s calling – seeing and communicating universal themes and
values like integrity, dignity and respect.
Your recent focus has been on the colours red, orange, yellow, and green. What excites
you about exploring blue and violet next in your journey?
I’m excited about the unknown. Plato called this the wisdom of not knowing. Each time, I’m
starting a new journey into a new colour. I never know what lies ahead. Blue and violet are
my two favourite colours. I’m looking forward to getting stuck in because they are both so
deep and complex, at the heart of creation.

The First Silence

Oil on linen, 185x274cm, 2016

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How do you ensure that your viewers can connect with deeper meanings in your art?
It’s a bit like having a child. Each painting, drawing or print has a life of its own. Each belongs
somewhere with someone. I can’t control that. Each piece of work is a transitional object and
eventually, it becomes a separate entity to me. I just hope that each piece of work ends up where it’s
meant to be. Each work should create a fresh conversation with the people who encounter it,
wherever they are in the world.
As an educator, how do you integrate your artistic philosophies and techniques into your
teaching at Arts University Plymouth?
I aim to be generous with my knowledge and experience. I believe that painting and drawing can be
taught. I aim for literacy in the six visual languages: line, space, form, movement, tone and colour. I
want to pass this on to the next generation. I’m constantly pushing myself into the unknown, and
this is what I expect of my students. I aim to give students a solid foundation based on empathy for
materials. From there, they can build the confidence and skills to communicate their content and find
their unique voice.
How do different cultural contexts influence the reception and interpretation of your work?
I believe that painting is a human language that will never disappear. I also believe that colour is a
universal language. If we can’t speak the language, we can at least connect with that culture
through our visual poetry. As a result, painting can cross borders and communicate a hidden realm.
Artists have the potential to transcend borders and speak directly to the human heart, wherever
that person lives. It’s always so interesting to hear the different responses to my work. This is why
painting will never die and will always be relevant as a fine art discipline.

- 10 - Body and Soul - Oil pigment on plywood, 102x140cm, 2023

Contraction & Tzimtzoom

Charcoal & White chalk on paper,

75x229cm, 2019
The Golden Compass

The Eyes of God on the Sea

Linocut,
42x60cm, 2015
Nothing is hidden from the knowledge of God.

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 Kathy
Wray

Remember the unknown

Ink & Pastel on paper, A4 each, 2024 - 12 -
Kathy Wray is a practising visual artist who also writes poetry and regularly teaches, she is
based in Cornwall and has exhibited across the South West. Her creative visual work is
inspired by somatic movement and expression through emotional connections and states of
mind - exploring themes revolving around loss and abandonment. She researches history
and cultural impacts of oppression upon society. She practises meditation, qigong and
experiences through spending time in nature.

The Impacts Of Things Buraq White Horse Different Paths Of The Snake

Ink & Pastel on paper, A4 each, 2024

‘’I am a freelance Visual artist, working alongside within the multidisciplinary processes of improvised dance
movement and poetry. I run regular life drawing and art workshop classes in and around Plymouth. I also
draw portraits in community settings in a fun and fluid way with ink and wash at local markets and events.
My practice involves drawing, painting, printing, mixed media, layering, and collage, in experimental and
painterly sculptural ways - with reference to film stills and photographic imagery from my own dance somatic
movement exploration work. I experience the drawing process through blindness and touch, revealing to the
depths of what’s hidden by mark making through entering different energies in drawing, in self and
proximity. I explore the untamed body as a alive creature as nature reclaiming a sense of itself from the deep
impact of a loss of the primitive, experiential, and cultures from the ancient, trance, ceremony, song, etc. in
the notion as the bodily expression is all that is left when everything else is taken away with a sense of place
that nature grows back in places unmanaged. I have a deep clairsentient emotional connection to universal
loss, unrest, suffering and cruelty, confinement as well as psychological internal mind states of captivity
being stuck in layers of cycles of emotional thought processes in one’s mind. These themes continue into my
writing which I am able to reference everyday life as well as what's bodily, as movement through
interconnected senses and metaphor, which I endeavour to continually draw upon visual inspiration and from
the richness of my writing practice. I am able to delve into the imaginal, with an experiential connection to
history and narrative, beyond reality. Visually and contemplatively observing and responding to natural
animal, creature, and flower forms in nonliteral and indirect ways. I continually reference and research
inspirations from literature, history, music, freshness of arts and culture, narrative, sense of place, and
adventurers.
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How do your experiences with somatic movement and expression influence your visual artwork?
The intention is focused upon the continual slowing down of the breath when moving without
reaching a particular position, in this same way a mark can be made on paper without any intention
for what an outcome might be.
Can you describe the relationship between your visual art and poetry?
The narrator of the poet is the same figurative sculptural energetic form as my visual art pieces -
where I project and create and become the sensory, emotive experiential embodiment. I fit words
together to create a metaphor and meaning with a rhythm that as well connects to everyday life
details. In a similar way to the process the collage of magazine pictures together to create
abstracted forms and detailed patterning.With the same themes of location, colour, figure, nature,
etc. These collages then progress to inform my painting and drawing processes.
What themes of loss and abandonment do you explore in your work, and how do these themes
manifest in your art?
The concept of loss is connected to more universal impacts of the loss of nature and our past
cultural connection to life and nature. The feeling of abandonment is through locations, where there
is freedom in the experience of an isolated place, I connect this to the inner mind into the body, as
nature reclaims an urban space.
How has your research into history and culture impacts your creative process?
I have a clarsentient approach to understanding and interpreting historical moments that are often
overlooked, the polarisation of the past and how it’s shaped society today - this deep unrest within
fuels a progress in my work.

When Growth Takes Over - Ink & Pastel on paper, A4, 2024 - 14 - Living With The Mind- Ink & Pastel on paper, A4, 2024
In what ways do meditation, qigong, and spending time in nature contribute to your artistic
practice?
They all bring disciplined freedom along with many other mindfulness practices; yoga, breathwork
etc these help me keep on the path to deepen creative energies and open up inspirations,
imagination and intuition.
How do you incorporate improvised dance movement into your visual art?
I both reference movement film stills of my own improvised dance with lighting from photographs
as well work from the physical and mind internal feelings of movement through my body. I also
collaborate with other dancers to model. I enjoy exploring this from both representation and
creating visual works from my mind.
What do you find most rewarding about teaching life drawing and art workshops in Plymouth?
I enjoy facilitating and allowing others creativity, guiding, assisting and directing others to their
individual needs and goals in meeting a potential for everyone's creative strengths. I enjoy meeting
new creative like minded people, a network and creating a safe supportive nurturing accepting
environment that I am part.
How do you approach drawing portraits in community settings, and what do you enjoy most
about this practice?
I enjoy the giving exchange in drawing portraits and how this becomes a process for me, the
experience of the sitter pausing their time. I enjoy the unique interactions with different people as
well as embracing the challenges it brings - it's quite an intense experience to be so focussed.

Unfaded Memories - Ink & Pastel on paper, A4, 2024 - 15 - Head Of The Heart - Ink & Pastel on paper, A4, 2024
Can you explain your experimental techniques involving drawing, painting, printing, mixed
media, and collage?
By using many layers of materials and combining different art media together I can push boundaries
and make discoveries, allowing movement in processes and bringing the materials to life to inform
and lead the making of the work.
How does your exploration of somatic movement and blindness impact your mark-making
process?
It connects to the inner bodily and mind, internal feelings when creating in a sensory and visceral
way through touch and experience through process-led sensitivity in mark making. In taking away
visual senses, like working in the dark, can focus and heighten the other senses, as well as
responses to music.
What does the notion of the "untamed body" represent in your work, and how do you convey
this concept visually?
The untamed body is where the figure or form moves with no inhibition and the visual works can
then become their own entities, wild and animalistic, this is a way of reaching and revealing a
rawness - untamed. I see this through fashion photography where the narratives can be evoked, I
find inspiration here. I try to convey this through loose, free, mark-making.
How do you address universal themes of loss, unrest, suffering, and confinement in your art and
writing?
I simply address these themes in a spiritual, emotional, and imaginary way.
What role does the natural world play in your creative practice, and how do you capture its
essence in your work?
I bring the imagined and real aspects of the
natural world into my work. I draw in nature,
observe movement, capture geometric forms
and patterns. I am particularly drawn to
natural history; animals, eyes, beauty, flowers,
folklore, mythology, mystery, etc
Can you discuss your clairsentient emotional
connection and how it informs your artistic
expression?
The knowledge of suffering, whether the
experience of humans or other animals, stays
with me. I hold on to this, connect to hurt and
upset, I communicate this through my work on
this emotional level.
How do you draw inspiration from literature,
history, music, and culture, and incorporate
these influences into your art?
I am interested in story-telling and many other
cultural expressive art forms. I research,
sketch, write and focus on unique details that
resonate with me, this all influences my
practice.

- 16 - Hiding The Other Way Around - Ink & Pastel on paper, A4, 2024
Aravind Enrique Adyanthaya

Stories

(from the series “infinite houses”)

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infallible houses 1
There were twenty-eight dormitories and a waiting room in the indigo house. The dormitories were
octagon shaped. They lie against each other, in a beehive plan. The floor was of one type of tile.
There were no doors. There were mosquito nets. The ceiling was so washed out that its color could be
that of earth or of night.
People remembered their dreams in the indigo house. Details. And furthermore. According to Pliny, in
order to incite premonitory dreams in the Incubator of Lebadeia, the visitor was shrouded in a white
cloth and thrown to an abyss carrying honeyed cakes to feed the serpents. There were sequential
ablutions.
In contrast, the oracular operation in the indigo house was much simpler. Only to sleep. To sleep in this
house.
Lie in a room. Even without undressing. Dream. Even with your eyes open. Speechless. Close your eyes.
Note that the preferred position is face up.
There are no bathrooms in the indigo house. So that the sleepers (the visitors, the seers) must venture
out to the ponds of miasmas of adjacent patios. Sleepwalkers drown. Sleep then is not casual. The
future is not casual.
You are lying face up one night, thinking that dreaming is the house, the ambit of the house, its
multiplicity of rooms, of bodies, of mosquito nets (maybe). And you ask yourself, can a dream be
contained in a fiction? Isn’t there a particular quality of being, of existing in a dream that can never be
completely reclaimed when awake? Can the dream experience be truly translated to an alert state?
(Analogously, can memory be translated to reality? Or are we dealing in fatal strategies?) In this vein,
the dream can never fully be its recount (a story, this story) but always something else, paradoxically
only comparable in its complexity not to the character of its rudimentary recreation but to the intricate
nature of lived reality itself. Thus, the inevitable conclusion, dreams cannot predict the future (they
cannot be simplified into a prospective narrative). The only possible mechanism to give the impression
of prophecy is for the dream to become tangible (to vibrate in such mysterious harmonics with the
walking reality) that it becomes ipso facto the future.
A pregnant woman in a floral dress is standing up in the waiting room of the indigo house. All seats
have been taken. She has worked all morning in a textile factory of the Essex-Delancy district. She has
walked through gothic urban landscapes. There might be hours before she is assigned a room for
dreaming. But she falls asleep, standing, untimely. She dreams. She dreams that the son she is
carrying will be a light, a splendor.
This is enough. She does not wait for a sleeping chamber. She leaves. She writes down the dream and
gives copies to her family. But in doing so, imprisoning the dream in the confines of a narration (a
written story) she cancels it, undoing her son’s happy future (the boy is devoured by hares).*

*Let us analyze this outcome. If it’s true that the woman robs the original happy ending dream of its
efficacy by turning it into a mere tale, it’s also true that the woman’s story and its unhappy ending are
part of yet another story which I have narrated. It might seem that in order for the dream to escape the
story that contains the story, the ending should now be happy. However, if we add yet another
metanarrative layer, considering this note in itself as a tale about the tale of the house that contains
the tale of the woman, this will lead again to an unhappy ending and thus ad infinitum, as we elaborate
commentaries on commentaries. This dynamic seems to evoke dreams inside dreams (adjacent
realities, passing from one to the other through awakenings). It somehow also resonates with the
disposition of the rooms in the indigo house.

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inalienable houses 1
The yellow house provided a place for writing.
At Margarite Duras’ Neauphle-le-Château residence it was the room with the blue armoires on the
second floor; for Virginia Woolf, the lodge at Monk’s House in Rodmell; at Nara Mansur Cao’s apartment
in the neighborhood of La Víbora, it was the kitchen; then, a sombre Japanese toilet at Junichiro
Tanizaki’s.
“The world is coming!”, read the headlines.
“The world beyond is coming!”
The world is a synthetic fiber hooked to an obsidian spinning wheel in the vestibule of the yellow
house.
(It tenses.)
[It runs. (It breaks.)]
(It tenses.)
(So-)

indifferent houses 1
In the house, there was always a washing or a drying machine on, a copier reproducing papers, a
blender producing refreshing beverages: a sensation of movement and time.
Among the presences in the emerald house, there was a Boddhisatva. The Boddhisatva’s power was
immense. He would spend his time consulting The Three Worlds according to King Ruang and drawing
out mucus and eating it. Stereotypically, he had a big belly and smiled.
One day, a creature comes to the house, a vampyr.
The vampyr sucks the Boddhisatva and proceeds to suck all the equipment in the house. His stomachal
veins protuberate.
To the vampyr’s astonishment, the house remains operational, in spite of the collapse of its machinery.
Then the poor vampyr attempts to suck the house. But he is unsuccessful.
This dénouement points to different readings: the house was tease and punishment for the vampyr (and
for the Boddhisatva); the house was nibbana for the Boddhisatva (and for the vampyr); the house did
not have the slightest concern for the Boddhisatva, nor for the vampyr, nor for the apparatuses, it gave
a rat’s ass.

innocent houses 1
The blue cadet house was a hotel room.

involuted houses 1
You could not walk in the fallow house.

incommensurable houses 1
The ultramarine house was a model for terraforming.

invoked houses 1
The green house was a song. The melodic progression, dramatically beautiful, that is, poetic, that is,
almost unfinished.

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inviting houses 1
It was rumored that the moiré house, an art nouveau building in the sector of San Telmo in Buenos
Aires, Argentina, is one of the earthly gates to hell. It contrasts with other infernal accesses [with the
flaming gas crater of Darvaza in a desert in Turkmenistan (“the Shinning of Karakum”), the Cave of the
Sybil near the Vesuvius, Pluto’s Portal in the ancient city of Hierapolis, the ghost city of Fengdu in the
Yangtze]. A relative domesticity characterizes it.
This unpretentiousness does not stop the moiré house from being, like the other doors, a tourist
magnet. Visitors come attracted not only by the unanimous promise of the underworld, but by the tango
classes for cisgender couples offered here.

inert houses 1
When one mentions that the cobalt house contains interdicted words, the image of a dilapidated ruin
covered with obscene graffiti comes to mind. This is not the case. The forbidden words are not visible
on the walls or in any other element of the house. They are not embedded in its mass. Nor do they
conform to secret codes, nor to any symbolic spatial sequence. In fact, it is unclear how the hidden
words are manifested in the minds of those who occupy the cobalt house for a certain amount of time.
It is nevertheless perceived that it is only by virtue of simple presence of the humans in the house that
the discovery of the words is possible (even when the persons are continuously blindfolded, with their
ears shut with wax or inside sensory deprivation chambers or in virtual reality immersions).
What – you might ask– is the nature of these words? They are familiar. Absolutely pedestrian. But at
the same time fleeting, unpredictable, impossible to generate in the human consciousness at that
moment without the agency of the dwelling.
People are unfleshed when they receive these words, they become something like outlines or skeletons.
The cobalt house is an example of modernist architecture. Its lines are simple, its ornamentation,
sparse. It features an interior garden and a geometrical staircase.

informal houses 1
In the prefecture of Ōita in the province of Kyūshū, the Mountbatten pink house, the whole house, was
known as a tsukumogami. Tsukumogami are objects that disuse, desire or time have brought a psychic
cosmic charge to. Found among the yōkai, they are different from the kami -deities-, the yūrei -ghosts-,
the oni -ogres or demons from the Heian period, common in the old Heian capital, today Kyoto-, and
the kanjū, giant monster of Japanese cinema. They are also referred as bakemono, “anomalous and
shifting thing.”
So it happened that one day the house, while remaining a house, transformed itself into a head. People
began to ascribe to it smoke, grinding eyes, seeds, gums, fulgurant tentacles.
The Mountbatten pink house (under another appellation) appears in an illustrated scroll (the
Hyakkiyagyō emaki) of the Muromachi period attributed to Tosa Mitsunobu (¿1434?-¿1525?).
It was temperately feared, being mainly a source of wonder and anecdote. It is mentioned by Margarita
Guerrero and Jorge Luis Borges in the editio princeps of their bestiary.

invigorating houses 1
Some people place the lavender house in the Caribbean, in a Caribbean republic; others, in a Nordic
region, among tundra of ice; still others, in a space of ambiguity where tombstones and waves share r

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rough edges, salient features. Everyone agrees that on one side the house faces the sea, while on
another it faces the cemetery.
A patakí or Yoruba story tells how Yemaya, then goddess of the Cemetery, invites the Ocean deity Oya,
to look at her house. Oya emerges from the sea and from a nearby hill watches the cemetery. She
exclaims: “What a beautiful and well-ordered terrain, with so many little white constructions!... The hill
near the shore from where Oya and Yemaya watch the graveyard would be the future site of the
lavender house. “Let’s exchange places!”, proposes Yemaya. And eagerly, they trade dominions. That is
how dust and sea mist touch and create the other horizon, the human horizon. That is how Yemaya
becomes lady of the seas and Oya becomes patron of cities of dead. Upon entering through the gates of
her new kingdom and finding a proliferation of carcasses with the substance undone, Oya mounts in
fire, fury and spirals and charges her sister Obba (Saint Rita) with digging the holes and her sister Yewa
(Saint Cecilia) with completely decaying the bodies.
Oya – Opéré làlàóyàn. A gbé agbòn obì siwaju oko. O-ni-ìl ós ìn Oya rúmú bi eni gbé ike Oya òpèrè, ‘wá
gbà je, kò dé inú.
Carnations of a very pointed color, almost bidimensional, like stickers, grew in front of the house. The
plants had the faculty of remaining fresh over the tombstones and when thrown to the sea.
Yemayá Olokun atara mawá Oyu debeke o ma won, ba li ko si sere si Iyá Omío.
Yemayá Olokun atara mawá, osaya bi. Olokun, Iyamí Yemayá-
I lived in the house in 1952 after the Great War where I lost one arm and both legs. I had many
experiences with the so-called “phantom limbs” (feeling my missing extremities still there). I loved the
house for the wind coming from both sides. There I had the revelation that I was the son of both,
Yemaya and Oya. This was before the spread of the religion through the Florida and New York diaspora.
I often swam in the sea or ran through the cemetery. But when I flew, I was a one arm torso with a
head. I think that the location of the house helped me to understand the nature of the ghost, of having
two mothers.
The peacock feather would surge from the soil in the market, from the salt in the water or from the
border (the house).
The worst thing about the campaigns is the return home, the retrievable losses, the mystery of the
hours.
Today is September 7. The eve.
Today we must bury a body (in earth or water). It’s a believer.
But it can happen tomorrow.

- 21 -
Aravind Enrique Adyanthaya is a Puerto Rican experimenter, writer, and stage director of
East Indian Ascent. He is the founder of Casa Cruz de la Luna, a multidisciplinary artistic
project with a double base: San Germán, Puerto Rico, and New York City. As a theatre
artist, his work has traveled to Cuba, Perú, Mexico, England, Spain, the Dominican Republic,
the Netherlands, the United States and through the island. As a writer, he has been
recipient of: the Casa del Teatro Playwriting Award (Dominican Republic), the Asunción
Prize for queer drama (Pregones Theatre, New York), the National Playwriting Award from
the Puerto Rican Institute of Culture, the Alfaguarra/Santillana Award for Young Adults’
Literature (Puerto Rico) and first prizes in short fiction from the Puerto Rico PEN Club and
the Puerto Rican Atheneum. This year he will be a resident writer at Yaddo (Saratoga
Springs, New York), a docent affiliate writer at the Playwrights’ Center (Minneapolis), and
will continue to develop “Unbounding [sic] Prometheus” a performance piece exploring
memory, digital writing technologies and disability which began to take shape on
December 2023 as part of an artistic residence in CultureHub (at La Mama, NYC). He will
also explore performatively, literarily, and videographically houses in ruins in small towns in
the Southwest of Puerto Rico, as part of Beta Local’s Máquina Simple Fellowship
sponsored by the Andy Warhol Foundation. Aravind holds a Ph.D. in theatre historiography
from the University of Minnesota’s Department of Theatre Arts and Dance and an M.D.
from Mayo Medical School (U.S.A.).

How does your multicultural background influence your approach to writing and stage direction
in your works?
Language is palpable way in which I approach hybridity and multiplicity. I can write the initial
version of a text in Spanish or English and engage in a process of cross translation, moving
sequentially from one language to the other, letting each language´s syntaxis, sonority, semantics,
tone, inform the other´s. In Spanish I explore ¨minor¨ trends, dialects, jargons, regionalisms. I don´t
know any of the (East) Indian languages´ scripts, but I would often interact with the writing at a
purely graphic (almost asemic) level (both on the page and as material writing onstage).
Can you elaborate on the vision and mission behind Casa Cruz de la Luna, and how it operates
between San Germán, Puerto Rico, and New York City?
Originally, it was a very old house (¨una casa¨) in the corner of Cruz and Luna streets in the small
town of San Germán. It still is. As our core artists began to work in New York City, the
multidisciplinary project began to operate in both places. It reflects a tendency of migration and
moving between the island and the mainland shared by many contemporary Puerto Rican artists.
Your work has been showcased in various countries. How do different cultural contexts impact
the reception and interpretation of your theatre productions?
Unpredictably. A particularly memorable experience was the presentation of ¨El piano,¨ a text by
Puerto Rican writer José Liboy which I directed with the Casa Cruz de la Luna company in 2007 in
Morelia, Mexico. I think the unusually imaginative (deemed ¨surreal¨) staging of the piece resonated
deeply with the magic substrata of the culture. The overwhelming enthusiasm was reflected in the
audience participation in the performance, their reactions (including 3 press reviews), invitations to
come back.

- 22 -
What themes or elements do you consistently explore in your plays and performances, and why?
Multiple lines of communication (written and verbal) simultaneously onstage, different materialities
of bodies (animal, human, hyper dressed, naked, presential, virtual), intertextual and hypertextual
dramaturgies (plays integrating other texts), non-lineal time; in terms of content, contrasting
perspectives on sexuality, migration, colonization, official and unofficial histories, the mythical and
the mystical.
Can you tell us about the inspiration and development process behind your performance piece
"Unbounding [sic] Prometheus"?
It was a revisitation of my piece ¨Prometheus Bound,¨ which I performed for many years. This
original play approached Aeschylus´ Prometheus Bound by combining spoken and written (digitally
written live and projected onstage) lines of the tragedy with text previously scripted by me, written
automatically at the moment or produced by interactions with the public.
How do you incorporate digital writing technologies and concepts of memory and disability in
"Unbounding [sic] Prometheus"?
As I reapproached the Prometheus project last year after my cerebral surgery, many of the
technologies I used in the previous iteration of the piece became assistive. My diction was muddled,
but my typing speed and accuracy were also diminished. Using both writing and dictation
programs resulted in errors and approximations, the public had to read the performance through
these unstable dynamics. A final segment building collective stories interweaving my fictions with
those generated by Artificial Intelligence and the audience reflected the desire of my almost
physically immobile body to live by connecting.
What do you hope to achieve during your residency at Yaddo and your affiliation with the
Playwrights’ Center?
In terms of writing tasks at Yaddo, I intend to develop a new play tentatively titled ¨Escuela,¨
addressing the current situation of public schools in Puerto Rico through an episodic, fragmented
composition. It would also be an opportunity to operate with my disabilities in a communal creative
setting. At the Playwrights´ Center I will offer an online short seminar on playwriting,
neurodivergence and technology in November.
Can you discuss your upcoming project exploring houses in ruins in small towns in the
Southwest of Puerto Rico? What do you aim to convey through this exploration?
It questions attitudes towards decaying structures in urban contexts. It tries to suggest an
alternative valuation to that of ¨public nuisance¨ (¨estorbo público¨) attributed to these houses.
Through performative, videographic, photographic and literary engagements we aim to highlight the
visibility of the ruin as a generative space of memory, imagination, perception: an alternative to and
a subversion of the imperatives of progress.
How do you balance your careers in both theatre and medicine, and do these fields influence
each other in your work?
I’m currently focused on theatre and writing as a career. But as the way I conceive and engage in
art is becoming more entangled with my medical conditions, my medical background has proved
illuminating (almost as an ¨outer perspective inside of myself. ¨)
With multiple awards and recognitions, which accolade holds the most significance for you?
I am fond of Pregones´ Theatre Asunción Prize (New York City) given to my play ¨The Faculties¨ in
2008. The award was for a play text which engaged in queer views and experiences, it involved a
public reading component. The connection to the community (fellow writers, actors, director,
audience) was amazing.

- 23 -
 Hanzhi
Zhong

- 24 -
Hanzhi Zhong is a Chinese artist based in London. She completed her MA in Illustration at Kingston
University and has developed a distinctive style in fine arts and illustration. Her work explores
themes of life, death, and human emotions, drawing deep inspiration from the impermanence of life
and its connection to nature. Hanzhi's art, expressed through painting, printmaking, animation, and
sculpture, is a journey into the soul. Often featuring the human form and skeleton, her work
symbolizes a desire for deconstruction. "I attempt to strip away the flesh, touching upon the shape
of the soul." Through meticulous detail and profound symbolism, Hanzhi's art captures life's beauty
and complexity. She has exhibited her work in shows across China, the UK, and internationally,
including the Tactile Sublime Exhibition at Dodomu Gallery in New York, the Colour Show Exhibition
at Open Art Spaces in London, and the AWOL x CCA Exhibition at Comme Ca Art in Manchester.
Hanzhi has also been featured in various art publications, such as Artron, Art China, and Suboart
Magazine.

‘’Hanzhi Zhong's art delves deep into the human psyche, traversing mediums such as painting and printmaking. Her
compositions skillfully evoke spiritual depths, inviting viewers into poetic realms where emotions flow freely. Through
meticulous detail and profound symbolism, Hanzhi captures the intricate beauty of life, guiding viewers on a journey of
self-discovery and connection with the boundless universe. Her work holds significant influence, particularly within the
realm of psychology, revealing her acute understanding of inner thoughts and emotions. By exploring emotional and
mental commonalities, she enriches her spiritual insights. Her art transcends mere visual appeal, liberating spectators
and leading them towards spiritual awakening. While grounded in cultural context, this approach sometimes invites
subjective experiences and relies on textual interpretation. Nonetheless, encountering her work fosters a profound
human connection, showcasing how artists like Hanzhi thrive in overcoming such challenges.’’ Xianwu Hu, Critic

Internal Censor 1 - Monoprint, 42x29.7cm, 2023 - 25 - Internal Censor 3 - Monoprint, 42x29.7cm, 2023
How does your background in Illustration from Kingston University influence your distinctive
style in fine arts and illustration?
Studying Illustration at Kingston University has deeply impacted my understanding of the purpose
behind my creations. It taught me to channel my initial passion into unique artistic expressions,
emphasizing personal vision over external preferences. Each artist's presentation is distinct, shaped
by our experiences and deep reflections, and we must preserve and develop this uniqueness.
Can you elaborate on how the themes of life, death, and human emotions are depicted in your
various artistic mediums like painting, printmaking, animation, and sculpture?
I use the human skeleton to depict life and death, symbolizing the vessel through which we engage
in all activities. By incorporating skeletal and primal elements, I aim to provoke contemplation on life,
nature, and the emotional dimensions often manifested in our physical forms. Beginning with the
human body as a central motif, I explore how these themes resonate across various mediums: static
painting captures the beauty of immobility, animation explores dynamic possibilities, and sculpture
allows surreal ideas to become tangible.
What inspired you to explore the impermanence of life and its connection to nature in your
work?
A few years ago, I began practicing Buddhism, which introduced me to the concept of
impermanence and deepened my appreciation for life's beauty. This notion—that everything is
temporary and constantly changing—resonates deeply with me. In nature, I observe dynamic
changes, like flowing rivers and the birth and decay of flowers, vividly illustrating impermanence.
Embracing impermanence enriches my ability to cherish and deeply experience life, inspiring my
creative work profoundly.

Internal Censor 4 - Monoprint, 42x29.7cm, 2023 - 26 - Internal Censor 5 - Monoprint, 42x29.7cm, 2023
How do you approach the concept of deconstruction in your art, particularly through the use of
the human form and skeleton?
I experiment with and challenge the integrity and norms of the human body by deforming and
recombining anatomy and bones. This disruption aims to question established perceptions through
disassociation and integration with other elements. I aim to reveal multiple symbolic meanings of
the body in art by challenging idealized representations. Bones symbolize not only death but also
the essence seen through obscurity, inviting audiences to interpret my work's ambiguity and explore
life's impermanence.
Can you describe the process and techniques you use to achieve the meticulous detail and
profound symbolism in your pieces?
Meticulous detail is hidden in our daily lives. When working on a specific theme, I pay close
attention to how this theme manifests in people's lives. For instance, with themes of human
emotions, I ask others to share their thoughts and stories. Combining these insights with my own
experiences, I often find commonalities. I then translate these into symbolically meaningful scenes.
How do you aim to "strip away the flesh" and touch upon the shape of the soul in your
artworks?
Meditation is a crucial part of my creative process, akin to peeling away layers to glimpse an inner
light. Personally, I've always been curious whether beyond flesh and blood, there exists a "soul" or
other immaterial entities within us. This notion manifests in meditation and more concrete artworks
where I dissect skin, organs, and bones, aiming to explore the spiritual essence by stripping away
physical layers. It's one of my approaches to spiritual exploration.

In what ways do you think your art

captures the beauty and complexity of
life?
In my art, I strive to capture the essence
of life's beauty and complexity by
depicting common human emotions
and moments that resonate universally.
Through careful meditation and
introspection, I translate these emotions
onto canvas, believing that genuine
expression can deeply connect with
others. By exploring impermanence and
the subtleties of human experience, I
aim to evoke a profound sense of
empathy and appreciation for the
richness of life.

Internal Censor 2
Monoprint, 42x29.7cm, 2023
"Internal Censor" is a series of monoprints created in 2023 by
Hanzhi Zhong, reflecting her inner journey filled with complex
emotions, portraying a chaotic state within. This collection
emerges from a life-changing period that intimately acquainted
Zhong with various feelings, including anxiety disorders. The
images delve into the visceral experience of anxiety, drawing
inspiration from somatization, where emotional turmoil
manifests physically.

- 27 -
How does your Chinese heritage influence your artistic perspective and themes?
My Chinese heritage deeply shapes my artistic perspective and themes. Inspired by China’s long-
standing traditions and philosophies, my works often feature themes and elements from Chinese
Buddhism, incorporating symbolism and spiritual motifs. My interest in the topics of life and death
stems from the profound understanding of these concepts in Chinese Buddhist culture. This
tradition imbues my art with a reverence for the natural world and the cyclical nature of life, marking
the beginning of my artistic exploration of existence.
What role do human emotions play in your creative process, and how do you convey them
through your art?
In my practice, I primarily focus on anxiety, which has significantly impacted my life and become a
muse for my work. When anxiety arises, I first feel physical changes like a churning stomach or
headaches. This translates into my art as displaced body organs or imagined intrusions, like a worm
in my brain. Painting these physical reactions effectively conveys the intensity of my emotions.
Can you share any specific experiences or inspirations that have significantly impacted your
artistic journey and the development of your unique style?
An experience of silent meditation in the forest allowed me to find inspiration amidst the misty
woods, intimately connecting with nature's elements. I was drawn to the textures, sensations, and
personalities of trees and soil, perceiving a profound spiritual awakening through all my senses. This
led me to blend the details perceived in nature with the unique emotional depth of human existence.
Since then, every artistic creation has echoed the tranquility and wisdom I discovered during that
forest meditation.

Mahavira - Risograph, 42x29.7cm, 2023 - 28 - Dream - Digital drawing, 42x29.7cm, 2024

Dorienne
Carmel
"Within my art, I unlock the door to a world
where imagination reigns supreme. Every stroke
of the brush or sculpting of clay tells a story
waiting to be discovered. Join me on this journey
into endless possibilities, where anything can
exist, and where the inner child within us all
finds its voice."

Dorienne Carmel is a versatile artist

based in Hertfordshire. She is known for
her whimsical ceramic sculptures and
vibrant oil paintings. With a boundless
imagination, she brings colorful
characters to life, infusing her work with
humor and storytelling. Dorienne's
artistry transcends mediums, leaving a
lasting impression on viewers and
earning acclaim in prestigious
competitions. Dorienne Carmel's
creations delight with their playful charm
and intricate narratives. Her studio is a
hub of creativity, where she crafts 3D
sculptures and vibrant paintings that
capture the essence of her imaginative
universe. Open to commissions, Dorienne
invites collaboration to bring
personalized whimsy into the lives of her
audience. Whether through gallery
exhibitions or bespoke projects, she
welcomes opportunities to share her art.

Astral Explosion

Mixed media on canvas,

101x41x2.5cm, 2015

- 29 -
 Sunset

Oil on canvas,
183x183cm, 2017

In this square painting on canvas, I've crafted a vast and vibrant fictional land bursting with colour and imagination. The large canvas will
require proper support and Framing to showcase its glory. Within this fantastical realm, strange and wondrous flowers and fruits abound,
each unique creation of the imagination. These botanical wonders grow from hanging vines throughout the painting, weaving a mesmerizing
tapestry of life and energy. Shards of light playfully dance and shimmer from various points amidst the foliage, adding a touch of magic and
mystique to the scene. Each beam of light illuminates the beauty and intricacy of the flora, inviting viewers to immerse themselves in the
enchanting world I've created. This painting celebrates creativity and wonder, a sprawling landscape where the imagination knows no
bounds. It promises to captivate and delight viewers with its rich tapestry of colour, texture, and light.

- 30 -
 Onions Make You Cry

Oil on canvas,
41x41x2.5cm, 2016

Transported beneath the water's shimmering surface into a world of enchantment and wonder. To the left of the canvas, a solitary figure
stands, their hair cascading gracefully into the aquatic depths, blending seamlessly with the fluid environment. As the figure gazes into the
watery expanse, strange round shapes resembling glowing onions drift lazily along the currents. Each orb emits a soft, iridescent glow,
casting ethereal hues of colour that dance and play across the submerged landscape. Toward the left-hand side of the canvas, a pair of
figures, identical in appearance, float gracefully amidst the undulating waves. Like the solitary figure, their hair flows freely in the water,
creating an elegant veil that shrouds their features. At the bottom of the painting, the waves seem to rise and fall in gentle undulations,
carrying with them a scattering of enigmatic onion-shaped orbs. These orbs seem to follow the path of the waves, their luminescent glow
illuminating the watery depths with a sense of otherworldly magic.

- 31 -
How did your artistic journey begin, and what initially drew you to ceramics?
My artistic journey began with a deep fascination for visual storytelling, which first
manifested through painting. I always loved the way colours and shapes could convey
emotions and narratives. However, I felt an irresistible pull towards something more tactile
and three-dimensional. This led me to explore ceramics, where I discovered the joy of
working with clay. The ability to mould and shape raw materials into a tangible piece of art
was incredibly appealing to me. The hands-on, transformative nature of ceramics truly
captivated me and set me on this path.
Can you describe when you realized working with clay was your true passion?
I vividly remember the moment when I realized that working with clay was my true passion.
I was in the studio, wholly absorbed in shaping a piece of clay. As I worked, I felt an intense
connection to the material, almost like it was an extension of my hands. The tactile
sensation, the flexibility, and the potential for endless creativity were exhilarating. When I
stepped back and looked at the piece I had created, I felt a profound sense of
accomplishment and joy. It was at that moment that I knew clay was my true calling.
Transforming a simple lump of clay into a beautiful piece of art felt incredibly fulfilling and
magical, and I knew I wanted to dedicate myself to this craft.
What have been some of the most memorable moments or achievements in your career?
Some of the most memorable moments in my career have been closely tied to the
recognition and awards I've received- to date 35. One standout moment was when I was
first exhibited at a central gallery and saw my work displayed alongside other renowned
artists. The validation and appreciation from the art community were incredibly gratifying.
Receiving my first major award was another highlight. It was not just the award itself but
the acknowledgement of my peers and the broader art world that felt so rewarding. Each
award has a special place in my heart, representing milestones in my journey and the hard
work and passion I've poured into my art. Another unforgettable moment was at the
Affordable Art Fair in Battersea. As a newcomer to the Richard Goodall Gallery, I was in the
catalogue, and my sculptures drew significant attention and praise. The positive feedback
from collectors and art lovers was inspiring and reinforced my dedication to my craft. These
experiences have been affirming and motivated me to continue pushing the boundaries of
my artistic expression.
How do you approach the experimentation process in your work, and what
unconventional perspectives or techniques have you recently explored?
I approach experimentation in my work with an open mind and a willingness to explore the
unknown. The process begins with curiosity and a desire to push beyond traditional
boundaries. I often start with a concept or an idea that intrigues me, and then I let my
intuition and the material guide me. I'm not afraid to take risks and make mistakes, often
leading to unexpected and exciting discoveries. Recently, I've been exploring the fusion of
ceramics with other materials like wire and driftwood. This mixed-media approach adds
depth and complexity to my work, creating unique visual and tactile experiences.

- 32 -
Can you share more about the unpredictability of working with clay and how this element of
surprise influences your creative process?
One of the aspects of working with clay that exhilarates me the most is its unpredictability. Clay has
a life of its own; it responds to touch, temperature, and time in ways that can be both surprising and
inspiring. This inherent unpredictability means that I often start with a vision but remain open to the
journey the clay takes me on. For example, how glazes interact with the heat during the firing
process can produce unexpected colours and textures. Sometimes, what might seem like an
imperfection can become a unique and beautiful feature of the piece. This element of surprise keeps
my creative process dynamic and fluid, encouraging me to adapt and embrace change rather than
strictly adhere to my initial plan. This unpredictability pushes me to experiment and innovate
continuously. It reminds me that art, like life, is full of surprises and that sometimes, the most
remarkable creations come from the unexpected. Embracing this aspect of working with clay has
taught me to appreciate the beauty in the unplanned and to find joy in the process as much as in the
finished piece.
Your work is showcased in renowned galleries like Fitch, Fellows, and Tamisa Gallery. How has
exhibiting in these venues impacted your artistic career?
Exhibiting in renowned galleries like Fitch and Fellows and Tamisa Gallery has profoundly impacted
my artistic career. These prestigious venues have provided my work with an invaluable level of
visibility and credibility. Being featured in such esteemed galleries has allowed me to reach a
broader and more discerning audience, including collectors, critics, and fellow artists who appreciate
fine art. The exposure has increased my sales and opened up numerous opportunities for
collaboration and networking. It's incredibly gratifying to see my work appreciated in these spaces,
and it has boosted my confidence and motivated me to continue pushing the boundaries of my
creativity. Moreover, my feedback and interactions at these galleries have been immensely inspiring.
Hearing firsthand how my pieces resonate with viewers and collectors has given me new insights
and ideas, fueling my passion for creating art that connects with people on a deep level. Overall,
exhibiting in such prestigious venues has been a significant milestone in my career. It affirms my
efforts and inspires me to continue striving for excellence in my work.

Tidal Muse - Ceramic, wire, 44x10x9cm, 2024 - 33 - Ocean embrace - Ceramic, wire, 29x18x13.5cm, 2024
 Day Tripper
Ceramic, wire, metal,
40.5x38x10cm, 2023

What role do nationwide fairs and art shows play in your journey as an artist, and how do these
experiences differ from gallery exhibitions?
Nationwide fairs and art shows have been pivotal in my journey as an artist. These events offer a
unique platform to connect directly with a diverse audience, allowing me to receive immediate
feedback and personally engage with art lovers and collectors. Unlike gallery exhibitions, where the
environment is more formal and curated, fairs and shows provide a dynamic and interactive
atmosphere. This setting encourages spontaneous conversations and allows me to explain the
stories and inspirations behind my work, creating a more intimate and impactful experience for
myself and my audience. Participating in these events also exposes my work to a broader audience,
including those who might not typically visit galleries. It's a fantastic opportunity to network with
fellow artists, exchange ideas, and stay updated on current trends in the art world. The sense of
community and camaraderie at these fairs is incredibly inspiring and motivates me to evolve and
push the boundaries of my artistic practice continually.

- 34 -
How do you push the boundaries of ceramics, and what motivates you to continuously seek new
ideas and innovations?
Experimenting with new techniques, materials, and forms. I love exploring how different textures
and finishes can transform a piece, and I'm always looking for innovative methods to incorporate
into my work. This might mean blending traditional ceramic methods with modern technology or
finding inspiration in unexpected places like nature, architecture, or other art forms. What motivates
me is the endless possibilities within the medium. Ceramics is incredibly versatile, and there's
always something new to learn or a new direction to explore. The excitement of discovery and the
challenge of mastering new skills keep me energized and passionate about my work—additionally,
the feedback and interactions I have with those who appreciate my art fuel my creativity. Seeing
how my pieces resonate with others and hearing their interpretations often sparks fresh ideas and
pushes me to keep evolving as an artist.
Can you elaborate on the sense of magic and satisfaction you feel when transforming a simple
ball of clay into a work of art?
There's truly a sense of magic and profound satisfaction in transforming a simple ball of clay into a
work of art. When I first hold that raw, unformed clay, it's like having a world of endless possibilities.
The process of shaping and moulding it is both meditative and exhilarating. Each movement of my
hands brings the piece closer to the vision I have in my mind, and there's something incredibly
fulfilling about seeing that vision take form. I feel a deep connection to the material as I work, like a
conversation between the clay and myself. It responds to my touch, and I can sense its potential.
This dialogue is a blend of intuition and technique, and I find pure joy in this creative flow. The
moment the piece starts to reveal its final form is particularly magical. It's a beautiful blend of
anticipation and discovery, as if the artwork had been hidden within the clay all along, just waiting
to be uncovered. The final touches, whether the addition of intricate details or the application of a
glaze, bring everything together, and I can step back and admire the transformation. This process
reminds me why I fell in love with ceramics in the first place. It's the ability to turn something so
simple into something that can evoke emotion, tell a story, or capture a moment. That sense of
accomplishment and the joy of creation keep me inspired and motivated to continue exploring and
pushing the boundaries of my craft.
What future avenues or projects are you excited to explore in your artistic practice, and how do
you envision your work evolving in the coming years?
I'm incredibly excited about the future avenues and projects I plan to explore in my artistic practice.
One area I'm particularly eager to delve into is experimenting with new ceramic techniques and
materials. There's so much potential in exploring how different clays, glazes, and firing methods can
create unique textures and finishes that push the boundaries of traditional ceramics.
Another exciting avenue is developing a series of themed collections that tell a cohesive story. I'm
interested in creating works that explore deeper narratives and themes, allowing me to delve into
storytelling through my art.
In the coming years, I envision my work evolving to incorporate these new techniques while
continuing to explore the themes that have always inspired me. I want to create pieces that
captivate visually and resonate on a deeper emotional level, sparking conversation and reflection.
Ultimately, my goal is to keep pushing the boundaries of my art, staying curious, and continually
seeking out new ideas and innovations that keep my work fresh and exciting. The journey of
discovery in art is endless, and I can't wait to see where it takes me next.

- 35 -
Kirsi
Vahtera
She is a Finnish artist, sculptor, and master blacksmith from Lahti, Finland. She graduated
as a designer from LAB University of Applied Sciences and a master blacksmith from Axxel,
Karjaa in 2013. She draws inspiration for her work from Finnish nature, history, and
folklore, with a significant influence from the Kalevala epic, its symbolism, and Finnish
mythology, exploring the link between them.

XV-807
Iron, forged and welded,
100x150cm

The piece has been made with a pinch of humor. XV-807 is a killer robot known from the world of classical movies and games. The
emotionless machine made from cold metal, that has been programmed to work as the fore fighter of evil. The robots from our darkest
fears have different components that efficiently work against the soft human tissue. The worst fears come from physical touch against a
metal monster running towards you, not so much from the massive guns. The mental image of a metal monster that cuts flesh is crippling,
but it is getting more familiar every day due to the growing supply of entertainment and technology that relates to those services is taking
over more and more space. Materials: iron, brass, aluminium

- 36 -
During 2021-2024, she worked on The Crownation series, which includes forged metal
crowns, jewelry, and photography. This exhibition has been displayed in five galleries in
Finland and one gallery in the Netherlands, with plans to continue in several more galleries.
The series now includes 14 crowns, with two more to be added in the next exhibition. Her
work has been showcased at the International startup and tech event Slush 2017, and she
has been the main decorative/set designer artist for the Tuska open-air festival for four
years. In 2020, she was nominated as Art Blacksmith of the Year by The Artist Blacksmith’s
Association of Finland. In 2022, she had 12 exhibitions in Finland, and in 2023, she had 11
exhibitions. The most important exhibition of 2023 was held in the summer at Juminkeko,
one of the largest national centers dedicated to the Kalevala, aiming to preserve and spread
the cultural heritage related to the Finnish national epic. The exhibition, titled "Precious
Daughters of Kalevala," dealt with equality and mythical femininity, focusing on the women
of the Kalevala. Currently, she is working on her own exhibitions, collaborating with several
art groups, and participating in educational culture events.
Stevie
Iron, forged and welded, 130x150cm
An organic planet gradually changing towards more machinery is an ordinary phenomenon that provides an endless source of inspiration
for horror and sci-fi movies. The development of artificial intelligence and the ability to replace body parts with inorganic parts spur up
fear, doubt, and uncertainty, but also curiosity and hope. The piece Stevie has been influenced by the Biomechanical 2014 tour. The
connection between organic tissue and mechanical parts forms an unknown creature that is horrible in all its inhumanity, even though its
outer form has nothing that could be detected as threatening. The piece connects elements distinctive to the steampunk world,
gearwheels distinctive to industrialism, and parts of a machine connected to the traditional horror catalog. Materials: iron, brass,
aluminum.

- 37 -
‘’In my work, I use the malleability and strong nature of iron as a means of expression. I mainly work by
forging the traditional way, but I also use modern metalworking methods. Traditional techniques and tools
are the closest to my heart because of their long history and the storytelling intertwined with mythology.
Over the years, the Kalevala and Finnish mythology have become an increasingly important part of my work.
In addition to metal, I also work with white photography and multidisciplinary art, which offer the
opportunity to create different spaces, worlds, and moods.
In ancient times, knowledge was passed on through poets and stories. I hope to be able to offer something
similar with my works: to awaken, through the means of art, to see the warmth and strength in our roots.
Brings stories to life. Touches a dormant appreciation for our own heritage.’’

Väinämöinen Iron, forged and welded, 100x130cm, 2017

- 38 -
How do Finnish nature, history, and folklore inspire your artistic creations?
Finnish folklore offers an inexhaustible treasure trove for imagination and creative work. Inspired by
the spirits of nature and the magical atmosphere of the forest. The collection is so vast and
fascinating that I feel it is my duty to do my part to keep it alive and to continue the storytellers'
work in my own way.
What specific elements of the Kalevala epic and Finnish mythology influence your work?
The entire Kalevala collection fascinates me a lot, but I especially wanted to highlight the women,
goddesses, and spirits of Finnish mythology. I hope my works reflect a strong connection with
nature, the strength of our roots, and the holiness that lives in Finland's forests.
Can you describe the creative process behind your Coronation series and the significance of the
crowns?
There were countless goddesses and spirits in ancient Finland. Many of them are already forgotten,
but some are still amongst us.
The Crownation wants to bring these feminine creatures into the spotlight and give them back their
crowns. I start the process from the crown noting the symbolism associated with each character. I
photograph crowns with their wearers in places that speak to me.
How do you balance traditional forging techniques with modern metalworking methods in your
art?
I love working with traditional forging methods but I also use welding and grinding techniques to be
able to create larger entities. Forging is the technique where my hand is most visible, but modern
technologies allow for a more versatile use of the material.
What was the inspiration behind the "Precious Daughters of Kalevala" exhibition, and how does
it address themes of equality and mythical femininity?
The woman of the Kalevala is a powerful character who both acts and inspires greater deeds. The
paths and actions of all the heroes of our national epic are intertwined around her. The most
precious daughters ensemble presents women as just that – undeniably precious. As meaningful

and powerful beings. In the artworks, I

try to bring out the different roles of
femininity and the Kalevala stories
through wrought iron and delicate
details. I wanted to capture pieces of the
stories of women in my own family, the
everyday life and values of a vanishing
generation, and to present the legend in
a contemporary way. Alongside the
Kalevala, the themes of the exhibition
were femininity and equality.

Iku-Turso

Forged iron, 100x100cm

Iku-Turso is one of the mythological creatures of the Finnish
national epic poem Kalevala. He is described to be a sea monster
with almost unlimited powers.

- 39 -
How has your experience as the main decorative/set designer for the Tuska Open Air Festival
influenced your artistic practice?
Tuska festival has been a very fun experience. I have wanted to take art from galleries to various
events and low-threshold spaces to make it possible to experience art even for those for whom it is
not an everyday custom, and to increase awareness of the world of mythology and epic poems of
Finland.
In what ways do you incorporate storytelling into your sculptures and blacksmith work?
Stories come out in my works through the language of the forms and the material. I try to include
interesting and recognizable details in my works that make the voices behind the stories heard.
How does the use of irons malleability and strength enhance your expression of Finnish
mythology?
The blacksmith in Finnish mythology is a mythical, even divine figure who has been involved in the
creation of the world and forged the sky. As a material, iron is primal and has its own gritty sound.
Due to its nature, it is the most inviting material for my art.

The crown of Päivätär

Iron crown and photorgaphy. Part of The coronation-series based on caracters of the Finnish mythology. Pohjola, 2023
The crown of Pohjola (North)
Forged Iron, 20x28cm, 2024

The crown of Kuutar

Forged Iron, 20x28cm, 2024

- 40 -
What role do white photography and multidisciplinary art play in your overall artistic vision?
I lead the Mythological Finland project, where we photoshoot the events and characters of the
Kalevala and Finnish mythology. Through this, photography and multidisciplinary art, for example in
the production of filming equipment, have become a big part of my work. Photography and a wider
selection of materials offer more opportunities for my storyteller's palette.
How do you aim to awaken an appreciation for Finnish heritage and roots through your art?
I hope to bring strength and wisdom from our ancestors to everyday life with visual and wearable
elements like my Maidens´s Axe-silver jewelry. I tell stories with my work and try to bring them to
life for all to enjoy.
What challenges and rewards have you encountered while working on the Crownation series?
I think my most remarkable challenge is to find time for everything I want to create. I can't go with
less than I expect from myself so it takes a long time to create each crown, outfit, and details. The
most rewarding part of this project has been very personal and beautiful feedback. My audience has
found this project empowering and wants to be part of The Coronation series. It makes me very
happy.
Can you share more about your experience and the significance of being nominated as Art
Blacksmith of the Year in 2020?
The Blacksmith of the Year award in 2020 was a great honor and I am very grateful for it. For me, it
was particularly significant because I felt that my art had been seen and evoked emotions.
What are your plans for the Coronation series and other upcoming exhibitions?
The Coronation series will be continued in the fall of 2024. I am also actively working with the
sculptures and collaboration pieces of the Naisväki - Creatures of power-group with ceramist Sanna
Pöyhönen and photographer Ana Priscila Rodriguez. Together, we draw from the world of Finnish
mythology and strong female characters and organize exhibitions. I have booked several exhibitions
but trying also to find time for free creativity
How do you approach creating different spaces, worlds, and moods in your multidisciplinary art?

In addition to iron, I use different materials to

create spaces and atmospheres both in
exhibitions and shooting situations. I am
fascinated by the movement of light on the
surfaces of different materials and in nature.
What message or emotion do you hope
viewers take away from your work that blends
traditional craftsmanship with Finnish cultural
heritage?
I hope that the audience finds warmth and
strength in my works. That I can arouse interest
in mythology and folklore and offer the
opportunity to identify with the characters and
their stories. Bring a touch of mysticism and
magic to the moment

Yellow waterlily
Forged iron, 30x40cm, 2024

- 41 -
Anisa
Mosaiebiniya
Anisa Mosaiebiniya is a contemporary artist whose innovative approach bridges the gap
between traditional painting techniques and modern technology. Born and raised in Tehran,
Iran, she has always been captivated by the interplay of nature, memory, and human
experience. She studied contemporary art at the MOMA Institution, where she developed a
unique artistic voice that blends abstraction with tactile creativity.

Whispers of Past Memories - Oil on canvas, 60x80cm, 2022

Anisa has exhibited her work in numerous galleries and art shows throughout Iran. She has
developed a distinctive use of guitar strings to create textural and rhythmic patterns in her
paintings. This innovative technique, along with a deep thematic exploration of place,
memory, and environment, has brought her into a new realm of her artistic life.

- 42 -
‘’My work delves into the intricate relationships between memory, place, environment, and technology. By employing a
custom-built machine with guitar strings, I create unique textures and linear patterns that merge the tactile essence of
traditional painting with the precision of modern technology. This fusion symbolizes the blending of natural and digital
realms, reflecting our evolving perception of landscapes. Each piece in my collection invites viewers to project their own
memories and experiences onto abstract landscapes, evoking personal connections and nostalgia. The use of earthy
tones, serene blues, and rhythmic lines emphasizes the emotional essence of place and the fluidity of memory. My art
captures the tranquility of natural environments while suggesting the pervasive influence of technology. Through
abstraction, I aim to evoke a contemplative and introspective experience, prompting viewers to reflect on their
relationship with the natural world and the digital landscapes that increasingly shape our lives. My work is a journey
through contemporary landscapes, both physical and virtual, fostering a connection between personal memory and
universal experiences.’’
Horizons Unseen - Oil on canvas, 90x90cm, 2024

- 43 -
Can you share how growing up in Tehran influenced your artistic journey?
Growing up in Tehran immersed me in a rich tapestry of history, culture, and diverse landscapes.
This environment fostered a deep appreciation for both traditional art forms and modern
expressions, which I blended to explore themes of memory, identity, and the intersection of nature
and urban life.
What inspired you to study contemporary art at the MOMA Institution, and how did your
education there shape your artistic voice?
The MOMA Institution offered a unique platform to engage with contemporary art's leading voices
and cutting-edge techniques. My education there broadened my perspective, encouraging me to
experiment and integrate modern technology with traditional painting, ultimately shaping a
distinctive and innovative artistic voice.
Your use of guitar strings to create textures in your paintings is quite unique. How did you come
up with this innovative technique, and what does it symbolise for you?
The idea came from my passion for music and its intrinsic connection to art. Using guitar strings
symbolizes the harmonious blend of sound and visual art, adding a tactile dimension to my
paintings that invites viewers to experience the art through multiple senses.
How does your work bridge the gap between traditional techniques and modern technology?
My work bridges this gap by incorporating digital themes and textures created with unconventional
tools like guitar strings, reflecting the influence of technology on our perception while maintaining
the essence of traditional painting techniques.
In your artist statement, you mention the blending of natural and digital realms. Can you
elaborate on how you achieve this fusion in your artwork?
I achieve this fusion by juxtaposing elements of nature with urban and digital motifs. For example,
"Virtual Isolation" contrasts natural textures with the depiction of virtual reality, highlighting the
coexistence and tension between these realms.
How do you see the role of technology in shaping our perception of landscapes, and how is this
reflected in your art?
Technology transforms our perception of landscapes by altering how we experience and interact
with the world. This is reflected in my art through the use of abstract forms and digital motifs, which
challenge viewers to reconsider their relationship with the natural environment.
Your pieces invite viewers to project their own memories onto abstract landscapes. How do you
think this interactive element enhances the viewer's experience?
This interactive element engages viewers on a personal level, allowing them to connect their
memories and emotions with the artwork. It creates a unique and intimate experience, making the
art more relatable and evocative.
The use of earthy tones, serene blues, and rhythmic lines is a hallmark of your work. What
emotions and themes are you aiming to convey through this palette?
My palette aims to evoke tranquility, introspection, and a sense of connection with the natural world.
The earthy tones and serene blues create a calming atmosphere, while the rhythmic lines suggest
movement and the passage of time.
How do you balance the tranquility of natural environments with the pervasive influence of
technology in your artwork?
I balance these elements by creating compositions where natural and technological aspects coexist,
sometimes in harmony and sometimes in tension. This reflects the duality of modern life, where
technology both enhances and disrupts our connection with nature.

- 44 -
What do you hope viewers take away from the contemplative and introspective experiences you
aim to evoke through your art?
I hope viewers leave with a deeper appreciation for the subtle interplay between memory,
technology, and the natural world. My goal is to inspire reflection on their personal experiences and
the broader impact of technology on our lives and environments.
Virtual Isolation
Oil on canvas, 102x102cm, 2024

"Virtual Isolation" explores the profound impact of technology on human interaction and perception. Depicting figures immersed in virtual reality, the painting
highlights their physical proximity yet emotional and mental distance. Created using guitar strings to form its distinct vertical streaks, the piece symbolizes
the digital barriers and isolation that technology can impose. The muted color palette and abstract background further emphasize the disconnection between
the individuals and their physical surroundings. This artwork invites viewers to reflect on their own experiences with technology, questioning how it shapes
our relationships and understanding of reality. Through its innovative technique and evocative imagery, "Virtual Isolation" serves as a poignant commentary
on the complexities of modern life.

- 45 -
Duwenavue Sante
Johnson
Duwenavue is highly skilled in hand embroidery and contemporary art, she refuses to
confine herself to a single medium. Her travels greatly influence her artistic style, drawing
inspiration from a rich array of colors, environmental patterns, and textures. She seamlessly
blends various painting and textile techniques, combining the guidance she received
through formal education with the cultural influences that have shaped her. As a teacher
and needle arts professional, she devotes her time to the precision and intricate details
found in Heraldry. She shares her knowledge on symbolic founding values, design creation,
and stitching techniques, and emphasizes the value of craftsmanship through her lectures,
In addition to embroidery and textile work, Duwenavue's artistic expressions find their
natural form in painting and printmaking. Her paintings serve as a platform for dialogue,
employing watercolor and gouache mediums along with handmade stencils to create
textured and vibrant compositions on silk fabric and paper. She places a strong emphasis
on maintaining an eco-component in her art practices. She aligns herself with the slow art
movement while advocating and embodying the values of empathy, diversity, and
community. responsible stewardship of our environment and the spaces we inhabit.
Through her art, Duwenavue aims to foster a sense of connection and reverence for our
world
Duwenavue is an accomplished hand embroiderer and contemporary artist not limited to
any medium. She is Influenced by world travels, drawing from colors, environmental
patterns, and textures. She’s focused on incorporating many styles of painting and textile
work from my formal education guidance and cultural influence. As a teacher and needle
arts professional, she maintains precision and the details found in the art of Heraldry. Her
passion in this field of study is to share the value of craftsmanship and hand embroidery as
wellness. Painting and printmaking are her natural expressions and how the world is
reflected past, present, and future. Her painting focuses on a dialogue using watercolor,
gouache mediums, and handmade stencils for texture and color depth on silk fabric and
paper. A primary objective in all of her practices is to maintain an eco-component that leads
to a slow art movement and for the stewardship of space. Her art career started with an
apprenticeship in Bangkok alongside artists for the Royal Thai national painter,
Chakrabhand Posayakrit, focusing on mural arts at Wat Tridhosthep Worawihan
transitioning to textile arts in Shantiniketan, India, and New Delhi.
She has a Certificate/Diploma from the Royal School of Needlework, UK, and a Diploma in
Luneville, Haute Couture from Ecole Lesage. She completed a Certificate from Atelier
Zardosi, Zardosi Hand Embroidery, in Paris, France, and a Certificate and residency under
Master Hang San Soo, Important Intangible Cultural Property, Seoul, South Korea.

- 46 -
Her art has been shown through the artist-run gallery, Tiger Strikes Asteroid (TSA).
Competition winner for a Solo Show at Abington Art Center, Abington, Pa. along with
being invited to design a Pennant flag for the Delaware River Waterworks 2023
waterworks exhibition. Her recent exhibitions, “36th annual Materials Hard and Soft
exhibition”, Denton, Texas, “The Calm before the Storm” CFEVA, (Philadelphia, Pa.) “
Worry” Soft Machine Gallery, Allentown, “Breathe” CICA Museum South Korea, LaNao
gallery, CDMX, Mexico. Other galleries include Schau Fenster and The National Museum
(Berlin), The Jones Institute (San Francisco) La Chapelle de Sainte Lucie (Marsanne, France),
Shantinekitan (India) The Betsy Ross House (Philadelphia), The Contemporary Jewish
Museum, Art Span, 69 Belcher St, and Cushion Works(San Francisco).

The Sound of Water

Mixed media collage

274x365cm, 2023

A mixed media story based on the sound, movement, and emotion related to water.

- 47 -
 Age

Hand embroidery,
30x22cm, 2022

- 48 -
Can you share how your extensive travels have influenced your artistic style and the techniques
you incorporate into your work?
My travels have given me a sense of shared community and the importance of dialogue in my work.
Engaging with diverse communities and learning from different cultural practices has enriched my
approach to art, making it a platform for shared experiences and collective storytelling. I have
traveled, studied, and exhibited in England, Sweden, Germany, Spain, Thailand, India, South Korea,
Australia, Mexico and extensively in the United States.
Your work blends various painting and textile techniques. How do you decide which mediums to
combine for a particular piece?
As a mural painter who transitioned into textiles, I am always looking for a way to combine my
passions together. Painting is more of a fleeting moment of time while visual embroidery is more of
a captured moment in time and space for me. The heart of the piece always is inspired by texture
and then color.
How did your formal education and cultural influences shape your approach to hand embroidery
and contemporary art?
My formal education came in the way of art apprenticeships rather than university. Initially, I went
into hairdressing because I was shy and lacked confidence. Having a skill, working with people
allowed me time to search out my passions. By traveling, going to museums, and working I learned
about art. Academically I went to school for Communications. I am always learning.

As a teacher and needle arts

professional, what key lessons do
you emphasize about the value of
craftsmanship in Heraldry?
Education, teaching, and the value of
craftsmanship have taught me that
everyone has a story. The closer that
one can build a language to share
one's experiences the more as a
society we grow. Craftsmanship
personally connects me to the beauty
and integrity of the human experience.
Your paintings use watercolor,
gouache, and handmade stencils.
What inspired you to work with
these specific materials and
methods?
Studying art in India and Thailand
showed me that pigments and stencils
can be found everywhere. I like the
portable nature of these materials and
the quickness of execution.

Not Forgotten, still regal.

Hand embroidery,
30x22cm, 2024

- 49 -
How do you integrate eco-friendly practices into your art, and why is this important to you?
The first step in this practice was eliminating packaging and plastic as much as possible. I’ve aligned
my practices with the principles of the slow art movement, emphasizing sustainability and
responsible stewardship of resources. My art reflects a deep reverence for the natural world and a
commitment to preserving it. Preserving nature and humanity are one of the same.
Can you discuss your experience apprenticing with Royal Thai national painter Chakrabhand
Posayakrit and how it impacted your transition to textile arts?
I never met Chakrabhand Posayakrit personally, but his artisans allowed me the honor of working
with them while they painted. This was an amazing experience since a Thai mural artist spends
sometimes up to 10-20 years painting one whole project. I was given the opportunity to create my
own renderings using their techniques, mix paint, act as a tour guide, and be part of the day-to-day
experiences. The painters told me their histories and the stories of many Thai artists while
encouraging me to continue my studies in India. I am very grateful for the kindness and patience the
Thai artists shared with me, their only request was to pay it forward.

Your exhibitions span

various countries and
cultures. How do these
diverse settings influence
the themes and techniques
of your work?
I am influenced by the
creative nature, and
ingenuity of all of the people
and cultures that I engage
with, learning more about
myself, my bias, and my
unique processes. Right now
I am exploring themes of
migration, identity, and
resilience, drawing from the
lived experiences and
histories of the communities
I engage in, adding layers of
meaning to my work, making
it resonate on both a
personal and hopefully a
more universal level.

Balance

Painting,
50x40cm, 2023

- 50 -
What does the slow art movement mean to you, and how do you embody its principles?
Slow art has many avenues, since the pandemic it's been about fostering connections and building
community. I engage with local artisans, collaborate with other artists, and participate in community
projects. These interactions enrich my work and allow me to contribute to a shared cultural heritage.
I also dedicate a significant portion of my time to community service, promoting art as a means of
connection and social cohesion.
Your art often fosters a sense of connection and reverence for the world. How do you hope
viewers will engage with and interpret your work?
We can't all be the most famous of artists but, we can all have and find our own creative voices
while sharing in the world. I hope that when people engage with and interpret my work they are left
with freedom, optimism, and a sense of beauty, while also having questions that open up new
pathways of communication leading to peace and balance.

- 51 - Past and Present - Hand embroidery, 50x50cm, 2024

Marianne
McCarthy
Marianne McCarthy is a multimedia artist exploring the subject of anomalous human
experience. A native New Yorker, McCarthy holds a BFA from The School of Visual Arts and
has completed advanced training in educational modalities from Lincoln Center Education
and Visual Thinking Strategies. McCarthy is a member of the Visual Arts faculty at The
Spence School in Manhattan, and a volunteer artist at LAND Gallery, a day-habilitation
studio for neurodiverse artists. Her work has been shown nationally and internationally
including the recent, acclaimed Creative Spirits exhibition at the College of Psychic Studies
in London. McCarthy enjoys a strong relationship with Curious Matter in Jersey City, NJ
where she has been included in many of their signature group exhibitions and published
catalogs. In 2018, CM presented a two-person show, Not For Life Alone, which included
the work of fellow artist, Victoria Manning. In 2018, Dodging Bullets In The Unseen World
was featured in the Mom Egg Review and in 2021 a survey of her work was featured in the
second edition of The Feminine Macabre. Her work can be found in the permanent
collection of The College of Psychic Studies in London. She maintains a studio practice in
Brooklyn, NY.

- 52 - Red Pyramid - Wet plate collodion on hand fused glass plate, 4'’x5”, 2022
 Areas of human experience that fall outside the range of conventional understanding have
been at the root of my interest, exploration, and work as an artist. Drawing inspiration from
the study of parapsychological phenomena, Victorian-era Spiritualist photography, modern
ghosthunting subculture, mediumship and UFO experiences, I assert the possibility of a
fuller conception of human experience by questioning the need for a hard definition of
reality.
Psychonaut - Halochromed silver gelatin print, 5’’x7”, 2019

- 53 -
What initially sparked your interest in what I had always felt about the connection
exploring anomalous human experiences in between happiness, meaning and creative
your art? practice as it pertains to human experience.
From a very early age, I have been interested in Can you share more about your role and
experiences that, while shared by people experiences as a member of the Visual Arts
throughout the millennia, fall outside our current faculty at The Spence School and a volunteer
consensus understanding of reality. As a very artist at LAND Gallery?
young kid, it struck me as unkind and Spence is an academically focused girls
pigheaded to dismiss people who were preparatory school. While very supportive of
experiencing such interesting things. the Arts, the focus is on more quantifiable
How has your background and education at work- traditional academic pursuits. Years of
The School of Visual Arts and Lincoln Center working in an environment like this has made
Education influenced your artistic practice? me better at supporting my students in their
SVA instilled a solid photographic discipline, but understanding of the need for creative work-
they weren’t keen on cross-disciplinary work, so appreciation for ambiguity and an exploration of
I needed to find my own way later in life. LCE their internal landscape. There can almost be a
was a part of that. The institution itself doesn’t senseless of urgency for them sometimes.
exist in this exact way anymore, but at the time LAND is like an antidote to the hard-headed
their Summer Forums would bring together rationalism of my workplace. It is a place where
artists of all disciplines and educators from the absurd is the norm and humor, healing and
across the globe to learn and put into practice creative work is woven into a seamless,
their protocols around aesthetic education. wonderful fabric. I learn much more from the
These principles changed my entire approach to LAND artists than they ever learn from me.
work as an arts educator and underscored

This Is What Happened - Monoprint with ink and collaged elements, A Herald - Monoprint with ink and collaged elements,
9.5'’ x 11”, 2024 9.5’’x11”, 2024

- 54 -
How do you incorporate elements of co-directors, Arthur Bruso and Raymond Mingst
parapsychological phenomena, Victorian-era are truly visionary, masters of conceiving and
Spiritualist photography, and modern expanding conversations between artists
ghosthunting subculture into your multimedia around fascinating ideas. Their doors are
work? always open for feedback and support. I am
I'm not sure there is a formula for this, it is more beyond fortunate to know them, and to have
about leaving space for these ideas and benefited from their particular brand of genius.
elements to find their own way in. I do the work Can you discuss the significance of the two-
of learning and experiencing, and then I wait to person show "Not For Life Alone" and how
see what comes. your work was presented alongside Victoria
What was the inspiration behind your Manning's?
acclaimed exhibition, "Creative Spirits," at the Victoria and I have enjoyed a nice simpatico
College of Psychic Studies in London? within our artistic practices. Raymond and
I believe the curator, Vivienne Roberts, was Arthur saw this as well and simply created an
seeking to present the work of likeminded opportunity for others to enjoy this as well. It
contemporary artists in conversation with the was a fantastic experience.
work of historical artists from their world-class What themes and concepts did you explore in
collection. "Dodging Bullets In The Unseen World," and
How has your relationship with Curious how was it received by the audience and
Matter in Jersey City, NJ, influenced your critics?
artistic journey and provided opportunities for This work explores the idea that there might
growth? exist a kind of reciprocity between our visible
Curious Matter has been almost like an world and the unseen world, through which
incubator for much of my work, because the spirits or life energies reluctantly recycle.

The Field - Monoprint with ink and collaged elements, 9.5'’ x 11”, 2024 - 55 - The Shack - Monoprint with ink and collaged elements, 9.5'’ x 11”, 2024
The imagery derives from crude sonographic images of two consecutive pregnancies, (my own)
both of which would ultimately end in miscarriage. The piece is consistently met with kindness and
appreciation. The loss of a pregnancy is such a common experience and yet one that is not often
addressed interpersonally, no less lifted to the point of artistic inspiration. Many people have
expressed appreciation for the work and for my perspective on the experience of loss, and
reciprocity with the unseen world.
Above And Below
Monoprint with ink and collaged elements, 9.5'’ x 11”, 2024

- 56 -
What does it mean to you to have your work included in the permanent collection of The College
of Psychic Studies in London, and how does this recognition impact your future projects?
It is quite a shot in the arm to be included in that collection. For artists working in my area of
interest, their collection is absolutely top of the heap! It is vast and deep. Recognition of this kind
does fuel motivation to keep working and expanding. It is a really good feeling.

The Pleaser - Halochromed silver gelatin print, 5'’x7”, 2020

The Archivist - Mixed media collage, 5’’x7”, 2022

Solar Sister 3 - Van Dyke brown print with ink, 6’’x9”, 2021

Seer - Mixed media collage, 5’’x7”, 2022

- 57 -
Ana Priscila
Rodriguez
Ana Priscila Rodriguez Aranda was born in 1974 in Mexico City, resided in The Netherlands
since 1998. She graduated Cum Laude from the Academy of Fine Arts in Utrecht, The
Netherlands in 2006, specializing in Mixed Media and Photography. She has early studies in
History and Graphic Design. Her photographic work is intimate, delicate, and confronting.
With her images, she attempts to create a relatable shore for the emotional and
psychological human experience. Every image is a window to a story using photography as
a medium to create visuals attached to a feeling or an emotion where the viewer fills in the
blanks with their visions. The complexity of the texture and layers in her photographic work
creates the illusion of an old oil painting in each of her works, giving a sense of dark
melancholy, romance, and drama with a tone of classic Baroque. More than a self-portrait,
her work evokes everyone’s drama, journey, and vulnerabilities. The story starts with her
and is followed by the story of the beholder.

The Oacle - Mixed media photography, 21x29cm, 2024

- 58 -
For the artist, this subtle way of communication and interaction brings her stories to life and
allows them to continue inside the heart of “the other”.
Her work, seen as different stories grouped in individual series, is usually linked by the
aesthetic of the signature red detail, symbolizing life, pain, the flow and effect of the body
and soul experience, and ultimately the visual characterization of a living entity interacting
with the characters portrayed on the visual stories. The thread is the red carrier of the
human experience. Ana Priscila aims to call into the inner portals of the viewer, providing
the elements of emotion and confrontation, while leaving the completion of the story to the
beholder, to be filled in with their identification and personal recalling.
Ana Priscila has mastered her own hybrid digital mixed media technique, and she produces
digital and paper collage work, as well as analogue images.
She has exhibited numerous times in The Netherlands, and Europe and participated in
International festivals. She has also been awarded several honorable mentions and
distinctions in diverse international photography competitions.

The Entity

Mixed media photography

29x21cm, 2023

This photo is from the series

"Creatures" shot in the countryside of
Finland. It is a fairy-tale-like vision that
combines the fragile sensitivity of
human presence with the mystery and
depth of Nordic nature. With this work
I explore the influence of the heavy
unknown dark forest upon human
existence and their psychology,
producing a volatile and erratic, almost
irrational reaction to the external
immense force of nature. The human
Soul is exposed to nature and finds a
way to become part of it, challenging
the mental state and providing a
magical and surreal experience or a
glimpse of another realm where the
human Soul is engaged in a journey of
deep introspection, deep silence, fear,
sadness, and cherished fantasies. This
series portrays how human fragility
produces beauty under the dark,
heavy, and overwhelming presence of
Nature.

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How did your early studies in History and
Graphic Design influence your photographic
work and its development?
My earlier studies helped build a foundation for
what I am doing today and prepared me for my
later years at the Art Academy. Through the
study of history, I found a strong sense of
aesthetics in my photography and I continue to
re-use some of the old paper techniques
learned during my Graphic Design years. This is
especially helpful in an era where we are all
used to working mainly using digital resources.
What inspired your signature style? The Wanderers II
Mixed media photography
I grew up with a strong attachment to the old 21x29cm, 2023
school of the Pre-Raphaelite School; I believe
they are still my strongest influence. Dwelling in
From the series "Creatures" was shot in the countryside of Finland. It is a
past imagination and creating melancholic fairy-tale-like vision that combines the fragile sensitivity of human presence
atmospheric sceneries are my tools to construct with the mystery and depth of Nordic nature.

a parallel reality where the viewer identifies

with the story and at the same time enters into
The Gift
the magic of another era, another time, or even Mixed media photography
29x21cm, 2023
another world.
Can you explain the significance of the
recurring red detail in your work?
The red detail can symbolize different things
depending on the viewer; they have the choice
to make of this element what they need to see.
For me it will always stand for the fluidity of life,
with all its sharp corners, pains, happiness,
rebirths, and farewells, this constant flow is
always alive as an element of awareness of life
itself. For this reason, it is essential in each of
my works.
How do you approach creating visuals that
are intimate and delicate yet confronting,
aiming to evoke the viewer’s own emotions?
It all starts with a story of my own and it ends
with the story of the viewer. The most
important and tricky part is to tell the story
without being graphic or too illustrative and yet
stay true to the reality of the message,
regardless of how hard it may sound; it must be
told in a smooth and subtle language, almost
between the lines to give space for people’s
own story to be seen through.

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What role do your background and
experiences living in both Mexico City and The
Netherlands play in your artistic vision and
themes?
Consciously I try not to fall into any nationalistic
distinctions when it comes to my artwork,
However, I always carry with me the weight of
my collective history. I bring my background
through the stories I tell, wrapped perhaps in an
unorthodox aesthetic for my ethnicity and partly
influenced by European artistic standards. In
many ways, my visual language has been
enriched because of my two backgrounds. And The Encounter
Mixed media photography
still today, looking at some of my work I see a 21x29cm, 2023
clear reflection of the dreams and demons I
used to draw as a child. After all, I have become
one with every place I have called home. From the series "Creatures" was shot in the countryside of Finland. It is a
Could you describe your hybrid digital mixed fairy-tale-like vision that combines the fragile sensitivity of human presence
with the mystery and depth of Nordic nature.
media technique and the process you go
through to produce your unique digital and
paper collage works?
The Ritual
I started working with analogue processes and Mixed media photography
also conventional art techniques before 29x21cm, 2023

discovering the digital advantages, now I

combined both in order to find a balance
between a flat image and the use of more
tangible means to retouch my pictures. I start
with a digital photograph and by using
conventional methods like inking, drawing, and
painting I create another layer and a deeper
dimension to that picture, then the same image
becomes photographic again, in an attempt to
bring it all back to the same “plane of
existence”. In my collage work the process is a
bit different, while I utilize my own images and
material, the process is only physical, where the
texture and tangibility of the surface become
the most important part, it is the way the story
is told and it feels more alive. I work with
vintage images, old papers, ink, drawings, and
everything that allows me to layer up different
structures. The collage work is a direct response
to the flatness of my digital photography, they
belong together but they also challenge each
other.

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The Wanderers I - Mixed media photography, 21x29cm, 2022

From the series "Creatures" was shot in the countryside of Finland. It is a fairy-tale-like vision that combines the fragile sensitivity of
human presence with the mystery and depth of Nordic nature.

The Giode - Mixed media photography, 21x29cm, 2022

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How do you balance the interplay between I would my work to be experienced, not only to
your personal story and the viewer’s be seen, and that experience to be powerful
interpretation in your photographic enough to move an emotion and create a
narratives? resonance inside the viewer’s Soul. That
Selecting a title that enhances my narrative can somehow entering that little window into
be very helpful, but still, in many cases I don’t another dimension allows them to enter at the
succeed. That is probably the most satisfying same time small forgotten of their own and
part and also at times the most frustrating: the somehow find a moment of solace,
fact that I have no control over the confrontation, or even rejection towards what
interpretation and experience of the viewer they see.
against my own narrative. However, working in
a series of images attempting the same story The Dance

creates a sense of order and unity, which helps Mixed media photography
29x21cm, 2023
the viewer to follow the path I want them to
follow but at the same time keep their own This photo is from the series "Creatures" shot in the countryside of Finland.
It is a fairy-tale-like vision that combines the fragile sensitivity of human
space and freedom of interpretation. presence with the mystery and depth of Nordic nature. With this work I
In what ways do you think your art, with its explore the influence of the heavy unknown dark forest upon human
existence and their psychology, producing a volatile and erratic, almost
baroque undertones, connects with or irrational reaction to the external immense force of nature. The human Soul
is exposed to nature and finds a way to become part of it, challenging the
challenges contemporary photography and mental state and providing a magical and surreal experience or a glimpse of
mixed media practices? another realm where the human Soul is engaged in a journey of deep
introspection, deep silence, fear, sadness, and cherished fantasies. This
The most important challenge of my series portrays how human fragility produces beauty under the dark, heavy,
and overwhelming presence of Nature.
photographic work is that it may not always be
considered strictly “photography”, as I do not
consider myself a “photographer”, however, as
an artist who expresses through photographic
work, I am allowed to showcase my work
alongside analogue experts whose techniques
and vision are built in different ways than mine.
Can you share any particular challenges or
breakthroughs you experienced while
developing your signature style and technique?
Stay true to myself regardless of what other
artists are creating. Being inspired by other
people’s work is a positive thing, but comparing
my own work to theirs can become very toxic. I
am happy to have learned that lesson,
alongside developing a thick skin for criticism. I
understand not everyone will like or understand
my work, and it is OK. It only says something
about their preferences, not about the quality of
my art.
What do you hope viewers take away from
your work, and how do you envision the
ongoing dialogue between your art and its
audience?

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Gen Doy

After working as a lecturer and professor in the history and theory of visual culture, Gen
completed an M.A. in Fine Arts (with distinction) from the University of the Arts London in
2013. She also holds an M.A. in History of Fine Art and French from Glasgow University
and a Ph.D. in History of Art from Essex University. She now resides in London. Her public
lectures have been featured at various prestigious venues, including The National Gallery in
London, The Hayward Gallery, The Peloponnesian Folklore Foundation in Athens, The ICA
in London, and The Museum of Modern Art in Bordeaux. Her published books address
issues of race, gender, sexuality, and the politics of representation.

Humanimals
Graphite on tissue paper, 29x70cm, 2024

A scroll allegorical drawing where a faceless sorcerer transforms human beings into animals. The quotation on the scroll is from a senior member of the
Israeli government talking about the destruction of Palestinians.

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I often like to work with materials from the past, attempting to suggest through these that we can reflect on,
and engage with, the present. By bringing the past into a dialogue or confrontation with the present, new
meanings and understandings may emerge.
I use various media in my work, particularly sound and live performance. I also work with still and moving
images, written and spoken texts, in order to construct narratives that are not linear, but suggestive,
evocative and open to creative interpretation by the viewer and listener. I am interested in myth, history and
the many ways in which the historical can collide and interact with the contemporary. Giving voice to, and
making visible, people and events which have been ignored or marginalised is important to me, as is the
creation of a political artistic practice. Starting from ideas and concepts, questions and politics, I enjoy
researching historical and contemporary sources and selecting appropriate media to realise each project.
My voice is an important medium in my practice, whether speaking or singing, and I feel that the seductive
quality of voices is often under-appreciated.
There are a number of writings which have informed my practice which I would like to mention here. Steven
Connor’s fascinating book Dumbstruck. A Cultural History of Ventriloquism, 2000, Roland Barthes’ famous
essay “The Grain of the voice”, from Image-Music-Text, 1977, and the inspiring book on political dissenters by
Peter Linebaugh and Marcus Rediker The Many-Headed Hydra. Sailors, Slaves, Commoners, and the Hidden
History of the Revolutionary Atlantic, 2000 all give food for thought and encouragement to create.

We are what we Eat - Graphite on paper, A4, 2023

One of a series of four drawings of apocalyptic themes, War, Pestilence, Famine, and Death, to accompany a live performance

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How did your academic background shape your approach to creating and understanding art?
A background in the history and theory of visual culture provided me with enthusiasm for research-
based art practice and a huge resource of visual imagery from which to draw inspiration. I have
learned a lot from the many different methods by which artists have created meanings eg. through
allegory and symbolism, the use of text within images, and images that are initially difficult to
comprehend but intriguing. Also the huge variety of approaches within art creation, past and
present.
What motivated you to transition from a career in academia to pursuing a Master’s in Fine Arts,
and how has this influenced your artistic practice?
I wanted to be an artist from a very young age, but my mother was against this, saying I would
never make money being an artist. This is probably true, but I feel a parent should not decide the life
choices of his or her child. I eventually persuaded her that I could study art history at University
instead of French and German (her choice). Since I loved art, this was still a fruitful choice, and I
taught many fine art students, filmmakers, photographers, etc as well as art and design history
students when I became a lecturer. So I worked in a creative environment before retiring to study art
full-time in 2010.
How do you decide which medium best suits a particular project or concept?
Again that’s quite intuitive and based on research and where the research leads me. Sometimes I
discover a melody or a song that, with new words, will relate to the ideas I’m working on. Or I write
a new song. Or a song can intensify or somehow contradict a projected image/drawing disturbingly.
And if you have an interesting site to perform in, that can also influence how you choose to present
the work as the site may have a history of its own you want to engage with. You can use different
media within the same project to do different things, and when they come together it will change
them both. eg. If I sing in front of an image of a dead whale, it will change the way the audience
experiences the image.
Dead whale's hearing aid no 2 - Graphite & pencils on paper, A3, 2024
Albatross Muff - Graphite and collage, A4, 2019

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In your work, you often use materials from the past to reflect on the present. Can you describe
your process for selecting and integrating these historical elements into your art?
A good question. It’s often intuitive. When I’m thinking about making artwork, I’m reading books of
various kinds (not just art books) and researching online, thinking, reading newspapers, listening to
the radio, swimming, walking, etc, and somehow connections just happen. For example, I’m working
on a project about whaling and how the human desire for whale oil drove these mammals towards
extinction, relating this to the way fossil fuel companies are contributing to possible human
extinction. While looking at images of whales, I read a newspaper article mentioning a Russian
nuclear submarine in a Cuban harbor of which a local man said “It looks just like a dead whale”. So I
plan a drawing with a dead whale and the “dead” Russian nuclear sub The Kursk which sadly
exploded (it was using a cheap but unstable fuel) with the loss of all the crew. So things come
together to create something new.
Myth and history are central themes in your work. How do you approach the task of giving voice
to marginalized people and events through your art?
Well, this task would be more successful if I were able to present my art to the public more often,
but I suspect my art is not particularly fashionable! Again, research to discover interesting events
and people, if possible visits to a site significant in their lives, sound recording onsite, a sound piece
or a performance which will include their own words if available, or an attempt to convey in my
words what they may have said or written. An example of this is an early sound The Testimony of
Anne McHardy Parker, the widow of a leading naval mutineer Richard Parker hanged in 1797 for
basically demanding to be paid, better working conditions, and no sadistic punishments by officers.
Some people might know about Richard Parker, but very few would know about his widow.

Allegory of Ms Fortune - Graphite and pen on paper, A1, 2024

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Could you elaborate on the role of non-linear narratives in your work?
Another good question. I like to offer people suggestive experiences rather than spelling things out.
This is sometimes difficult for me as I usually feel quite strongly about important issues (at times I
have felt very emotional during performances, feeling that the issues I am dealing with are
overwhelmingly concerning) so I want to try to get people to think about things like climate change,
injustice, corruption, racism and so on, but not by preaching to them. Sometimes allegory can work,
or fables, or you can start the work in one “mood” quite light-heartedly seducing people into your
work but then turn it into something more dark and disturbing. Mare Nostrum would be an example
of this, which I made for a so-called “Roman” Bath in Strand Lane, London.
How do you utilize your voice in your art, and why do you believe its under-appreciated?
I think singing to people directly is a powerful and often moving thing. In Turn the World Upside
Down I sang to one or two people at a time in a small camera obscura outdoors. I was quite nervous
but it was a very moving experience. One woman held my hand and told me it made her feel like a
child again being sung to by her mother. Also when I sang in a mobile sauna and got everyone to
sing along with me we had such a good time, one guy told me he was so happy singing he was
going to join a choir. Result! Live singing is nerve-wracking but worthwhile. Also, voice recordings
listened to on headphones can be great. Who is speaking? Is s/he still alive? What did/does this
person look like? Can we believe what’s being said? What a voice! I’m in love already! There’s no
need to put a lot of special effects on the voice recording (as often happens). An engaging voice is
enough without embellishment.
How do the themes of race, gender, sexuality, and politics manifest in your visual art?
I became interested in Left politics due to concern about the state of the world and how capitalism
will never repair the damage it causes to people and the natural world. So it made sense to explore
these ideas in the works of artists past and present. There are many and varied ways in which
artists deal with or overcome, oppression and exploitation, and I learned a lot from them. Many,
such as Claude Cahun for example, had to contend with far worse difficulties than I have. I
sometimes feel guilty for working so slowly, but I’m always thinking, and if I start working before I’m
ready, the work just won’t “work”. I’m not the kind of artist who can sit down, force myself to
sketch, scribble, etc, and suddenly something will happen. If I don’t feel ready to go with an idea in
my mind, nothing will emerge! However, artists find many different ways of getting started.
Your practice is informed by writings such as Steven Connor's "Dumbstruck," Roland Barthes'
"The Grain of the Voice," and "The Many-Headed Hydra" by Linebaugh and Rediker. How do
these texts influence your work and thought process?
I find them inspiring in different ways. The Many-Headed Hydra is about people who are not so
well-known who fought against injustice and like the mythical creature the Hydra, when you cut off
one head, more heads grow, so the struggle gains strength. Dumbstruck is a great book with all
kinds of things about the voice, the voice of prophecy, speaking in tongues, speaking with someone
else’s voice as in possession by demons, the disembodied voice, recorded voice…and the essay by
Roland Barthes is basically about experiencing the body through the voice. It made me think about
how the voice as produced by a living body is a maker of art, just like the hand that holds a pencil. I
can’t believe I spent so much of my time ignoring the potential of my voice to make art. A curator
(the owner of Matt’s Gallery London) said to me once, why are you making all these sound
recordings of your voice, doing a live performance? It was a revelation. No equipment, no
technology, I just need me, a load of nerves, some props, and an audience. An audience is people
who hear.

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Strange Fruit - Pencil on paper, A4, 2022 Dead whaler's hat and Northern Sperm Whale...not dead
Charcoal and graphite on paper, A4 each, 2024

How do you balance the conceptual and political

aspects of your work with the aesthetic and
emotional experiences you aim to create for your
audience?
I think the answer to this would be a bit like the
answer to question six. I try to give the audience
something emotionally and aesthetically engaging to
raise some issues that can be upsetting - indeed
they should be upsetting. But I don’t want them to
leave in tears. Or maybe tears of anger and
frustration would be ok as long as they weren’t
directed towards me! However, I also try to use
humor and irony to undercut prejudice and ignorance,
as in my work For Having been born elsewhere …
which drew an analogy between historical witch
trials and contemporary prejudices against migrants.
The title is from a drawing by Goya, which was my
inspiration.

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MYSTICAL WORLD | SPECIAL EDITION | VOL 48 | AUGUST 2024 | COLLECT ART