The

Art Bridge
Global Perspectives
Edition 4 | Jul 2024

Sculptural Elegance:
Marita Setas Ferro’s
Creative Influence
The Art Bridge: Weaving Global
Perspectives in Contemporary Art

At Artiste Culture, our ideology is grounded in the recognition that Cultural and demographic diversity is not just a strength, it’s a wellspring of
contemporary art transcends geographical and cultural boundaries, weaving inspiration. We’re committed to celebrating diverse cultures, traditions, and
a rich tapestry of global creativity. Artiste Culture is driven by the mission to identities that make our world beautifully complex. The Art Bridge serves
connect artists, galleries, art enthusiasts, and collectors worldwide, fostering as a canvas for stories that honour the differences that define us and the
an ecosystem where creativity knows no bounds. commonalities that bind us. Exploring global developments guides us in an
ever-changing world, shedding light on transformative events and ideas that
In our rapidly globalising world, we strive to preserve and celebrate the
shape our shared future. We believe our greatest strength lies in the mosaic of
uniqueness of artistic voices from across the globe. We contemplate the
human experiences and viewpoints. Each unique perspective adds a fresh hue
essence of identity and culture in the context of a globalised art world. What
to our collective canvas, enriching our creative world.
does it mean to be an artist from India, Japan, Germany, or Brazil in a diverse
and globally contemporary context? Our quest is to explore these intricacies
In every article, interview, and feature, our mission is clear: to encourage
and empower artists to flourish in their unique creative journeys.
open minds, open hearts, and candid conversations. We invite you to join us
on this journey of exploration, discovery, and celebration as we navigate the
At the heart of our magazine lies a passionate commitment to fostering open
ever-shifting landscapes of our diverse world, embracing the beauty of our
dialogues, celebrating cultural and demographic diversity, and delving into the
differences and the unity of our shared humanity.
ever-evolving tapestry of global developments. The organisaion believes that
by embracing myriad perspectives, traditions, and stories, we can create a
richer, more connected community of creative professionals.

In a world often marked by division, we believe in the transformative power

of conversation. Our project serves as a space where voices from around the
globe engage in meaningful discourse, fostering connections and igniting fresh
ideas. Together, we explore the shared challenges and triumphs that shape
our collective human experience.
Ribbon Vessels, Porcelain Sculptures by Leah Kaplan
Editorial Secrets Revealed
Exclusive interviews with creative professionals specific to their
Sunaina Misra
journey and experiences that contributed in shaping their careers
Penaaz Lala
Klencsh Ely Sequeira
The Harmony of Calligraphy and Nature: Abda’s Artistic Dialogue 49
Arjun Singh
Anna Kruhelska: Bridging Architecture and Art through Geometric Abstraction 77
www.artisteculture.com
Blanco Anyó: The Power of Abstraction and the Gesture of Light 95
Between Tradition and Innovation: Samuel Latour’s Artistic Process 129
Drops of Inspiration: Jane Puylagarde’s Global Influence 159
Interviews,
Insights,
Inspirations Gallery Glimpses
Share your projects and stories with Documentation of initiatives, anecdotes and projects by
[email protected] galleries from Turkey and Dubai

Exploring the Artistic Journey of Hayri Esmer: A Dialogue on Art,

Copyright © 2024 Artiste Culture. All Rights Reserved.
Influence, and Vision
39

The content, text, images, and other materials in this Private View: Collectible Fine Crafts & Concept Design By Double J Gallery 177
publication are protected by copyright law. Users are
not permitted to view, download, or print content for
personal, non-commercial use.
Artistic Voices Amplified
Showcase of curated works by artists from distinct cultures and
demographics. These are the artists that are represented or
supported by Artiste Culture
Kasia Clarke: Embodying Emotion and Home Through Abstract Art 197
Beyond the Surface: The Depths of Philippe Van Gele’s Abstract Art 209
Textured Masterpieces: Jo Roets and the Intricacies of Light Relief Sculpture 1
The Fluid Journey of Savya Jain: Embracing Growth
221
Luminescent Layers: Amy’s Delicate Balance in Art 63 and Experimentation in Abstract Art

Alyssa Jos: Crafting Beauty from Fallen Leaves 91

105
Expressions Explored
Marita Setas Ferro: Pioneering Sustainable Fine Craft and Design

Curating Spaces: Eline Baas’ Blend of Vintage and Contemporary Treasures 119
Documentation of initiatives, anecdotes and projects by
Mila Ilingina: Sculpting Sensory Journeys in Mixed Media 139 architects, designers and cultural institutions

Audrey Guimard: Crafting Ecological Narratives through Stone 151 Café de Paris Monte-Carlo: The “Tout-Monaco” Brasserie Reopens 13

Silken Symphony: Kinga Földi’s Textile Sculptures 171 Decorative Minimalism – Greg Natale’s Oatley House in Sydney, Australia 23
Nicola Barth’s Transcendent Art: A Journey of
Transformation and Primordial Light
189

Capturing Nature’s Majesty: The Photography of Josef N. Grech 191

 Textured Masterpieces: Jo Roets and
the Intricacies of Light Relief Sculpture

South African artist Jo Roets is a

passionate sculptor, painter and mould
maker whose work has captivated
audiences worldwide. Her art has
always been a central theme in her life,
seamlessly woven into her education
and professional career. Roets’ unique
approach to clay, which she calls ‘light
relief sculptures’, sets her apart in the
contemporary art scene.

Roets creates her delicate bass relief

sculptures using self-drying natural
stone clay, rolling it out to a paper-
thin thickness. The intricate designs
are made with unusual sculpting
tools such as toothpicks and needles,
scoring the damp surface with indents,
holes, and incisions. A significant part
of her creative challenge is pushing
the medium to its breaking point,
encouraging it to warp in the process,
a quality unique to each artwork and
entirely unplanned.
Bequest of Bones, Self-Drying Natural Stone Clay

2
 Her artistic journey began at P.J. Olivier Art School in Stellenbosch, In 2017, she made the bold decision to become a full-time artist. Reflecting on
where she studied sculpture and ceramics. After matriculating in 1997, this transition, Roets shared, “The main prompt was the fact that I was fast
she pursued a Diploma in Art Direction for Film and Television and approaching my 40th birthday. I did not know what the future would hold,
an Advanced Diploma in Motion Picture Production Design. Roets’ but I had to follow this deep urge to make my lifelong dream a reality.”
background in the film industry as an artist in the art department, followed
by a 14-year lecturing career, significantly influenced her artistic practice.

Feather #3, Self-Drying Natural Stone Clay

3 4
Roets’ work has been recognised in
prominent art competitions such
as Sasol New Signatures, Tollman
Bouchard Finlayson Art Award,
Roets’ inspiration often comes from
and Vuleka. Her accolades include
her surroundings, particularly her
winning the inaugural StateoftheART
garden. She notes, “I love finding
Gallery Award in 2018 and being one
details in my garden. Like the
of the Tollman Bouchard Finlayson
beautiful patterns on succulents
Art Award winners in 2021. She was
and disintegrated gooseberry
also an awardee of the International
husks. Or on the shield frond of my
Sustainable Arts Foundation Grant.
staghorn fern. Even the textures
and cavities present on beach
Her exhibitions span various galleries,
rocks and bark are found in my
including SMAC, StateoftheART,
garden. All of this inspires me and
Lizamore & Associates, Rust & Vrede,
spills over into my art process.”
GUS, Nel, Breytenbach Gallery, No
Her work is featured in the newly
End Contemporary, Mok Gallery,
released book “Clay Formes - A
and several international venues.
Survey of Contemporary Clay
Additionally, her work has been
from South Africa,” a publication
showcased at festivals and art fairs
highlighting the work of 30 South
such as KKNK, Tulbagh Arts Festival,
African artists working with clay in
Hermanus FynArts Festival, US
various forms.
Woordfees, and the Affordable Art
Nes #6, Self-Drying Natural Stone Clay
Fair UK. Roets’ sculptures have found
homes in collections worldwide,
including South Africa, the Seychelles,
Dubai, Canada, America, and the UK.

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7 Mantra, Self-Drying Natural Stone Clay The Search, Self-Drying Natural Stone Clay 8
 Currently, Roets is exhibiting
alongside Marike Kleynscheldt
In recent years, Roets has
in a duo show titled “ELEGIE”
continued to explore new artistic
at Rust-en-Vrede Gallery in
directions and projects. She
Cape Town. The exhibition
is particularly excited about
reflects on a poem by R.K.
developing a new clay product
Belcher, exploring the emotions
set to launch in 2025 and
surrounding death through
collaborating with an NGO on
sculptures, paintings, and
large public sculptures to raise
embroidery. After this show,
awareness of plastic pollution in
she will participate in four
South Africa. She shares, “I hope
more exhibitions in South
to undertake more projects in
Africa throughout the year,
the future that reflect this ethos.
each aiming to create thought-
Ultimately, I see my artistic
provoking experiences for
journey as an ever-evolving
viewers. Roets hopes that
exploration of self-expression
her artwork will connect with
and discovery.”
viewers’ own experiences of self-
Nes #3, Self-Drying Natural Stone Clay
discovery and resilience.

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Jo Roets’ journey from the film industry
to the fine art world is a testament to
her dedication, creativity, and the unique
vision she brings to contemporary
sculpture. Her light relief sculptures, with
their delicate textures and unexpected
warping, continue to fascinate and
inspire art lovers around the globe.
 Café de Paris Monte-Carlo:
The “Tout-Monaco” Brasserie Reopens

Café de Paris Monte-Carlo reopens on Place du Casino following a 19-month

renovation project. The founding site of “Le Café Divan” which opened in
1868 and has become a veritable institution of Monte-Carlo, Café de Paris
Monte-Carlo embodies a classic brasserie spirit which has always managed to
reinvent itself, immune to the effects of fashion, and won the hearts of every
generation. The Principality’s iconic brasserie has been extended across two
levels, including a new upstairs terrace offering exceptional views of the Casino
de Monte-Carlo and Hôtel de Paris Monte-Carlo. By spring 2024, the boutiques
that line the building opened their doors, along with the new Amazonico
Monte-Carlo restaurant which will take up residence on the rooftop.

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 The “Tout-Monaco” Brasserie has been reinvented

The philosophy of the new Café de Paris Monte-Carlo is based on delicious

and simple interpretations of the great classics of French brasserie. With the
addition of a sommelier and new experiences all day long, whether in bistro or
The new Café de Paris at the heart of the evolution Place du Casino restaurant mode, at a table or countertop, in the lounge bar or in the open air –
all guests will soon savour this fresh chapter for Café de Paris Monte-Carlo with
The new Café de Paris Monte-Carlo adds the final touch to the metamorphosis a new and unique view over Place du Casino from the upstairs terrace.
of the historical heart of Monte-Carlo Société des Bains de Mer, which started
in 2014, with the renovation of Hôtel de Paris Monte-Carlo, the creation of On the ground floor, the refined bistro atmosphere welcomes residents and
the One Monte-Carlo district, the new facilities of Casino de Monte-Carlo, the passers-by in a magnified Art nouveau setting. With restored historic stained
restructuring of Jardins des Boulingrins, and Place du Casino. glass windows, chequered marble, terrazzo mosaics, leather and wood
panelling, shades of green, pastel pink and burgundy, and a high ceiling, all
The restructured building now has three levels, two for the Café de Paris the classic codes of French brasserie are reunited with particular attention
brasserie and one for Amazonico Monte-Carlo is now open and it brings an on lighting. In the centre of the room, carefully placed under the monumental
international concept of festive dining to Monaco. Furthermore Chopard, Arije, chandelier, a large zinc counter has been installed. It’s a place for enjoying a
Tag Heuer, and Tiffany & Co. boutiques will be unveiled along Allée François cocktail or a glass of wine, with a suggestion from the new snack menu, seafood
Blanc, Avenue des Spélugues and the Casino gardens at the same time. The from the famous “banc de l’écailler”, which is making its great comeback. The
Casino Café de Paris, which has stayed open throughout this transformation, experience continues on the iconic terrace, in the heart of the action on
offers its customers a new exclusive entrance. Place du Casino.

This vast real estate development project has been led by Monegasque Upstairs, an elegant, hushed atmosphere marked by warm tones, parquet
architect Alexandre Giraldi, and Alain-Charles Perrot who is the Chief Architect flooring and tables covered in tablecloths, awaits guests. The ideal setting
for Historic Monuments – under the direction of Luc Leroy, the Director of for a business lunch, a romantic dinner, sharing a meal with friends, or place
Construction and Building Heritage. to spend time before a performance at the Opera. The space also has a bar
featuring warm curves and carries on to the venue’s other major new feature: a
200 m² terrace that overlooks the legendary Place du Casino.

The brasserie’s identity has been reinvented by the interior design and
architecture company, David Collins Studio.

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 Innovative Art Solutions for
A New Brasserie Experience Architects and Designers
Café de Paris Monte-Carlo pulls out all the stops with a team working around
Eric Gorjux, who became head of this Monegasque institution in January 2022.
Victor Marion, who started out a few years ago at Hôtel Hermitage Monte-Carlo,
oversees the kitchen. “Café de Paris Monte-Carlo is a Parisian brasserie in the
land of the Mediterranean”, says the Chef, going on to specify: “While ensuring
Artiste Culture
the continuity of this great culinary history, we will be working closely with
partners with
local producers and introducing more seasonality and movement to the menu.”
architects and
The menu features dishes from the Café’s gastronomic heritage: French onion interior designers to
soup, leeks with sauce gribiche, pâté en croute, eggs mayonnaise with a touch of ideate, curate, and
caviar, millefeuille monté minute, and more. Most notably, the menu boasts its source distinctive
famous Crêpe Suzette, which was first invented at Café de Paris in 1896 during a artworks that
visit from the Prince of Wales and flambéed in front of customers. resonate with
powerful narratives
Sommellerie makes its début with the arrival of Noël Bajor, formerly from Louis
and elevate
XV-Alain Ducasse à l’Hôtel de Paris, and will share his expertise with the support
of a team of six sommeliers. Additionally, new mixology will be spread over three
hospitality and
bars to meet every taste under the aegis of twenty barmen. residential projects.

Nest By Jo Roets,
“Café de Paris Monte-Carlo was the very first dining concept created by our
Natural Stone Clay
Group in 1868. More than a concept, it’s a veritable institution: an essential
venue for Monegasques and a must for all visitors to the Principality. I would
like to thank all the teams that worked on its reinvention, in keeping with its
DNA, so that the legend of Monte-Carlo continues to be written.”
- David Collins Studio

[email protected]
21
 Perfect Balance: Greg Natale’s Oatley
House is a Lesson in Decorative

The Australian designer brings his innovative application of colour and texture
to the fluted walls of this two-storey Georgian revival home in Oatley, NSW.

Balancing the sensible symmetry of Georgian architecture with the layering of

contemporary finishes, Greg Natale’s residential project in south Sydney is all about
making grand textual statements. After inheriting the DA from the previous architect,
Greg made tweaks to the floor plan, reorienting the layout of the ground floor for a
more remarkable result. The classical elegance of the home’s exterior comes from
the request by the owner for Georgian-era architecture. Inside, a sweeping staircase
defines the entrance with an impressive curve, guiding the rest of this five-bedroom,
five-bath family home.

As an innovative way to offset any structural heaviness, the layout of the ground
floor is open-plan, with portals to separate living area. While off-white walls and grey-
washed chevron floors establish a primarily neutral palette, texture is emphasised
through an abundance of fluted detailing, as demonstrated on the walls of the double-
height formal lounge and rippling along the portal leading to the kitchen, where it does
the job of defining the custom marble-clad joinery. Fluting is not just a way to establish
depth in these neutral spaces; it becomes the cohesive link between different
rooms. In several instances, the owners encouraged Greg to use blocks of colour
and introduce pattern to create impactful moments of immersive maximalism. In the
dining room, bright-blue joinery in a highly lacquered finish is intentionally softened by
grasscloth wallpaper, and close by, the powder room is enveloped by scenes of silvery
cherry-blossom trees on all four walls. Dramatic and highly detailed, these spaces
provide exciting contrast to the otherwise pared-back interior.

On both floors, living spaces hold a curated presentation of furnishings from modern
Scandinavian to vintage Italian pieces, with the addition of custom designs for a final
look that balances restrained elegance with eclectic contemporary.

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 Exploring the Artistic Journey of Hayri Esmer:
A Dialogue on Art, Influence, and Vision

Labyrinths 5, Acrylic on Canvas, 2017

Born in Diyarbakır in 1966, Hayri Esmer’s artistic journey is a testament to the

transformative power of personal experiences and societal reflections. From
his early days in southeastern Turkey to his academic achievements and prolific
artistic career, Esmer’s works have resonated nationally and internationally,
capturing themes of violence, uncertainty, and societal complexities.

Arrhythmia, Acrylic on MDF, 2023

39 40
 Academic Pursuits and Formative Years at Gazi University

What motivated you to study painting at Gazi University, and how did
Early Influences and Artistic Beginnings
your education there shape your artistic perspective?

Can you share some memories from your early life in Diyarbakır and how
During high school, I realised that I became more interested in art day by
they influenced your decision to pursue art?
day and I intended to take it to a professional level. At this point, I searched

Looking back at my childhood today, I had experiences that could be for various art schools and it was not very difficult to find which school was

considered acts of shaping and form creation in art, albeit indirectly. I closest to my perspective and me. That’s how I started in art… Of course, my

remember having a special interest in painting even in elementary school. goal was to study painting and become a painter. Gazi’s education model

This mainly involved dedicating a lot of time to painting. I recall dedicating included workshops in different art fields. There were courses in painting,

the time I would have spent on other subjects to painting. Those around me sculpture, graphics, and material shaping (such as wood, paper, metal, mural,

eventually noticed this interest. By the time I reached middle school, I had and typography), and these courses interested me. I believe I built a significant

relatives and friends who were interested in the paintings I made, who critiqued foundation in the areas of painting, sculpture, and printmaking here. I also

them, and sometimes advised me to improve them. At this time, I started started working in advertising in the market to support my education. I mostly

making reproductions. I vividly remember making large cardboard drawings worked on tasks such as advertising signs, serigraphy, and drawing. However,

of memorable poses of athletes I admired and portraits of actors, which were the negative aspect of my education at Gazi was that these different areas and

framed and hung in the cafes of that era. techniques were used more for developing manual skills rather than enhancing
creativity. Meanwhile, these types of materials have been used as significant
My orientation towards art started consciously when I met an art teacher tools for artistic creativity in the West since the 1950s.
during my school days. His interest and effort led me to establish a more Since I chose an education focused on painting, my interest has always been
professional relationship with painting. I even won first place in a competition in painting and printmaking. Painting is indeed a compelling medium for
organised by the district governorship during that period. This first award was me. It might not be a medium that allows conveying many things at once,
quite motivating for me. Besides, I remember making my toys out of clay when but it consistently finds and presents an extraordinary combination of tools
I was much younger. A clay similar to ceramic clay was available at the edge of such as paint, surface, colour, and form, and succeeds in being a medium
our garden in the village. We used to take this clay and make toy cars with my for this. There’s an exceptional passion for painting within me. I see it as an
siblings. I also remember making wire cars and playing with them. Now I think effective means of expression. In my opinion, no other tool has been able to
about it, this wire car-making kept me busy for a long time. These and other merge creative thought and interior space as effectively since its discovery.
similar forms of creation and shaping activities in daily life were, I think, my first It’s becoming indispensable day by day. My reason for choosing it is these
artistic experiences, even though they improved my hand skills. thoughts. Today, I even see my three-dimensional works as paintings. Thus,
I can say that studying at Gazi University permanently instilled a passion for
painting in me and shaped my perspective in favour of painting.

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 Discontinuity Series, Acrylic on Canvas, 200x170 cm, 2015

Discontinuity Series, Acrylic on Canvas, 200x170 cm, 2015 14.PASSAGE, 69X 7,2X 36 CM.Acrylic on MDF.2022

43 44
Exploring Violence and Fine Arts at Hacettepe University Contributions to the International Plastic Arts Association and Academic Career

How did your experiences at Hacettepe University, where you completed your Can you describe your role and experiences as a board member of the
Master’s and Doctoral theses, contribute to your understanding of fine arts and International Plastic Arts Association Ankara and as a National Committee
the phenomenon of violence? member of UNESCO AIAP?

The period at Hacettepe was a time when I experienced art more professionally. We, five friends from the same generation, aspired to be part of UPSD’s Ankara
I internalised the idea that art was a sociological, cultural, and philosophical issue board in 1999. Our goal was to organise contemporary art exhibitions in Ankara
during this time. I realised here the need to pay attention to technical issues and made up of productions by the youth and naturally mobilise the young generation
to think in detail about theme selection. I think I overcame the problem of validity/ through these exhibitions. Multidisciplinary art was not very common in Ankara at
quality in art during this period by looking at it from a broader perspective. that time. We, as an association, wanted to show good and important examples
of this understanding by organising exhibitions with a professional approach. We
The reason for my theme choice was undoubtedly related to the social conditions of
organised the ‘Young Art-3 in Ankara’ exhibition with one of the important curators
the time. Both the never-ending wars around the world the increasing violence in the
in our country, Vasıf Kortun, in 2000. This exhibition not only displayed quality works
southeast of our country in those years, and the senseless deaths they caused, were
but also created a basis for discussions on what contemporary art is in the Ankara
always on the agenda. There was also increasing violence in the cities at that time.
art scene. I think that with this exhibition and other activities we organised at that
For example, I remember incidents where Neo-Nazis were committing violence in
time, we managed to generate new ideas about contemporary art and enable
the form of gangs in some cities in Germany, surrounding and burning houses where
productions in Ankara’s art scene.
Turks lived, or the violence produced by everyday life in big cities; I often witnessed
violence enacted by the state and the police. All these influences directed my focus.

Windows 5, 30X200 cm, 2005

45 46
Teaching and Artistic Endeavours
Artistic Themes and Series
What were some of the most rewarding aspects of your tenure at Süleyman
Your artworks often focus on themes such as violence, fragmentation, and chaotic
Demirel University and later at Anadolu University?
uncertainty. What drives you to explore these subjects?
It was the first time I was working with young people. Forming, developing, and
Yes, it was generally like this until around 2002. Diyarbakır, the place where I was born
implementing suggestions that would enable them to express their thoughts freely;
and grew up, is a region with difficult living conditions. A large part of this difficulty
discussing artistic issues with the young generation has always been surprising
historically comes from the frequent conflicts, never-ending wars, and naturally the
and enjoyable. Additionally, working at the university provided me with experience,
trivialisation of deaths in this region. Violence and death are like parts of everyday life
especially in bureaucracy, management, organisation, and relationships with people.
here. It is as if these are accepted and naturalised by most people as a necessity to
My various administrative roles, including department head, director of the Museum of
sustain life. This region has experienced great traumas and tragedies… Seeing human
Contemporary Arts, director of the Institute of Fine Arts, and member of the university
life, the most valuable asset, as so insignificant and being so close to death is of course
senate, gave me experience in the relationship between art and bureaucracy. And of
unacceptable. However, the people here are also protective, embracing, and helpful.
course, I owe my experiences in the theoretical aspects of art to this environment.
There is a humanist culture. All these contradictions and their political connections always
Serving as an editor for academic journals, and teaching courses like Contemporary
intrigued me. During my university years, I had the opportunity to think more in-depth
Art and Issues and History of Printmaking, provided me with significant experiences
about this issue. I continued to research this through different perspectives such as
in the theoretical aspects of art. However, I must say that the rules created by this
sociological, psychological, and anthropological, comparing it with crimes and violence
environment and the reference points it takes often conflict with the reference sources
in large cities and finally, with global wars and human tendencies towards good and
of art. We, artist-academics, find ourselves in conflict with the bureaucracy for the sake of
evil in my postgraduate theses… My sceptical and critical approaches to the reality of
internalising art by the youth despite everything.
contemporary society became evident through these experiences. Therefore, I started to
use urban culture, historical identities, visual culture policies, the violence produced by
this geography, and all these insincere relationships with power in my art through cultural
codes and symbols.

System Failure, Acrylic on Canvas, 50x 200 cm, 2021

Discontinuity Series, Acrylic on Canvas 140x340 cm, 2015

47 48
 The Harmony of Calligraphy and Nature:
Abda’s Artistic Dialogue

Everything has a purpose, meaning, and an important role to play, whether it is a grain of
sand, a drop of water, or the entire cosmos. “We are here for a reason, through which we
are closely connected. We are all one!”

Abda is a self-taught artist whose work reflects a deep understanding of the universe and
the constant changes and transformations within and around us. From abstract paintings
to calligraphy, her artworks represent a fusion of modern art and traditional techniques.

Her work is based on the first letter of the Arabic script, “Alif,” and the sacred name
“Allah.” “And He (Allah) is with you wherever you are…” (Surah Hadeed, 57:4 - Al Quran).

“The alphabet ‘alif’ and the word ‘Allah’ are so infinite that I don’t think my lifelong work
will be enough to fully explore them, or even scratch the surface.”

“If all the trees on earth were pens and the ocean were ink, with seven more oceans to
replenish it, the words of Allah would not be exhausted. Indeed, Allah is Exalted in Might
and Wise.” (Luqman, 31:27 - Al Quran).

“I often receive feedback from clients that my artworks provide a sense of relaxation,
calm, and rejuvenation. I feel proud and blessed that my work conveys positivity, a vital
element in the current state of the planet.”

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 As a self-taught artist,
you’ve garnered
recognition for your
unique fusion of modern
and contemporary
styles with traditional
techniques. How did your
background in banking
and finance inform your
artistic journey, and what
led you to pursue art as a
means of expression?

From an early age, I experienced a profound synergy with nature, colours, and my
surroundings. I sought answers in the cerulean expanse of the blue sky and the ochre
dust swirling through summer afternoons.

By the tender age of four, I had already mastered delicate techniques. While my
classmates struggled with colouring a simple square shape, I was rendering intricate
details with watercolours. It feels as if art and nature discovered me before I knew to seek
them. I am certain this will remain my lifelong passion.

Venturing into the financial industry has been an immensely fortunate chapter in my
life. It has imparted invaluable lessons on balance and prioritisation, which have proven
indispensable in both my artistic endeavours and in aligning my long-term vision for my
life pursuits.

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 Your artworks often convey messages of positivity and interconnectedness,
aiming to provide relaxed energies and rejuvenated feelings to viewers. Could
you share more about how you infuse these qualities into your art, particularly
through the use of acrylic and themes of nature and spirituality?

Life, in its entirety, and its emergence on Earth, was once a symphony of
interconnectedness and unity. We are all descendants of a single lineage—Adam and
Eve. We are one race, sharing the same blood and united by a common purpose.
Our ecosystem is intricately woven together, encompassing every entity on this
planet. I usually refrain from statements such as ‘living and non-living’, so I will say
‘every entity’, as I am certain there is no such thing as ‘non-living’ because everything
is alive, whether it’s a rock, a fallen leaf, or a piece of plastic. Their forms may differ,
but they are all integral parts of our world—very much alive.

Our ancestors taught us to tread lightly upon the earth, to walk gently because the
ground feels our steps. Why have we lost this sense of connection? Just because we
don’t feel it, doesn’t mean it’s absent.

All the connections, from our inner core, through the roots of the trees, to the stars
in the galaxies, are as active as you and I being alive in this very moment!

The purpose of my work is to remind us about this forgotten connection between

nature and our roots. The patterns I draw are inspired by the intricate beauty I
see within and all around. Through my art, I hope to remind us that our success,
freedom, and survival depend on our unity, our connectedness, our diversity, and
our awareness of the profound depths within.

The Search Within II

55 56
You’ve spoken about the deep connections between art and nature, highlighting
the importance of environmental awareness and individual actions in
safeguarding our planet. How do you hope your art contributes to raising
awareness about environmental issues and inspiring positive change?

Art transcends generations and time, and I have witnessed its impact. Considering the Islamic and Arabic calligraphy plays a significant role in your work, symbolising
current state of our planet, I feel that art has immense potential to reveal once again connections and communication with the universe. Can you discuss how
the true reality, as opposed to the constructed reality we often perceive. calligraphy serves as a medium for conveying deeper spiritual messages and
connecting with a broader audience?
In one of my earlier talks, I posed the question: why is the universe so full of colours,
shapes, and surprises? Despite our minimal discoveries, it’s clear that everything in Islamic art, whether calligraphy, geometric art, or other forms, is profoundly inspired
nature is creatively unique for a reason. The universe could have been a monotone by nature, and my work emerges from the same foundation. Other than aesthetics,
expanse—just one colour, maybe black or white—and we could still have existed. in Arabic script, each letter embodies a specific numeric code intricately linked to the
However, there is a purpose in the diversity and constant transformation of depths of the planet and the universe’s energetic sources. When creating patterns
everything. What I am now will never be again, as every nano-second brings change. with the word ‘Allah’, I believe that my work has the potential to tap into these
This continuous transformation is breathtakingly beautiful. By the way, black and white energies, connecting life codes to foster healing, abundance, and prosperity.
are among the most beautiful and profound colours, serving as the foundation for all
things. In essence, creativity is inseparable from life, especially on this planet. The art of calligraphy allows me to express the interconnectedness of all existence,
reflecting the harmony and balance found in nature.
Art, a title humans have given to this boundless creative practice, is life itself. Just as
life and nature are never still or static, art embodies this dynamic essence. This is what In addition to its spiritual depth, I take pride in presenting a contemporary style of
I believe defines art. Arabic calligraphy. This modern approach not only honours the rich traditions of
Islamic art but also makes it accessible and resonant with today’s audiences. By
Since creativity, transformation, and innovation are the very foundations of our blending the timeless with the contemporary, my work aims to inspire a renewed
existence, art connects more deeply with humans across the centuries than any other appreciation for the beauty and spiritual essence of Arabic calligraphy, fostering a
form of communication. I firmly believe in the power of art to convey the forgotten sense of unity and connection among diverse viewers.
patterns of life, our connectedness, and the oneness of all living things.

Through my art, I hope to remind people of our intrinsic connection with nature and
inspire a collective effort to protect and preserve our ecosystem.

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 Your exhibition at DIFC Art Nights attracted art enthusiasts and collectors
interested in sustainability and art for a better world. How do you see the role
of artists like yourself in promoting sustainability and addressing social and
environmental challenges through art?

Art has always had the power to ignite discussions and convey even the most
challenging messages. Today, more than ever, it is crucial to emphasise unity, the
power of diversity, and the protection of our collective ecosystem. At my recent
exhibition at DIFC Art Nights, I launched the art series “The Origin.” This series aimed
to remind viewers of our shared origin on this planet, underscoring our collective
purpose, and highlighting the current fragile state of our environment.

One of the pieces in “The Origin” series depicted the interconnectedness of various
species through intricate patterns and natural motifs. This piece sparked numerous
conversations among attendees about the importance of biodiversity and the urgent
need to protect endangered species. The overwhelming response from the audience
reaffirmed my belief that art can resonate deeply and encourage reflection on these
critical issues.

The theme ‘Patterns of Life and Time’ draws inspiration from the shapes and
colours of nature, particularly focusing on the Arabic alphabet and the sacred
name ‘Allah’. Can you share more about your artistic process and the symbolism
behind using these elements in your artworks?

The series “Patterns of Life and Time” is an ongoing theme that I initiated in 2021, and
each year I enrich it with new collections. This series is inspired by the patterns and
shapes found in nature and is constantly evolving. The more I immerse myself in this
series, the more unique and intricate patterns emerge with each completed artwork.

Incorporating the script ‘Allah’ into most of my works holds significant meaning.
Ancient scripts tell us that the light of the divine is omnipresent. Through my art,
I aim to convey the message that this divine spark unites us all, regardless of our
differences. We are all intrinsically connected through this universal source.

The Search Within I

59 60
 Your art aims to create a sense of You mentioned that your inner voice
tranquillity and connection with the guides you in your artistic journey.
divine. Can you elaborate on how you How do you cultivate this intuition and
channel spirituality through your art, creativity, and how does it influence
My artistic process involves a deep meditation on these natural patterns and the and what responses or experiences the direction of your art?
spiritual significance of the Arabic script. This fusion creates a visual dialogue that you hope viewers will have when
speaks to the interconnectedness of all life. engaging with your pieces? From a young age, there was an inner
restlessness especially when seeing the
Through “Patterns of Life and Time,” I strive to remind viewers of our shared origin The patterns I incorporate into my pain around the world and no matter
and the profound unity that binds us. artworks are deeply harmonised with which part it was from, there was a
the patterns found in nature and within very strong inner urge to contribute to
And He (Allah) is with you wherever you are (Quran 57:4), to emphasise the our very genetic material. This intrinsic something greater than myself.
omnipresence of the divine and the interconnectedness of all beings. connection resonates profoundly with
viewers, regardless of their background As I began actively practising art, I found
Spirituality seems to be a significant aspect of your work, with quotes from or familiarity with the specific language or that this restlessness began to subside-
the Quran incorporated into some pieces. How does spirituality influence culture. The universality of these patterns I felt that I found a calm… and slowly I
your artistic practice, and what role do these quotes play in conveying deeper allows the artwork to convey its message started connecting all the dots and why
meanings to your audience? through the deeply rooted codes of life at a very young age I can connect so well
and tranquillity. with the surroundings and the intense
I describe my work as “art with a purpose,” and the core message is that “We All observations of all things…
Are One” and “We All Are Connected.” Spirituality is an integral part; it cannot be I often receive testimonials from clients
separated from the essence of being human. We are fundamentally spiritual beings of diverse nationalities who describe a For me, creating art is much bigger and
and are on this planet for a finite period. The fact that spirituality may be overlooked sense of calm and serenity when in the deeper, it is part of my soul’s purpose
in modern life does not negate its presence. presence of my work. Some have even and sometimes even I am speechless
shared experiences of improved sleep with the directions it evolves into…
My artistic process is deeply meditative, often involving reflection on these spiritual when the artwork is displayed in their
energies and how they can be visually represented. My art seeks to peel back the bedrooms. These responses affirm that
layers of everyday hustle, to rekindle an inner awakening, and I hope my work can the language of the soul transcends
forge profound inner connections. cultural and linguistic barriers. Through
my art, I hope to evoke a sense of peace
fostering a deeper understanding of
our shared humanity and spiritual
interconnectedness.

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Luminescent Layers: Amy’s Delicate Balance in Art

Amy’s principal source of inspiration is colour and the language it conveys. Her work,
often material-led, abstract, geometric, and site-specific, reflects her deep engagement
with the vibrant possibilities of colour.

Paradise Collection, photo Agata Pec

Trained in Public Art at Chelsea School of Art, Amy explored large-scale drawing,
painting, and all 3-D disciplines, specialising in ceramics and glass. Frustrated by
the lack of vivid colour in ceramic glazes, she began fusing glass with clay, creating
surprising results from their incompatibilities. This journey led her to kiln-forming glass,
a medium she favours for its luminous qualities.

Amy’s studio practice focuses on colour sequence and balance, with the energy of her
palette always carefully considered. Over 25 years, she has experimented with glass
firings, recording results and building a portfolio of fusing techniques. Understanding
both the technical and aesthetic compatibility of glass colours takes great experience.
Their transformation from cold to hot – and then hot to cold – is dramatic, making a
portfolio of tests, samples, documentation, and a trained eye integral to her process.

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Her signature series of suspended Her work aims to enhance the viewer’s experience,
installations weaves colour with mesmerising creating curiosity and joy. Deceptively simple in form,
effects, creating layered compositions. her artworks include many details and nuances only
These delicate, non-static artworks float seen when time is spent observing. This meditative
with an ethereal beauty, capturing and process provides enrichment, with the non-static
reflecting diaphanous qualities. Each piece nature of her suspended artworks ensuring an ever-
is developed with its relationship to the changing composition. Amy’s journey from large-scale
space in mind, displaying either continuity drawing and painting to specialising in ceramics and
or contrast. Whether wall-fixed, suspended, glass is a testament to her innovative spirit.
sculptural, or illuminated, all her installations
aim to be spiritually elevating. Trained in Public Art, she had the opportunity to
explore mixed materials and develop skills in slab-
Colour and light are Amy’s main motivations rolled architectural ceramics. Hand-carving this
in life, resonating and providing her with material led her to fuse glass into recesses, driven by
energy on many levels. Her colour influences the desire for more vibrant glaze colours. Fascinated
are drawn from diverse sources: travel, by the results, she began recording outcomes and
culture, paintings, nature, and tropical experimenting with glass in kilns, ultimately preferring
plants. In her studio, she experiments with the clean luminosity of glass. This specialised and
different combinations, building palettes and technical medium requires her full studio commitment,
testing alternative colours until the desired although she sometimes yearns for the ceramic
effect is achieved. practice that was a large part of her training.

Diorama Lunar, photo Agata Pec

65 66
 Cultural experiences and
influences from specific regions
Amy’s suspended glass artworks have significantly shaped Amy’s
were initially developed 26 artistic expression. Inspired by
years ago before glass was the southern hemisphere, she
widely used as an art form. She developed a love for tropical
devised a system of making climates with high clarity
and threading together small light and dense vegetation.
elements to create large or Her travels to Mexico and
small compositions, horizontal Jamaica deeply influenced
or vertical, 2- or 3-dimensional. her early work, absorbing
This allowed her to play with the rich colours of their
colour, creating a weave similar architecture, textiles, and art.
to textiles. When located and lit These experiences, combined
properly, the non-static nature with her fascination for the
of this collection becomes contemporary South American
mesmerising, achieving an and Asian art markets, inform
array of shadows and coloured her desire to exhibit her work
reflections that maximise globally. Amy believes that the
the artwork’s presence. Each bold, vibrant, and complex
composition is unique, usually colours appreciated in these
bespoke to the interior, offering regions resonate with her
a unique focal point. artistic vision, and she hopes
her work will speak back to
Paradise in Celadon, photos Agata Pec these cultures.

Aventurine, photos Agata Pec

67 68
Todd Merrill Studio showcase at Bergdorf Amy Cushing, Stefan Rurak, Mindy Horn,
Goodman NYC, photo Todd Merrill Studio. Christopher Russell, Maarten Vrolijk,
Multiple artists featured. Draga & Aurel
Collaboration plays a vital role in Amy’s artistic journey. Her work with Lara Sparey on
Amy’s approach to her work often considers its relationship with space, displaying
the DIORAMA series, for example, demonstrates a fusion of artistic styles and expertise.
continuity or contrast. If the space is accessible, she always visits the site and spends
Intuitive and carefully considered, their pieces aim to combine structure and form with
time documenting the environment, considering other materials, colours, and
colour and fantasy. Amy welcomes any opportunity to collaborate, whether with other
artworks that may share the space. Site-specific artwork must be integral to the space,
artists or the industry, as it amplifies the ability to create greater work with broader
rather than seen as an afterthought. This applies to both commercial/corporate
language. This approach showcases UK art and design to the global art community,
artwork and residential projects. For overseas locations that are not accessible, she
expanding dialogue and pushing the boundaries of what is expected from the UK.
works with consultants who provide visual references, successfully building colour
palettes and communicating effectively with clients.

Diorama Collection, photo Agata Pec

71 72
Amy’s future projects involve a variety of
techniques and finishes. She is currently building
a palette for a new suspended artwork for a
beautiful residential space overseas, casting glass
to be illuminated in another project, and collating
artwork for various new exhibitions. Additionally, Amy’s current palette mixes soft pastels with vibrant contrasting colours, ready
she is creating new Paradise sculptures without for spring and summer. Some have richer tones with metallic golden highlights,
a specific destination or client, affording her creating intuitive expressions based on a moment in time. She is also simplifying
the pleasure of creating without a brief. These some of the handmade finials to create definition and contrast, allowing more
pieces allow her to develop work and colour complex elements to be appreciated.
combinations that are purely her expression,
much like a fine artist working with paint. As an artist with over two decades of experience, Amy advises aspiring artists
to maintain artistic integrity while navigating the art market. She believes that
The Paradise Sculptures showcased at Bergdorf following one’s exploration and staying true to one’s findings is crucial. Integrity
Goodman in New York received significant starts within the practice of materials, and a curiosity to develop something as
attention, highlighting the power of well-curated a means of self-expression will shine through in the work. While the art market
exhibition spaces. Sharing exhibition space with is a business, it is essential to create work for reasons beyond financial return,
other talented designers and artists allows each reflecting the labour, material overheads, skill, and individuality of each piece in
piece to shine in collaboration, elevating the its price.
work and making its quality more visible. The
placement of Paradise, for example, can truly Looking to the future, Amy has many ideas to execute, with more creations to
shine when the space is as well considered as follow for years to come. She hopes to take an artist residency soon, allowing
the pieces themselves. her to focus and eliminate everyday distractions. Being creatively focused is a
solitary experience, and some of her best work is achieved when no one else
is present. Whether her future work is glass-based or explores other materials,
she is comfortable with both, continuing her journey of artistic evolution.

Pearl Illuminated Wall Sculpture, photo Amy Cushing

73 74
CMS Corporate Glass
Installation, photo Philip Vile
 Anna Kruhelska: Bridging Architecture
and Art through Geometric Abstraction

Untitled 259, Folded Paper, 2024

Anna Kruhelska, formerly an architect, is now a practicing visual artist based in

Lodz, Poland. Her extensive experience as an architect, working on significant
projects across Russia, Malaysia, and the UK, has deeply influenced her
understanding of form, symmetry, and space. This expertise has seamlessly
transitioned into her contemporary art practice, which is distinguished by
abstract, three-dimensional paper and wooden wall reliefs that create dynamic
visual experiences dependent on the viewer’s perspective. The central concept
of her work is the interplay between light and shade, contrast, colour and the
repetitive patterns.

78
 Your artworks focus on abstract, three-dimensional paper wall
reliefs that play with light and shadow. What inspired you to explore
this medium, and how do you conceptualise the interplay between light,
contrast, and patterns in your work?

My architectural background deeply informs my exploration of paper as a

medium for creating three-dimensional wall reliefs. As an architect, I’ve been
captivated by textures and the dynamic interplay of light with building facades,
which results in constantly shifting appearances throughout the day. Although
paper is inherently delicate, by folding it one can create surprisingly rigid
structures. This ability to transform a flat sheet into diverse, three-dimensional
shapes is crucial for me as it allows me to create a dynamic composition that
viewers can interact with. Depending on where you stand about the piece,
the shadows and the way the light reflects will change, creating a sense of
movement and inviting the viewer to explore the artwork from different angles.
This is what makes them so engaging and contemplative at the same time.

Additionally, the fact that paper used to be a main carrier of information that
has taken a backseat in our digital age sparked a creative challenge for me. I
kind of see my works as re-imagining the paper’s purpose. My reliefs embody
this challenge as they’re crafted from a material stripped of its traditional role
and transformed into something entirely new – a contemplative object. This
transformation creates a fascinating tension. The paper once used to record
and transmit ideas now becomes a foundation for works meant to inspire
quiet reflection. This juxtaposition reflects the fast-paced, ever-changing world
we inhabit. My reliefs offer a moment of pause, a chance to appreciate the
complexity born from something once used for a completely different purpose.

Untitled 72, Folded Paper, 2022

79 80
 How do you envision the How do minimalisn and geometry
relationship between individual shape your creative process, and
pieces in a series and what do you what do they mean to you in the
hope viewers take away from these context of your work?
curated arrangements?
Absolutely. Minimalism, architectural
Each of my paper artworks consists composition, and geometry are the
Your installations often feature clean, crisp, white-on-white compositions.
of several hundreds of individual foundation of my artistic vocabulary. I
Could you elaborate on the significance of colour and its absence in your
elements arranged in dynamic see them as powerful tools that allow
artistic expression?
compositions. Often I create diptychs me to express complex ideas through
where the pattern flows from one a lens of simplicity. By starting with While my installations often feature clean, white-on-white compositions, white
piece to another. The noticeable basic elements, like a single shape or is far from an absence of colour. Instead, it’s a powerful presence in itself.
thing is that the individual pieces form, I can build complex structures White evokes a sense of purity, simplicity, and light, creating a calm and serene
within the series are meant to work that carry a deeper meaning. This environment. This allows the viewers to fully appreciate the intricacies of the
together, creating a unified whole. The approach is evident in my recent forms without distractions from bold colours. This is particularly effective in
relationship between the elements in series, “In-Betweens.” Here, hundreds installations where the geometric shapes themselves generate dynamism and
each piece is parametric. This means of almost identical paper strips come movement. It’s important to note that even within a white palette, there’s a subtle
the way the elements interact or together to create dynamic geometric play of tones and textures. Light interacts with the material, creating variations
influence each other is governed by patterns. The tension in this work that add depth and complexity, highlighting form and texture. This interplay can
a set of mathematical equations and lies in the simplicity of the material evoke a sense of peace or even a blank canvas for personal interpretation.
rules. This creates a sense of depth and the meticulous composition –
and complexity that goes beyond the the interplay of shapes, proportions, However, my “Constant Change” series takes a different approach. Here, I explore
individual pieces. and contrasting concave and convex movement, cycles, and transition through an interplay of vibrant colours and
elements. This focus on clean lines three-dimensional shapes. In contrast to the white pieces, I utilise bold colours
By seeing the artwork as a whole and essential elements reflects a core and their interaction. It’s fascinating to witness how colours shift and change along
and moving around the space, principle in my work: “Less is more.” the circumference of the circle, encouraging viewers to move around the piece
viewers can discover new details, Similar to clean, crisp architecture, and discover new perspectives.
interactions between individual I strive for visually compelling and
pieces, and unexpected visual effects. intellectually stimulating art, achieved
This encourages a more active and without unnecessary elements.
participatory experience with the
art. Ultimately, I hope viewers take
away an experience that is both
contemplative and invigorating.
81 82
 Can you share insights into How do different cultural contexts
your experience participating in influence your creative process
international exhibitions and art and the reception of your work?
fairs, such as those in Germany,
the USA, and the UK? Travelling exposes me to diverse
artistic traditions, materials, and
Participating in international philosophies. This constant influx of
exhibitions and art fairs has been inspiration fuels my creativity and
a truly transformative experience sparks new ideas that I can integrate
which has undoubtedly boosted my into my work.
confidence as an artist. Receiving
positive feedback from such The way my work is received
diverse audiences validates my is equally fascinating. Cultural
artistic vision and pushes me to backgrounds heavily influence how
continue exploring new creative viewers interpret the symbols and
avenues. More importantly, it has colours I use. This can be incredibly
revealed a beautiful truth about revealing, offering a glimpse into the
art: composition and geometry can unique ways people engage with art.
transcend cultural barriers. I actively encourage these diverse
interpretations. In many of my
The way I arrange and structure creations, I intentionally leave space
my pieces, using composition and for personal meaning-making. The
geometry as a foundation, creates a resulting variety of interpretations is
dialogue that resonates with viewers a source of constant intrigue for me,
across the globe. It’s a shared human demonstrating the power of art to
experience that sparks curiosity and transcend cultural boundaries and
evokes emotions, regardless of their spark meaningful conversations.
background or spoken language.

Constant change 59, Mixed Media, 2022

83 84
 You’ve exhibited in various group shows and solo exhibitions. Is there
a specific exhibition or artwork that holds special significance for you?
If so, could you share the story behind it?

A recent highlight for me was showcasing my work at the Marcello

Morandini Foundation in Varese, Italy. The exhibition, titled “Extraordinary
Geometries,” opened at the beginning of May 2024 and brought together
ten international artists, each with a unique voice within the realm of
geometric abstraction. It was a true honour to exhibit alongside such
esteemed figures as Patrick Hughes, Bruno Munari, and Peter Weber as
well as the other talented participants.

Untitled 262, Folded Paper, 2024

The curatorial vision was particularly inspiring. The exhibition explored

the power of geometric forms to transform artistic perception, creating a
fascinating dialogue between the artists’ works. Seeing my pieces displayed
in conversation with these respected artists, all exploring the possibilities of
geometric language, was a truly enriching experience. The exhibition runs
until February 2nd, 2025, I highly recommend checking it out!
Constant Change 16, Mixed Media, 2022
85 86
Your participation in curated exhibitions like ‘Colour Play’ and ‘Imagine’
suggests a thematic exploration. How do you create works for specific
themes, and how does this impact your creative process?

Curated exhibitions offer exciting challenges. They provide a springboard for

artistic exploration within my existing style. Instead of a complete departure,
I use the theme as a lens to focus my creativity. This involves pushing the
boundaries of my usual colour palette or exploring a new subject that aligns
with the exhibition’s concept. Thematic exhibitions spark fresh ideas while
staying true to my artistic voice, ultimately enriching my creative process.

How do you navigate the balance between preserving cultural identity

and embracing a globalised art world?

Living in a globalised world and participating in international exhibitions

exposes me to a vast array of cultures and artistic expressions. This
broadens my perspectives and can subtly influence my work in terms of
form, material choice, or thematic exploration. The diversity of the audience
creates a rich tapestry of interpretations for my work. Viewers bring their
cultural backgrounds and experiences to the table, leading to a dynamic and
multifaceted understanding of the art.

Untitled 266, Folded Paper, 2024

88
 How has the art scene in Lodz, How do you envision the role of
Poland, where you are based, artists in fostering connections
influenced your artistic practice? and promoting understanding in
Are there local elements that find our diverse world?
their way into your work?
Art has the power to inspire action
While it may be challenging to identify and open dialogue. Artists can
In the context of your journey, how do you perceive the evolving
direct influences from Lodz on my be powerful agents for fostering
landscape of contemporary art, especially considering the global
artistic practice, the city undoubtedly connections and promoting
developments in the art world?
played a formative role in shaping my understanding in our diverse world.
sensibilities and worldview. Growing In my work, I strive to create pieces
My artistic journey began with The allure of technology like
up in Lodz, a city with a rich industrial that evoke emotion and spark
the most basic tools - a sheet CNC cutters and lasers was
heritage and a vibrant cultural scene, curiosity. While the celebration of
of paper, a ruler, and a pair of undeniable. These tools allowed
undoubtedly exposed me to a diverse diversity is not the initial driving force
scissors. Fuelled by imagination, for a level of precision and
range of visual stimuli and creative behind my works, the beauty lies
I started by exploring simple efficiency that was initially very
expressions. This exposure likely in the ability of art to resonate with
geometric patterns. As my appealing. However, even with
contributed to my inherent curiosity viewers in unexpected ways.
passion grew, I craved more these advancements, my art
and appreciation for art and design.
design freedom. This led me still requires hours and hours
Take my “Constant Change” series
to the world of parametric of meticulous handwork. This
However, it was during my student as an example. While my initial
modelling, which is often used focus on utilising manual work
exchange year in Vienna and my fascination stemmed from exploring
in architectural offices. This is something I deeply value. In
subsequent work experience in the nuances of colour interaction,
opened doors to creating a world increasingly dominated
London that I truly developed a the vibrant palette and dynamic
intricate shapes that wouldn’t by digital tools, I believe the
refined understanding of form compositions can also be interpreted
have been possible without human touch and the inherent
and structure. These experiences as a reflection of our richly diverse
the use of quite complex beauty of manual creation will
immersed me in the world of world. Art thrives on interpretation.
programming and advanced always hold a special place in
architecture and design, where I Though my specific intention isn’t
modelling software. the art world.
gained appreciation for the interplay to directly celebrate diversity, the
of light, space, and materials. This openness of artistic expression allows
formal training undoubtedly laid viewers to bring experiences and
the foundation for my current backgrounds to the table.
artistic practice, where I explore the
relationship between light, shadow,
and three-dimensional forms.

89 90
 Alyssa Jos: Crafting Beauty from Fallen Leaves

Alyssa Jos, a passionate artist and

botanical designer. Since childhood,
she has been in tune with the rhythm
of nature. Her unique artistic approach
involves transforming fallen leaves,
often wasted, into noble and luxurious
creations. Her works transcend their
ephemeral origins, inviting us to reflect on
our connection with nature. Alyssa Jos thus
reinvents our relationship with the plant
world, offering an inspiring perspective
that blends aesthetics and sustainability.

Champagne Billecart-Salmon, founded in

1818 in Mareuil-sur-Aÿ, is one of France’s
most celebrated champagne houses.
Their motto, “Privilégier la qualité et viser
l’excellence” (Prioritise quality and aim for
excellence), has made them a gastronomic
reference and the preferred champagne
of three-star Michelin chefs worldwide.

Engaged to continually receive clients elegantly, Champagne Billecart-Salmon called upon

the American-born and French-naturalised architect and interior designer, Elliott Barnes,
to design a visit and reception centre on their historic site. The project, which took six
years to complete, pays homage to Champagne Billecart-Salmon’s tradition and heritage.

Left: Photo credit Marion Saupin

92
 Barnes’s passion for art, design, architecture, history, and their relationship to
the natural environment is the foundation of this project. The primary desire is
Other moments include a skylit oval professional tasting room whose form
to create a sense of place; form and finish are expressed with innovative ideas
recalls the champagne labels and whose natural oak walls evoke a bird’s-eye
that seamlessly integrate into the original buildings and site.
view of the Billecart-Salmon parcels.

An abstract view of the vineyard and the century-old chestnut tree in the
garden, as well as materials used in the vinification process, were the starting
points of the concept created by Elliott Barnes. From this, he developed a
vocabulary of finishes that were all found or inspired by the site and the history
of Champagne Billecart-Salmon.

One of his most unique creations is Winepaper, Billecart-Salmon - Cuvée Le

Chestnut leaves assembled: sorting, processing and drying in books
Clos Saint-Hilaire, 2022. This unique material marries hemp and linen with
handpicked and dried Pinot Noir grape skins from Clos Saint-Hilaire to create a
It was in this creative context that Elliott Barnes invited Alisa Jos to create a
unique, delicate production of this paper that evokes the cuvée’s sophistication
covering for two folding screens using leaves from the family chestnut tree.
and character, both ephemeral and rare, since only vintage grapes are used,
and not more than 6500 bottles are produced.

93 94
 Blanco Anyó: The Power of
Abstraction and the Gesture of Light
Blanco Anyó was trained at the Escuela de Artes Aplicadas y Oficios Artísticos
de Valencia, the forerunner of the current EASD, Escola d’Art i Superior de
Disseny. Throughout the last decades, his professional activity has been linked
to art and culture from different perspectives and lines of action.

Landscape III, V, VII, X, Oil on board, 2021

As a plastic artist, Blanco Anyó delves into the emotionality offered by

abstraction through the gesture itself. Over the last few years, he has been
immersed in a research exercise consisting of depriving the pictorial fact of
colour, stripping it of what is undoubtedly, historically, one of its fundamental
elements. The austere and, a priori, limited exclusive formulation of light
and matter forces him to dispense with the infinite chromatic possibilities,
or in other words, to renounce the expressive capacity of colour. Far from
restricting the creative possibilities, this provides interesting dialogues
between forms, densities, textures, and contrasts. Dialogues that are only
completed with the decisive intervention of the incidence of light.

96
Your artistic career began at the In your exploration of abstraction,
School of Applied Arts and Artistic you have focused on the emotionality
Crafts of Valencia, where you delved offered by the gesture itself,
into various perspectives and lines especially in recent years when
of action in art and culture. How has experimenting with the absence
this diverse background influenced of colour in your paintings. Could
your approach to art and what you explain the concept behind this
themes or techniques are you drawn research and how it has informed
to in your practice? your artistic expression?

After finishing my art studies, I worked I don’t know if this speaks well of me
as a fashion designer for a firm as an artist, but that’s how I feel. I work
dedicated to leather, and I alternated with a single colour, black, because I
this work with graphic design. However, have a lot of respect for creating with
painting was the discipline with which a wide colour palette. For me, the
I was truly most comfortable. The use of colours infinitely multiplies the
school equipped me with knowledge parameters to be taken into account in
and techniques and brought out my the pictorial act, and I would not be able
capabilities. From a young age, I felt to obtain control of either the process
attracted to abstraction. I was amazed or the result. I feel comfortable working
by the ability to move and transmit only with black, so technically, we could
through a non-figurative language, say that I work without any colour. I
capable of transcending the protocols of manage limited parameters such as
mental and cultural analysis that we all contrasts, nuances, density, and, above
activate in the reception of the majority all, light. Why black? Paraphrasing Pierre
of artistic proposals. Abstraction skips Soulages, because it is an authoritarian
these filters and points directly to the colour, because of its forcefulness and
soul, to the irrational, to the authentic because it does not allow indifference.
primary emotion where intellectuality
does not intervene.

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 Landscape II, Oil on table, 2022 Lanscape XII, Oil on table, 2022

99 100
The Sands series is inspired by the The Plaster Series arises from The Black Paintings Landscape series invites viewers to encounter their deepest
Mediterranean beach near your experimentation with shapes, selves through contemplation and reflection. How do you create these sinuous,
home and incorporates sand into volumes, and textures, highlighting infinite strokes that evoke whimsical landscapes, and what role does light play in
sculptural pieces. How do you once again the emotionality offered shaping the viewer’s experience of your work?
balance the controlled gestures of by the gesture. How do you approach
Karesansui with the spontaneity the materiality of plaster to create The works in the Landscapes series Another main reason why I use black is
of your artistic process, and what abstract works that convey depth are an invitation to contemplate from its quality to collect the largest spectrum
message or feeling do you hope and expression? your deep self, and you can hardly put of light possible. It is for this reason that
viewers take away from these works? exact words to what you feel; simply, the volumetry of my works is its most
I have used many types of plasters; you feel. My work is not supported by important feature. This is only achieved
It’s a very good question. From it is a whole world. Finally, I decided a complex or highly intellectualised with the colour black. The shadows and
Karesansui, I extract the richness of the on Maduro, which is a very hard type conceptual discourse. I paint what I lights generated by the volumes appear
result, not the process. I am inspired of plaster that allows me a more feel without asking myself too many when the light source hits the canvas.
by the beauty of the grooves, the sinuous gesture due to its flexibility. questions. There is something very It all depends on the direction of the
calm produced by the contemplation The problem with plaster is its rapid true in all my work, which is the love brush in each gesture. Hundreds of
of those lines perfectly drawn in the setting, which prevents from properly of beauty, and I believe that this is microgrooves generate shadows, hence
natural, unpigmented sand. This is concentrating on compositional something related to every human the lighting effect of these pieces. We
something that I try to achieve in my intention and the gesture. Its qualities being. I make rigid or flexible brushes are talking about Op Art at its finest. All
work, to achieve a pleasant state of for creating art are very ephemeral; you to produce these gestures with oil my work is based on the relationship
calm through the contemplation of can barely sustain the density you. This spread directly on the canvas. It is between light and matter. That’s why
beauty. This series was created in 2021 is frustrating and exciting at times in very physical because sometimes they I don’t need more colours (for the
for the comprehensive realisation equal measure. are quite heavy brushes, measuring moment); these two parameters allow
of the art for two high-end hotels in almost two metres in length. I make me to express myself satisfactorily. The
Valencia, designed by one of the best translational movements with my same applies to the material series of
interior design studios in the city, arms in front of the canvas; it’s like a sands, which is also monochromatic.
Janfri&Ranchal, with which I maintain a kind of dance.
close professional relationship.

101 102
 Combustion explores the chemical reaction between nitric acid,
cotton fabric, and metal, resulting in collages of burned fabrics
influenced by Spanish informalism. Can you talk about the
importance experimentation in this series, and how you achieve the
balance between control and unpredictability in your art?

The realisation of these works has the same level of passion as it does
of danger. The gases produced by the chemical reaction of nitric acid
in contact with metal are highly toxic. On the metal, I expose the fabric Patraix, Acid burned fabric collage, 2020
soaked in acid, and what I generate is a kind of totally uncontrolled
organic engraving. Its shapes are an unexpected and capricious result
of nature, and have the same character that a volcanic eruption or the
sulphur stains on the stones of a Geyser in Iceland could have. I have
always thought that if nature had an artistic intention, it would be the best
artist of all time. The part where I exercise control and act as an artist
comes when I select the sectors that I like the most from the burned
fabric or printed by acid on the burning metal. That is when I create an
informal collage by sewing pieces of cloth manually with various strings
and rusty nails.

103 104
 Marita Setas Ferro: Pioneering
Sustainable Fine Craft and Design

Marita Setas Ferro, a

multi-talented Portuguese
creator, has made her
mark in the realms of
sculpture, fashion, and
crafts. Her unique and
impactful approaches to
fine craft blend design
and art, showcasing
her commitment to
innovation and artistic
excellence. Marita’s work
is distinct and imaginative,
consistently combining
various artistic aspects
with a deep connection
to craftsmanship and
an enduring desire to
surprise and delight.

Photo credits Henry Kappaun

106
An Artistic Visionary

Marita’s artistic journey is characterised by her desire

to merge different forms of art and craft. Her work
often transcends traditional boundaries, creating
pieces that are both visually stunning and conceptually
rich. Whether sculpting, designing fashion, or crafting, Her approach is deeply rooted in the belief that art and design should
she brings a unique perspective that emphasises the not only be aesthetically pleasing but also meaningful and impactful. Her
beauty and intricacy of fine craft. creations are a testament to her ability to weave together different artistic
elements into cohesive and captivating works.

107 108
110
The Power of Collaboration

Believing in the strength

of collective effort and
teamwork, Marita has
founded and participated
in several non-profit
associations. Her
entrepreneurial spirit is
evident in her dedication A Sustainable Approach
to imparting knowledge
and creating projects that A sustainability specialist,
positively impact people’s Ferro integrates eco-
lives. Through workshops, design principles into her
exhibitions, conferences, work, advocating for a
and fashion shows, she future where sustainability
has demonstrated her is paramount. Her
excellent organisational expertise has led her to
and coordination skills. train professionals and
participate in national
Her ability to manage resources and teams and international panels
effectively has been a cornerstone of her on footwear and fashion
success. Her projects often involve collaboration design. Her sustainable
with other artists and designers, fostering a approach is not just a trend
sense of community and shared purpose. but a fundamental aspect
of her creative philosophy.

111 112
 Global Recognition

Marita’s work has garnered

attention and respect on both
national and international stages.
Her innovative approaches to art,
Inspiring and Educating design, and sustainability have
made her a sought-after speaker
Marita’s commitment to and panellist. Her contributions to
education and knowledge the fields of footwear and fashion
sharing is evident in her design, particularly in the context
numerous workshops and of eco-design, highlight her as a
training sessions. She believes in leader in integrating sustainability
the transformative power of art into creative industries.
and design education, aiming
to inspire the next generation
of artists and designers. Her
workshops are designed to
impart not only technical skills
but also a deep appreciation
for the artistic process and the
importance of sustainability.

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 Please provide caption
115
A Future of Innovation

As Marita Setas Ferro

continues to push
the boundaries of
fine craft and design,
her commitment
to sustainability,
collaboration, and
education remains at the
forefront. Her projects
not only showcase her
artistic talents but also
Marita’s unique blend of artistry,
her ability to create
innovation, and sustainability
meaningful, impactful
positions her as a visionary in the
work that resonates with
world of fine craft and design.
a global audience.
Her future endeavours promise
to inspire and influence, fostering
a greater appreciation for the
interconnectedness of art, design,
and environmental responsibility.

117 118
 Curating Spaces: Eline Baas’ Blend of
Vintage and Contemporary Treasures

STUDIO | ELINE BAAS is an Amsterdam-based art and interior

design studio, helmed by the talented and versatile Eline Baas. With
a diverse background in art and design, Eline has created a niche
for herself in the realms of interior, lifestyle, fashion, and jewellery
design. Her years of international experience, working closely with
ateliers and factories worldwide, have profoundly influenced her
approach to her work at the studio today.

Growing up in an art-loving family, Eline’s affinity for art and design

has always been strong. This deep-rooted passion is evident in
her intuitive creative vision, which combines a wealth of material
research with technical knowledge. Her keen eye for aesthetics,
quality, and authenticity allows her to add unique value to any
room or space, making it simply beautiful. Eline’s love for art and
her talent for blending vintage and contemporary design treasures
are at the heart of her work, resulting in spaces that are both
harmonious and striking.

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 Her upbringing in an art-loving family translates seamlessly
into her creative process at Studio | Eline Baas.
“Growing up in an art-loving family has deeply influenced
my work at Studio | Eline Baas. I translate this upbringing
into my creative process by infusing each project with a
sense of harmony in composition and materials.”
Eline’s diverse background
has equipped her with a
multifaceted perspective,
enabling her to tackle a
wide array of projects with
creativity and ingenuity. “My
diverse background in art
and design has profoundly
influenced my approach to
running Studio | Eline Baas
today. Having worked across
various creative disciplines, I
bring a rich tapestry of ideas
and solutions to my studio.
This experience instils in me
a sense of versatility and
adaptability, enabling me to
tackle diverse projects with
“Values of authenticity, shapes,
creativity and ingenuity,”
and a love for the handmade
she reflects.
are carried forward into my
work, ensuring that every
design reflects my commitment
to quality craftsmanship and
artistic expression.”

121 122
 A distinctive feature of Eline’s design philosophy is her ability to balance
vintage and contemporary elements. She explains, “In everything I design,
I always strike a balance between vintage and contemporary design.
This can be seen in art pieces in shape, colour, or material, as well as
in entire projects of spaces where vintage and contemporary treasures
are carefully curated to harmonise the old and the new. I’m drawn to
juxtaposing these aesthetics to create spaces that feel both timeless and
fresh. This approach adds depth and character to my projects, inviting a
sense of nostalgia while remaining relevant and forward-thinking.”

In addition to her interior design and styling work, Eline also crafts an
ongoing art collection under her Atelier division. “I started my atelier
division first; I wanted to create art pieces born out of creativity and
the freedom it gives me. I was inspired to start crafting my unique art
collection to push the boundaries of creativity and explore new artistic
territories. This aspect of my work complements my studio’s broader
vision by offering clients an opportunity to integrate bespoke art pieces
into their spaces, further enhancing the overall aesthetic,” she shares.

Eline selects materials for her art pieces based on their authenticity,
rawness, and visual appeal. She looks for qualities that align with her
artistic vision, such as the warmth of wood, the earthiness of clay, or the
richness of metals like brass, copper, and steel. Surface treatments such
as oxidation formulas, waxing, and sanding techniques are integral to her
artistic process, adding depth, texture, and visual interest to her pieces.
“Surface treatments such as oxidation formulas, waxing, and sanding
techniques are integral to my artistic process. I experiment with these
techniques to enhance the raw qualities of my materials, adding depth,
texture, and visual interest to my pieces. Embracing imperfections in
these processes contributes to the overall aesthetic, celebrating the
beauty of the handmade,” she notes.

123 124
 Eline embraces imperfection as a source of beauty and uniqueness in
her art, ensuring that each piece retains its individuality while fitting into a
cohesive collection. She navigates the delicate balance between creating
functional spaces and crafting standalone art pieces with a keen eye for
composition and aesthetics. “I approach incorporating texture and light
into my designs with a keen eye for composition and aesthetics. I aim
to create immersive environments that engage the senses and evoke a
response of beauty by playing with these elements.”

Looking ahead, Eline is excited about the future of her studio. “I’m eager
to continue pushing boundaries, exploring new artistic directions,
and collaborating with clients who share my passion for design and
craftsmanship. Whether it’s delving into new materials, experimenting
with innovative techniques, or embarking on ambitious projects, I’m
committed to pushing the boundaries of creativity and delivering
exceptional experiences for my clients,” she concludes.

Eline Baas’ work at STUDIO | ELINE BAAS is a testament to her dedication

to art, design, and the beauty of the handmade. Through her studio and
Atelier division, she continues to inspire and create, leaving a lasting
impact on the world of interior design and art.

125 126
127 128
Between Tradition and Innovation:
Samuel Latour’s Artistic Process

Samuel Latour, an esteemed

artist and sculptor based in
Toulouse, brings a profound
artistic vision to life through his
versatile practice. Graduating
from the prestigious Boulle
School, Latour specialised
in art turning, particularly
with wood and bronze. His
journey as an artist has been
marked by collaborations with
designers and artists in various
workshops and art foundries,
honing his skills and expanding
his creative repertoire.

Eclat, Bronze

130
 Your journey as an artist has
seen you graduate from the Mixing different mediums such as wood, bronze, steel, plaster, and
prestigious Boulle School and various techniques like moulding, woodturning, and chasing bronze,
collaborate with designers and your practice seems to be rich and versatile. Could you share more
artists in various workshops about how you navigate between these different materials and
and art foundries. How has this techniques to bring your artistic vision to life?
diverse background influenced
your artistic style and approach For me, all sculptures begin with gestures, with movements. Each material
to sculpting? requires specific skills to manipulate. I particularly enjoy mastering
a technique and exploring its full potential. For example, I utilise the
Indeed, I began sculpting when I eccentric turning method on a lathe when working with wood, which is
was a student in arts and crafts at both unique and hazardous. I employ it as a sculptural technique. With
the Boulle School. During that time, many tries, with a gesture, I try to ‘extract’ something artistic out of it. The
I had already begun developing process varies depending on the material: sculpting bronze requires a
ideas and directions for working different approach than sculpting wood. Each time, it requires a fresh way
with volumes. Other artists and of thinking about the sculpture regarding the gesture.
designers were instrumental in
helping me recognise the strengths Your exploration of abstract language in sculpture is fascinating.
of my approach to sculpting Could you delve deeper into how you approach “calligraphic the
volumes. I also learned a lot, volume” and the significance of gestures, lines, geometric shapes,
especially from working with Wang and textures in your work?
Keping and Hervé Van der Straeten.
In their work, everything is about I prefer not to define too much what I do. I believe that art, especially
details and proper finishes, which abstract art, serves as a personal melody within each of us. For me, it is
make the beauty and the difference deeply intertwined with the moment of sculpting. I often liken sculpting
of their artworks. to ‘writing’ or ‘calligraphing’ the volume. It’s a form of language that I enjoy
exploring. Shapes, lines, and textures constitute this language, much like
a musician with an instrument. For example, bronze is the material which
has the largest vocabulary for textures—it can be smooth, shiny, matte,
Drôlerie n.2 edition en bronze patiné tirage
polished, rough, or blunted. Working with wood allows me to incorporate
numéroté 1sur
its natural features, such as knots, cracks, veins, and grains.

131 132
How do you balance the expressive Do you feel a connection between
potential of materials with the your work and the cultural or artistic
precision and technique required in heritage of the region?
craftsmanship?
I love the region of Toulouse not
When I learned craftsmanship in an specifically for artistic reasons. Of
academic school, I learned more about course, we are not far away from great
how to make perfect objects and the artists’ museums like the Soulages
process of making them should be Museum in Rodez, Toulouse-Lautrec
invisible. When I work on a new project, in Albi, or Eduardo Chillida in San
I look for something very minimal but Sebastian, and the cultural heritage is
essential to the sculpture. Knowing wonderful. I like working in Toulouse
when to stop at the right moment is because I need to stay very focused
crucial to me. Then, I spend extensive on sculpture. I also travel a lot to see
exhibitions, mostly in Paris. Your sculptures often evoke a sense of movement and dynamism.
and precious hours making the finishing
How do you imbue your static artworks with a sense of energy and
touches on the sculptures. It is really
fluidity, and what emotions or narratives do you aim to evoke in
important to me that we can touch and
your viewers?
feel the same sensation with our hands
and with our eyes.
A sculpture inherently doesn’t move, and I always want to give movement
to it. For the ‘Collision series’, I begin with a simple geometric form: the
cylinder. From there, I sculpt it as if the volume was impacted by the tool,
and I create voids within. These voids add complexity to the sculpture
beyond a simple cylinder. I repetitively sculpt, forming a pattern on the
volume, and I compose the placement to achieve a balance of the whole
composition. This pattern is specifically a language of lines, curved lines,
broken lines, which evoke emotions. I leave the interpretation very open,
allowing each viewer to experience them in their own unique way.
Diacritics 1

133 134
 Your works are exhibited regularly by renowned galleries such as the
Anne Jacquemin-Sablon Gallery in Paris and the Saint-Jacques Gallery
in Toulouse. How does it feel to have your art showcased in such
prestigious venues, and how do these exhibitions contribute to the
dialogue surrounding your work?

First, I like working with galleries and showcasing my work to the public.
It is essential as an artist to receive feedback on how viewers interpret
my artwork. Working with galleries is always a challenge, pushing me
to explore new directions in my work. For instance, last September, I
embarked on a new project titled ‘Diacritics’ in cast aluminium for the
Anne Jacquemin-Sablon Gallery. This work mixes a sculptural approach
and typography and represents accents and tonalities. It has also
something very musical, and I was very proud to showcase it to the public
and listen to their thoughts about it. This solo show exhibition was a
wonderful occasion to renew and question my sculpture’s work.

Looking ahead, what are your aspirations for the future of your
artistic career? Are there any new directions or projects you’re
excited to explore in your upcoming works?

I would love to delve deeper into outdoor sculpture work. The interplay
between a garden and its sculptures has always fascinated me. There’s
a certain allure to stumbling upon a sculpture while wandering through
a garden. It appears almost effortlessly placed there, yet I recognise it is
a difficult art harmonising evolving plant life with enduring sculptures. I
would be very excited to team up with landscape architects and see where
our joint creativity takes us!

Samuel Latour continues to push the boundaries of sculpture with his

unique approach and dedication to his craft. His work is a testament to
the power of abstract language, material exploration, and the enduring
dialogue between artist and viewer.

Collision n. 41 Alisier, Collision n.37 Sipo, Collision n. 42 Noyer

135 136
 Mila Ilingina: Sculpting Sensory
Journeys in Mixed Media

Mila Ilingina, a mixed media sculptor based in Dubai, intricately crafts sculptures
by hand, capturing tactile sensations of fluidity, serenity, and meditation. Her work
embodies the rhythms, forms, and contrasting colours found in natural phenomena,
inviting viewers to immerse themselves in a sensory journey.

“Transparency of water, colour, and hand sculpting—three things I deeply cherish

and combine in my works.”

I use clay to form the initial shape of my sculptures. Hand sculpting, creating texture
and volumes, immerses me in a state of flow. Smooth, undulating movements of the
fingers and the smoothing of edges, akin to neurography, affect the state of mind
and soothe internal conflicts.

Water is my source of energy. In my art, I convey its caustic properties through the
use of transparent materials, such as epoxy resin. I create contrasts of transparency,
shimmering highlights, and tinted shades.

“A deep connection with nature, contemplation and an irresistible urge for

experiments—this is my wellspring of inspiration.“

139 140
 Mila’s art serves as a reflection of her inner landscape, inviting others to pause,
ponder, and connect with the universal truths that bind us all. She embarked on her
creative journey over a decade ago, initially as a designer, honing skills and cultivating
a deep appreciation for aesthetics and form. Today, she channels more than a
decade of creative experience into each piece, creating a unique blend of design and
artistry that embodies the essence of her artistic evolution.

Diffusion in Morning Grass Colour, Art Resin, Pigments, Nylon Wire

141
The Essence of Water in Art

Water plays a significant role in Mila’s artistic process and inspiration. It represents
an opportunity to reboot and wash away excess information, symbolising the
unconscious, depth, and what lies beneath the surface. Water’s flexibility, fluidity,
and movement inspire endless variations of patterns, such as waves, ripples, and
whirlpools. Transparent and semi-transparent materials, like the wings of insects
and petals of flowers, allow light to pass through, leaving mysteries and enigmas
to the imagination.

Diffusion in Mirror Moody Sunset,

Art Resin, Mirror Film, Nylon Wire
 Challenges and Breakthroughs

A significant breakthrough moment for Mila was her move to Dubai over two years
ago. This relocation profoundly impacted her creativity, leading to the discovery of
new materials and artistic directions. The absence of functionality and the need to
fire clay allowed her to focus solely on the artistic component, leading to the creation
of corals, flowers, and abstract pieces.

A Journey of Inspiration and Sensory Experiences

Mila Ilingina’s sculptures intricately capture tactile sensations of fluidity, serenity,

and meditation. Contemplating nature and merging with it bring her peace amidst
the modern realities and the din of information. She finds endless inspiration in the
textures, combinations of colours, and lines encountered in plants, flowers, seashells,
and insects. Absorbing these elements, she transforms them into ideas for her work.

In 2020, Mila began working with clay and creating ceramic pieces. Hand moulding
captivated her and has not let go since. Gradually, moving from simple vessels
and dishware, she began to create more complex sculptures. It’s an amazing
feeling when your fingers become so sensitive that they can precisely determine
thickness and texture, allowing for the creation of objects even with closed eyes.
This expanded perception of the world greatly enhances her creative process. Clay,
being an honest material, requires complete calmness and engagement. The act of
moulding itself becomes both meditation and flow, a reciprocal impact between the
artist and the object.

Creating 3D objects allows Mila to convey more information in one piece than a 2D
painting, enabling the transmission of light, shadows, and overall relief.

Dune in Arabian Night, Art Resin, pigments, Nylon Wire

145 146
Nature’s Influence and Universal Truths

Nature is profoundly integral to Mila’s artistic vision, acting as both muse and
material. The forms, textures, and patterns found in the natural world drive her
aesthetic and conceptual approach. Her sculptures aim to capture the essence of
organic growth, the interplay of light and shadow, and the perpetual transformation
observed in nature. These elements reflect the universal truths of change, resilience,
and interconnectedness.

By incorporating natural motifs, Mila reminds viewers of the intrinsic beauty and
complexity of the natural world, often overlooked in our fast-paced, modern life. Her
art invites contemplation and introspection, encouraging a deeper appreciation for
the beauty in both ephemeral and enduring forms. Through her sculptures, Mila
seeks to evoke empathy, reflection, and a renewed connection to the external world
and the inner self.

An Artistic Evolution from Design to Sculpture

Mila’s artistic journey began as a designer, encompassing web and graphic design,
3D modelling, photography, videography, and editing. 3D modelling allowed her to
create virtual sculptures, experimenting with materials and light, inspiring her to
create physical sculptures. Her background in videography and editing plays a crucial
role in sharing her creative process, garnering a global audience through immersive
content on social media platforms.

All her previous skills converge into a single point, finding application in her current
work. This multidisciplinary approach enriches her art, reflecting the experience of
previous years.

Dune in White Sand, Art Resin, Pigments, Nylon Wire

148
Future Aspirations

Looking ahead, Mila aspires to explore various natural patterns, their

interconnections, and their impact on human perception. She plans to embody this
in her sculptures and 3D works, exploring the boundaries between the real and the
virtual. Through video creation, she aims to convey these themes to her audience as
inspiringly as possible.

Mila Ilingina’s sculptures are not just representations but invitations for viewers to
reconnect with nature and consider deeper truths about existence and our impact
on the world. Her art fosters a sense of shared humanity and a collective aspiration
towards understanding and preserving the beauty and complexity of our world.

Coral in Mirror Turquoise, Art Resin, Pigments, Mirror Film, Nylon Wire

150
Audrey Guimard: Crafting Ecological
Narratives through Stone

Introducing Audrey Guimard,

an esteemed artist-sculptor
and scenographer. A profound
admirer of nature and a
passionate advocate for
heightened awareness in the
creation and experience of art,
Guimard’s work encompasses
everything from monumental
installations to intricate
objects. Her commitment to
collective projects is evident
in her recent participation in
Hermès’ Académie des Savoir-
Faire, where she explored
ancestral know-how and the
contemporaneity of stone.

152
A Sculptor’s Ecological Commitment

Audrey Guimard’s practice is rooted in sustainability, especially when working with

quarry tailings and materials collected from nature. This ecological dimension
is fundamental to her approach, reflecting her dedication to respecting natural
resources and traditional craftsmanship. Guimard’s pursuit of new aesthetics often
leads her to collaborate with artisans from various countries and regions, blending
art, crafts, design, artistic installations, architecture, and land art. Spazio Nobile
proudly unveils her Fusion Collection at Collectible 2024, featuring sculptural seats,
lighting, and totems created exclusively for the gallery.

154
 Maison Margiela’s Limestone Sculpture

One of the most captivating works by Audrey Guimard is the limestone sculpture,
Pietra Bianca D’ostuni, created for Maison Martin Margiela Fragrances (Replica).
This exquisite piece evokes the serene beauty of a sunrise over the mineral
landscapes of Puglia. Through a delicate play of strata, the sculpture captures
fragments of local baroque architecture while simultaneously referencing the
fluidity of draped sculpture.

At the heart of the sculpture, the Margiela diffuser is strategically placed to emit
a warm, inviting light. This light is reminiscent of the gentle glow that greets you
on a summer morning, encapsulating the softness and tranquillity of a freshly laid
sheet. The interplay of light and stone creates a harmonious blend of sensory
experiences, inviting viewers to connect with both the natural and crafted
elements of the piece.

Through this work, Audrey showcases her exceptional skill in stone carving and
her dedication to creating art that reflects a deep ecological awareness and a
profound connection to nature. This limestone sculpture stands as a testament to
her ability to blend traditional techniques with contemporary ecological concerns,
resulting in a piece that is both timeless and poignantly relevant.

Capture d’écran 2024

157 158
 Drops of Inspiration:
Jane Puylagarde’s Global Influence

Jane Puylagarde’s artistic journey is as unique as it is inspiring. Beginning with

two Master’s degrees in Political Science and Law, her early career in fashion
modelling led to the creation of her ready-to-wear brand, making her one of the
promising young designers of the 1980s. However, it was a trip to Mexico in the
early 1990s that truly set the stage for her future in fine art. A decisive encounter
with an Indian ceramist who painted small drops of paint forming circles inspired
Jane to adopt and reinvent this technique, developing a unique art form that has
since garnered international acclaim.

The Birth of the Drops Technique

Jane Puylagarde’s work seamlessly

reconciles the idea of the infinitely
small with that of the infinitely large.
This concept has been a driving force
in her art since the 2000s, leading to
exhibitions in Paris, Barcelona, and
Geneva. Her latest series continues
to showcase her unique technique,
proving that the ultimate challenge for
an artist is the power of reinvention.
The advent of social media further
amplified her visibility, attracting the
attention of major collectors, designers,
and institutions from the United States,
Japan, and Russia.

Photographer Credit: Thomas Dufour (@thomdfr)

Photography credit: 11h45 (@11_h_45)

159 160
 A Forest, Photography Credit: 11h45 (@11_h_45)
161 162
Today, Jane splits her time between her studios in Paris and Formentera. Her works,
which adorn prestigious private and public collections worldwide, are a testament to
her philosophy of liberty without frontiers.

What role did your travels, What inspired you to transition

particularly to Mexico, play in from law and political science to
shaping your unique technique fashion design and eventually to
and artistic vision? the world of fine art?

Mexico was the start of the dots. I have always been interested in
I worked with Mexican ceramic art, drawing, and painting since
artists who used many dots I was a child. I was captivated by
painted on their objects. I returned fashion in the late 70s and early
to Paris obsessed with dots and 80s, with Vivienne Westwood as
have never stopped since! my idol. I modelled while attending
university, spending all my money
Can you elaborate on your on young designer brands. This
technique of using hairpins to led me to design my first collection
apply paint and how this method under my name, supported
developed over time? financially by labels I worked with
as a model. I even got an article in
I developed my technique with The New York Times! Designing my
hairpins, which allowed me to prints and learning about shapes
paint very small dots inside dots set me on the path to becoming a
with different colours. Over time, painter. Law and political science
my dots began to grow in width have been helpful in my current
and height, and I started to work life, though they had no direct
monochrome, principally in white. impact on my creativity.
For over 20 years, I’ve used the
Toile verte 2
back of a special brush to apply
pigments to canvases.

164
 How do you achieve the intricate How have different cultures,
layering of paint drops in your particularly those you
work, and what challenges do encountered during travels,
you face with this technique? influenced your artistic style ?

I build my drops by layering on dry Each culture’s aesthetics reveal

layers. It takes a lot of time and new ways of creating and
meticulous concentration, putting understanding the world. Japan,
me in a meditative state. My for example, deeply influenced me
work evolve from initial drawings, with its respect for nature. After
with choices of drop sizes giving visiting Japan, I created frames
my work a natural flow. The like windows allowing nature to
monochrome colour and varying invite itself into homes. This led
drops depend on the painting’s to a specific exhibition and a
focus and how it will be illuminated. book, “Croissances,” expressing
my admiration for the Japanese
How does your focus on mindset towards nature.
elements like atoms and
particles influence the overall Your work often explores the
narrative of your work? interplay of light and shadow.
How do you conceptualise and
I am passionate about the execute this in your paintings?
relationship between the infinitely
small and the infinitely large, When I draw my future paintings,
which are keys to the universe. My I envision them illuminated from
drops represent atoms, particles, above to create drop shadows.
and protons—the constituents The play of light and shadows is
of organic matter. Each work the second creative part of my
challenges me to expose either my paintings, bringing them to life and
interpretation of the cosmos or a making the drops appear almost
study of nature’s movements or three-dimensional. This interplay
cells composing trees or plants. of light and shadow creates a
Photography Credit: Marie Lukasiewicz (@marielukasiewicz) dynamic, living quality in my work.

165 166
 Can you share specific instances What new forms or concepts are
where cultural diversity has you currently exploring in your
significantly impacted your work latest series of works?
or exhibitions?
I am exploring nature, aiming to
Japan’s integration of nature into express the emotions and thoughts
daily life inspired me to create new it evokes in me. My work continues
frames and an exhibition that paid to evolve as I discover new ways to
homage to this philosophy. My represent the intricate beauty of
recent exhibition, “A Forest,” was the natural world.
inspired by the incredible Sabinas
trees of Formentera, showcasing How does your art reflect your
my admiration for their unique philosophy and quest for
beauty and resilience. self-expression and connection
with life?
How has your art evolved over
the years, particularly with the Art is my way of communicating
shift from polychrome to blue what I see in the world. It’s a
and white monochromes? solitary journey that requires
bravery to express oneself. I
The shift to monochrome came often live like a monk, away from
naturally as I sought to convey a the human world, to protect my
clear message and aesthetic. Using meticulous work. Inside my studio,
fewer colours allows me to focus I bring life, light, and love through
on the beauty of movement and the photos I take outside, creating
the interplay of light and shadow. a connection between my inner
and outer worlds.

Blue Movement

167 168
 Photography credit: 11h45 (@11_h_45)

Jane Puylagarde’s journey from law and fashion to fine art illustrates her profound
dedication to creativity and reinvention. Her distinctive technique and deep
connection with nature continue to captivate audiences worldwide, making her a true
pioneer in contemporary art.
Photography Credit: Jared Beck
169
 Silken Symphony: Kinga Földi’s
Textile Sculptures

Photography Credits: Péter Zsarnóczky

Kinga Földi, a Budapest-based textile sculptor from Hungary, draws inspiration

from the profound need to reconnect with nature amidst the frenetic pace of
modern urban life. Her series of silk sculptures stands as a testament to this
longing for serenity and renewal, encapsulating the essence of natural beauty
through intricate artistry.

172
Each sculpture in Földi’s collection represents
a departure from traditional textile art,
pushing the boundaries of form and
structure. Utilising the versatile canvas of silk,
she employs the meticulous pin-tuck method
to create rhythmic, stripy textures that evoke
the tactile sensations of natural elements.
These sculptures are not merely artistic
expressions but also profound meditations
on our relationship with the environment.

Incorporating delicate floral motifs into

her compositions, Kinga Földi achieves a
harmonious fusion of human creativity and
organic elegance. The interplay of form
and detail in her works invites viewers on a
contemplative journey, prompting a deep
connection with the intricate beauty of
nature. Through her art, Földi encourages
us to rediscover and celebrate the delicate
equilibrium between humanity and the
natural world. Her sculptures serve as
poignant reminders of the tranquillity and
healing power found in embracing nature’s
inherent grace, offering respite from the
complexities of modern life.

Down The Hollow, Silk Dupioni, Cotton Canvas, Brass Wire,

2023, Pin-tuck, Individual Technique
Photography Credit: Alida Kovács

173 174
 This series not only celebrates the ephemeral
elegance of silk but also underscores the
timeless allure of floral symbolism, inviting
viewers to reflect on the enduring harmony
that exists between human creativity and the
natural environment.

Philemon & Baucis, Silk Dupioni, 2024

Pin-tuck, Individual Technique
Photography Credit: Alida Kovács
175 176
 Private View: Collectible Fine Crafts &
Concept Design By Double J Gallery

The Double J Collective Gallery invites you to join them for a Private View
showcasing exciting new works in Fine Crafts and Design Concepts.

Founded with a mission to expand the boundaries of creativity, Double

J Collective is renowned for curating the finest collectible designs and
exquisite fine crafts. With a dedicated team of passionate art enthusiasts,
the gallery began its journey in Dubai and Abu Dhabi, UAE, establishing
itself as a premier venue for showcasing Arabian Gulf art.

Collaborating closely with talented artists and designers, Double J

Collective seeks to present works that exemplify unlimited creativity and
the highest artistic and technical standards. Each piece curated is unique,
reflecting the unparalleled skill and innovation of our artists.

Committed to promoting the cultural heritage and contemporary

expressions of the Arabian Gulf, we are excited to announce our
forthcoming gallery expansion across the GCC. This expansion will enable
us to further our mission of sharing the region’s diverse artistic richness
with a broader audience.

May 4th from 11am to 7pm

RSVP at [email protected]
177 178
 Artists & Designers

The Double J Collective Gallery is dedicated to harnessing the collective power The gallery upholds an unwavering commitment to excellence in artistic vision and
of extraordinary artists and designers to curate works that exemplify boundless technical execution. Their artists and designers demonstrate exceptional technical
creativity and the highest levels of artistic and technical prowess. Their mission is to proficiency and communicate profound concepts and narratives through their
set new benchmarks for innovation and excellence in art and design. creations, inviting viewers into immersive artistic experiences.

At the core of their approach lies a unique network that connects their artists and They believe in the transformative power of collaboration and the exchange of
designers with a diverse community of skilled producers, makers, and crafters across ideas. By fostering an environment of mutual support and shared knowledge, they
various domains and techniques. This collaborative ecosystem enables them to empower their artists and designers to continually evolve and refine their craft. This
transcend limitations and bring awe-inspiring works to life, pushing the boundaries of collaborative spirit fuels their artistic growth, resulting in a collection that represents
artistic expression. the pinnacle of artistic achievement.

Each artist and designer within the Double J Collective Gallery possesses a At the Double J Collective Gallery, they champion the talents of their artists and
compelling artistic vision, representing disciplines such as sculpture, ceramics, glass, designers, providing them with invaluable opportunities for professional growth and
textiles, furniture design, product design, and conceptual installations. This diversity exposure. Through exhibitions, events, and collaborations, they actively promote
fuels a dynamic artistic environment that encourages dialogue and inspires creativity. their exceptional contributions to the artistic landscape.

179 180
 Anny Juillet Kamal AlZubi

Anny Juillet, based in Brittany, France, is an artist who delves into the Kamal was born into a family of potters. Since childhood, he was surrounded by
intricacies of the colour black through relief sculptures on wood panels. She ceramic artists including his brothers who introduced him to clay. He graduated
masterfully employs various techniques and materials to create pieces that from the College of Arts and Design at the University of Jordan from the faculty
capture light and evoke emotional depth. By experimenting with geometric of pottery and sculpture. He managed and founded several pottery studios in
abstraction, she explores the balance between light and shadow, seeking Jordan including his family business. Besides teaching, Kamal has participated
perfection within imperfection. Juillet aspires for black to transcend its in several art exhibitions, symposiums, and created commissioned artwork for
colour and become a universal symbol of freedom in a complex society. many individuals and entities locally. Kamal taught at Cambridge High School
Her body of work, titled “Le noir émoi,” encapsulates this exploration of in Jordan for five years before coming to Dubai to establish the pottery and
black’s multifaceted nature. sculpture department at Al Jalila Cultural Centre for Children.

181 182
Kaori Nakamatsu

Kaori NAKAMATSU is a distinguished Japanese artist renowned for her mastery of

European painting techniques on porcelain and glass. With a rich background in
collaborating with gastronomic chefs and major department stores in Japan, her
Madar Alsuwaidi
expertise shines through in each meticulously handcrafted piece. Since relocating to
France in 2013, Nakamatsu has continued to captivate audiences worldwide with her
Madar Alsuwaidi is an Emirati self-taught potter who loves hand-building with
stunning creations, which have been showcased at prestigious exhibitions around the
clay. She was born into a family of artists and learned a lot from my incredibly
globe. Her artworks bear the hallmark of Japanese precision and finesse, with each
talented mother Shamsa Juma, the founder of House of Clay. When working
detail meticulously adorned by hand. Nakamatsu’s exceptional talent has garnered the
with clay her mind silents & feels like it’s an escape from her busy mind
attention of a renowned luxury French brand, leading to her involvement in creating
that overthinks of unnecessary matters. Madar found a way to express her
their exclusive limited collection. Her commitment to excellence and artistic vision
imagination & develop creativity without the need to plan or constantly think.
makes her a true luminary in the world of porcelain and glass art.
Madar’s hands lead the way and the outcome of the ceramics brings her joy.
Madar is passionate about pottery and enjoys the freedom of glazing, exploring
unique details, shapes and textures.

183 184
 Matthieu Gicquel’s

Matthieu Gicquel’s glass art is a testament to the profound beauty found in the
ordinary, echoing the sentiments of Junichiro Tanizaki’s “In Praise of Shadows.” Muhammad Shareef

Rooted in Japanese concepts like wabi-sabi and Yûgen, Gicquel’s work elevates
When Muhammad was young, sometimes helped his father in the family
the mundane to the sublime. His creations invite viewers to slow down, meditate,
carpentry shop, in the Atarot industrial zone in Jerusalem. Over the years,
and discover the intricate details and changing reflections within each piece.
he acquired knowledge and skills in woodwork production and handicrafts,
Gicquel’s art embodies both simplicity and complexity, echoing Leonardo da
and decided to study design and connect it to his background in carpentry.
Vinci’s notion that simplicity is the ultimate sophistication. As Pierre Soulages
This project focuses on the utilization of carpentry waste, and motivated by
suggests, there’s a sacred quality to Gicquel’s work, offering a pathway to
the ambition to reduce wood waste and use it to create desirable objects. As
transcend the mundane and touch the spiritual. In essence, Gicquel’s glass art
materials for his project, Muhammad chose waste materials that have potential
encourages viewers to see beyond the surface and uncover the profound beauty
for efficient reuse such as sandpaper, wood scraps, and adhesives that is used in
within each piece.
the carpentry shop. Without the use of additional external materials, he decided
to design furniture and connect it to the existing production lines, or create a
new line dedicated to the use of waste materials.

185 186
 Nada Elkharashi
Shamsa Juma
Nada Elkharashi is a Qatari-based interdisciplinary research designer focused
on creating thought-provoking experiences and realities. Her work lies at the Shamsa Juma is the founder and owner of House of Clay. Shamsa is currently
intersection of cultural advancement, positive change, and human emotionality. working in the clay industry and has her own workshop and gallery which
Her design innovations thrive across various industry sectors, from daily initiated with family members and other passionate artists. Her ambition is to
used objects, everyday furniture, interactive installations, creative storytelling, unite a broad base of artists and skilled potters in the city of Dubai and her
sensorial exhibitions, product design, and design. Nada Elkharashi defies the mission is to revive this very old form of art and to produce artwork that serves
formal understanding of sustainability measures. She produces works in which the UAE community where Shamsa can interact with the stories of its people and
her use of form, material, and function provokes everyday perceptions to grow institutions. Shamsa aim is to establish the artistic beauty and values of the UAE
a relationship between individuals and positive changes to restore cultural and its local environments and build bridges of communication with creative
integrity to our daily activities for a better quality of life. artists of pottery and ceramics globally.

“Art is the right for everyone who feels it”

187 188
 Nicola Barth’s Transcendent Art:
A Journey of Transformation and Primordial Light

This year, Nicola Barth’s remarkable work has been showcased at two prestigious
exhibitions in Rome: the Palazzo Velli Export exhibition AROUND ROME and the
Palazzo Cancelleria Vaticana for the exhibition Quintessence, organised by the Rome-
based ARTE BORGO Gallery. Barth’s large-format, golden phoenix-frequency paintings
are profoundly connected to themes of transformation and metamorphosis, serving
as the leitmotif of her artistic oeuvre.

Nicola Barth’s art symbolises primordial light, healing, and transformation. The
concept of primordial light, often referred to as ‘primal light’, holds a central role
in many spiritual and mystical traditions. It represents the original, divine light that
permeates all existence, illuminating the essence of being. This theme is evident in
Barth’s use of gold, which is intricately linked to transformation, particularly within an
alchemical context.

Historically, alchemists viewed the transformation of base metals into gold as not just
a chemical process but a symbolic journey of spiritual purification and enlightenment.
In Barth’s art, the use of gold suggests a profound change or transformation, whether
it be personal, spiritual, or universal. Her golden phoenix-frequency paintings convey
a narrative of rebirth and renewal, capturing the viewer’s imagination and inviting
them to embark on their own journey of transformation.

Nicola Barth’s works are not just visually stunning but also deeply symbolic, offering
a reflection on the cyclical nature of transformation and the enduring power of
primordial light. Through her art, Barth invites viewers to explore the depths of
their own experiences, encouraging a contemplative engagement with the universal
themes of light, transformation, and rebirth.

Phoenix Frequency #3, 2022,

Oil and oil bronze on canvas, 160 x 120 cm

189 190
 Capturing Nature’s Majesty:
The Photography of Josef N. Grech

Josef N. Grech is a professional

art photographer based
in Switzerland, specialising
in outdoor, adventure,
and travel photography. A
dedicated Nikon user, Grech
approaches his practice with
the precision and passion of
a seasoned artist. His images
are not just photographs
but visual narratives that
communicate his unique
perspective on nature’s beauty
and complexity. Through his
lens, Grech seeks to evoke an
emotional connection between
the viewer and the subject,
fostering a deeper appreciation
for the environment.
Mother and Calf, Art Photography

191 192
 Grech’s artistic ideology revolves around the concept of ‘Nature’s Dialogue.’ He believes
that each landscape and wildlife scene tells a story, a silent conversation that speaks
volumes about the world we live in. His work aims to capture these dialogues, bringing
out the intricate details and subtle nuances that often go unnoticed. This approach not
only highlights the aesthetic beauty of nature but also its intrinsic value and fragility.

In addition to his primary focus, Grech explores other themes such as portrait,
travel, and contemporary photography, constantly pushing the boundaries of his
creative expression. His current projects include delving into underwater and drone
photography, expanding his repertoire and embracing new perspectives.

From the intricate tapestry of coral life to the graceful dance of marine flora, from
the majestic presence of whales to the mesmerising variety of aquatic species, each
photograph narrates the beauty of the breathtaking diversity beneath the waves.

Shot in various locations worldwide, these photographs offer a panoramic view of

underwater ecosystems, highlighting the unique beauty and resilience of marine life
in different regions. The daytime scenes exude vibrant hues, showcasing the vibrant
colours of coral formations and the lively interactions between sea creatures. Sunlight
filters through the water, creating a magical play of light and shadow that accentuates
the intricate details of this underwater paradise.

The shots transport viewers into a realm of mystery and wonder. Whales gracefully
traverse the ocean’s expanse, their majestic presence captured in striking images in the
clear waters of the Pacific. In the Indian Ocean at night, Manta Rays feed on plankton,
their silhouettes illuminated by the gentle glow of underwater lights, adding a sense of
mystery and awe.

Through these photographs, the photographer invites us to pause and contemplate

the profound beauty of our oceans and the delicate balance of life they sustain. Each
image is a visual symphony, a harmonious blend of colours, shapes, and textures
that celebrates the wonders of our underwater world. As we immerse ourselves in
these scenes, we are reminded of the importance of preserving and protecting these
precious ecosystems for future generations to cherish and admire.
Vertical, Art Photography
193 194
Turquoise Waters , Art Photography
Kasia Clarke: Embodying Emotion
and Home Through Abstract Art

In the serene countryside

of Surrey, just south of
London, Kasia Clarke’s
studio buzzes with
creative energy. This
Polish-born artist, best
recognised for her
large-scale abstract
paintings, has a unique
approach that melds
emotional depth with
intuitive creativity. Her
journey from investment
banking to full-time artist
is as compelling as the
artworks she creates.
If Time Stood Still

198
 Influences
From Banking to Brushes
Born in Poland during
the tumultuous era of Clarke’s path to becoming an
communism, Clarke’s artist was unconventional.
early experiences of In 2003, she gave up
forced uprooting and a promising career in
the subsequent search investment banking to
for a sense of “Home” pursue her passion for art,
have profoundly a decision that surprised
influenced her art. many who had witnessed her
academic and professional
Nunc Dimittis
achievements in economics.
However, the pull of artistic
expression was irresistible.
Whispers at Twilight

“My artwork is subtly influenced by my early experiences of uprooting and the profound
sense of loss that followed,” she reflects. These emotional landscapes echo her journey
from Poland to the UK, a move that disrupted her familiar surroundings and introduced a
Initially, Clarke returned to college to study studio glass art, spending several years
sense of exile.
creating applied art while balancing motherhood. Her transition to painting full-time came
“The theme of ‘Home,’ or rather the search for the feeling of it, recurs throughout my under the guidance of artist Nicholas Wilton in his Creative Visionary Program, where she
work,” Clarke notes. Each layer of paint is a metaphor for the elusive nature of home, a discovered her true artistic voice.
concept she continually seeks in her art.

199 200
 Prelude no. 23

201 202
 Prelude no. 13 Prelude no. 24

An Emotional Landscape The Creative Process

Clarke’s art is a deeply personal exploration of emotional “places.” These imagined Clarke’s creative process is an intricate dance between analysis and intuition. “Both
landscapes are not representations of specific geographic locations but are instead analysis and intuition play vital roles in the creation of a successful painting,”
soulful declarations of feeling. “My paintings are never planned in advance,” Clarke she explains. Her method involves alternating between gestural, intuitive phases
explains. “I search for and eventually discover my paintings through intuitive and analytical assessment of composition and colour. This iterative process often
mark-making and layering in paint and mixed media.” This process involves a requires stepping back and allowing time to gain clarity on the next steps.
delicate balance between analysis and instinct, letting go and taking control.
The goal is to create paintings that evoke a deep emotional response. “I hope
The ambiguity in Clarke’s work invites viewers to bring their own experiences and viewers of my work experience a deep emotional resonance and personal
perspectives, completing the creative process. “I enjoy producing large-scale connection,” Clarke says. The inherent ambiguity in her work allows for individual
paintings that invite the viewer to surrender to their visual experience and interpretations, making each viewing experience unique.
become absorbed in the piece,” she says. This open-ended approach allows each
observer to forge a personal connection with the artwork.

203 204
 Artistic Growth and Exhibitions

Exhibiting her work has been a pivotal part of Clarke’s artistic journey. “The work takes
on a different energy when it’s out of the studio and hanging in a dedicated space,”
she observes. These exhibitions provide invaluable feedback and fresh perspectives
on her art, enriching her creative process.

One of the most rewarding aspects of these exhibitions is the unique relationship
each viewer forms with her work. “It’s always memorable how each person interprets
it in their unique way,” Clarke remarks. This exchange of perspectives is not only
fascinating but also deeply enriching.

Continuous Learning and Mentorship

Clarke’s artistic development has been significantly influenced by mentorship

programs and learning from established artists like Nicholas Wilton and David
M. Kessler. “These learning experiences have profoundly influenced my artistic
development,” she acknowledges. They have enriched her technical skills and
provided a broader range of conceptual approaches to express her vision.

“Learning how to tune into myself to create truly authentic and personal work was
crucial to developing my artistic voice,” Clarke says. This blend of continuous learning
and personal expression remains central to her creative practice.

It Don’t Mean a Thing

205 206
 Future Techniques and Themes

Clarke is continually experimenting with new techniques and materials. “I’ve developed
unique mark-making methods that are distinctly my own,” she says. Her explorative
spirit drives her to keep her work fresh and exciting, with new techniques and themes
on the horizon. “Staying playful and curious is vital to keeping my work fresh and
exciting,” she adds, eager to see where this curiosity takes her future projects.

Kasia Clarke’s journey is a testament to the transformative power of art. Through her
emotive abstract paintings, she continues to explore and express the deeply personal
themes of home and identity, inviting viewers to join her on this introspective journey.

Collections and Future Aspirations

Clarke’s paintings are held in private and corporate collections worldwide, a testament
to their broad appeal. “Knowing that my work has found a place to ‘live’ in someone’s
home or workplace is truly an honour,” she says. This recognition motivates her to
push creative boundaries and reach broader audiences.

Photography Credit: Nicola Light Photography

Inspiration from Surroundings

Living in the tranquil English countryside provides Clarke with a serene backdrop that
greatly influences her work. “While I don’t directly depict the landscapes around me,
the peace and seclusion of my environment are essential for my creative process,” she
explains. Her studio overlooks fields dotted with horses and cows, offering a picturesque
escape that centres her creativity.

207 208
 Beyond the Surface: The Depths of
Philippe Van Gele’s Abstract Art

Philippe Van Gele is an artist who has carved out a distinctive personal style in
the world of abstract landscapes. Over the years, he has showcased his work in
numerous international exhibitions, receiving acclaim for his ability to create art that
demands active participation from viewers. His paintings invite audiences to explore
evocative, dreamlike lands, bridging the gap between the familiar and the unknown.

210
Van Gele’s approach to abstract art is rooted in the belief that a good piece of work
allows different people to see different things. He relishes the discussions his work
sparks among viewers, each bringing their interpretations and emotions to the
canvas. This interaction is central to his artistic philosophy, as he aims to create
immersive experiences that transport people to idyllic, often unfamiliar landscapes.

Throughout his career, Van Gele’s work has been appreciated by diverse audiences
around the world. He finds the most rewarding feedback comes from those who are
inspired by his art, including other artists who reach out with personal messages. An
example of this inspiring connection is a bakery that once created a cake inspired by
his paintings, a testament to the broad and unexpected impact of his work.

Van Gele’s paintings often depict lesser-known places, deliberately chosen to

encourage viewers to engage more deeply with the artwork. Each title, often
unknown to the audience, invites curiosity . By googling the titles, viewers can
discover the real-world locations that inspired the art, all of which are existing places
he has experienced through his extensive travels. His goal is to leave an imprint of
each location’s unique feelings, smells, colours, and emotions on the canvas.

The technique behind Van Gele’s artwork involves meticulous experimentation with
textures and acrylic paint. He has developed a unique method for creating the hazy
colours that characterise his landscapes. This textured technique, which features
straight and irregular lines, remains a mystery to many, as Van Gele prefers to keep
the specifics of his process enigmatic, adding to the intrigue and allure of his work.

212
 In addition to visual perception, Van Gele’s paintings are designed to evoke
sensory experiences such as hearing music, smelling scents, and feeling textures.
He believes that each place in the world has its distinct colours and feelings,
which he translates onto the canvas. This multisensory approach helps shape the
viewer’s connection to his work, making each piece a unique sensory journey.

Van Gele’s abstract landscapes offer an escape from the mundane, allowing
viewers to immerse themselves in mythical places free from social constructs. His
art encourages a sense of exploration and escapism, with each piece providing a
different feeling and transporting viewers to specific places around the world. This
personal storytelling aspect, combined with universal themes, resonates with a
broad audience.

Each painting offers a unique experience, with viewers discovering new details
and impressions with every interaction. Van Gele achieves this sense of dynamism
and depth by focusing on the uniqueness of each location and translating that
essence onto the canvas through colours and textures. His works aim to leave a
personal, lifelike impression on the viewer, whether they have visited the depicted
place or are imagining it for the first time.

Looking ahead, Van Gele is excited to continue experimenting with new

techniques and themes. He aspires to explore additional textures and incorporate
even thicker, heavier textures into his future artworks. His commitment to evolving
his craft ensures that his art will continue to captivate and inspire audiences
around the world, inviting them to engage, explore, and dream.

215 216
 An Unknown Face , 2023, African
Print Wax Fabric By Samuel Nnorom

Empowering Artists,
Elevating Art
Are you ready to unlock your full creative
potential? At Artiste Culture, we’re more than
just consultants – we’re partners in your
artistic journey. With our global network,
industry insights, and personalised strategies,
we empower artists to reach new heights
of success. From consultations to outreach,
publications to portfolio management, we
provide the support and guidance you need
to thrive in today’s competitive art world. Join
us and let’s shape the future of art together.

[email protected]
Urban Seekers , 2023, African Print
Wax Fabric By Samuel Nnorom
217 218
 Expand Your
Gallery’s Reach with
Global Partnerships

Join forces with Artiste Culture

to broaden your gallery’s
horizons. We partner with
galleries across the globe,
helping you reach new
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your gallery’s global presence.

Emerald by Amy Cushing [email protected]

219 220
 The Fluid Journey of Savya Jain:
Embracing Growth and Experimentation
in Abstract Art

As artists, we often find comfort in our craft. The continuous thirst for creating is
never quite quenched, as we have an inherent need to express what cannot be
conveyed through other forms. Following Savya Jain’s artistic journey this year, which
she describes as “beautiful and eventful,” we can see how her passion and creativity
have yielded fruitful outcomes. In the first half of this year, she showcased her work
in international exhibitions in New York and Dubai, opening numerous doors for
her. For the second half of the year, she plans to experiment with larger pieces and
spend more time in her studio, dedicating herself to developing her artistic style.

Savya is an abstract artist who works with various mediums to create fluidity
through depth and texture in her work. When asked about her creative process, she
emphasises the importance of understanding the materiality of the medium and
constantly experimenting with different techniques. She highlights the significance
of layering in achieving the desired emotional impact. “For example, if I want to
showcase hope and opportunity, sometimes my first layer becomes silver or gold
foil,” she explains.

Savya draws inspiration from everything around her, whether it’s the people affecting
her mood or the nature that surrounds her. She often uses painting as a vessel to
come to terms with her past. Her collection ‘Bossom,’ for instance, was influenced by
the insecurities that enveloped her during her teenage years. Savya Jain combines
her emotions with her fluid artistic style, adapting shapes and depth to develop her
final outcomes.

221 222
Moreover, Savya believes that growth and experimentation as essential parts of
being an artist. Experimentation allows artists to exit their comfort zones and
venture off into new territories to help them grow as artists. “If I don’t experiment
then I’m essentially just producing similar works just in different colour palates,
which eventually stops being challenging.” She views this growth as essential and
mentions how being unable to grow would be scary for her as it would lead to her
craft no longer exciting her.

There are many rewarding aspects of being an artist for Savya, whether it be seeing
her work in other people’s spaces or being able to develop her own style of painting,
but the most rewarding part of her craft, for her, is being able to capture her
feelings, thoughts or environment into her abstract art, which she does beautifully in
her new work “Birds in the Sky”

224
Hayri Esmer, Minimal and Contemporary [email protected]

Jonathan, Double J Collective [email protected]

Textured Masterpieces: Jo Roets and the Jo Roets
Greg Natale, Greg Natale Studio [email protected] Intricacies of Light Relief Sculpture

David Collins, David Collins Studio [email protected] Capturing Nature’s Majesty: The Josef N. Grech
Photography of Josef N. Grech

Featured Artists [email protected] Kasia Clarke: Embodying Emotion and Kasia Clarke
Home Through Abstract Art
The Harmony of Calligraphy and
Abda Fayyaz
Nature: Abda’s Artistic Dialogue Silken Symphony: Kinga Földi’s Textile Sculptures Kinga Földi
Elliott Barnes: Merging Tradition
Alyssa Jos Marita Setas Ferro: Pioneering Sustainable
with Modernity at Billecart-Salmon Marita Setas Ferro
Fine Craft and Design
Luminescent Layers: Amy’s Delicate
Amy Cushing Mila Ilingina: Sculpting Sensory Journeys in
Balance in Art Mila Ilingina
Mixed Media
Anna Kruhelska: Bridging
Architecture and Art through Anna Kruhelska Nicola Barth’s Transcendent Art: A Journey
Nicola Barth
Geometric Abstraction of Transformation and Primordial Light

Audrey Guimard: Crafting Ecological Beyond the Surface: The Depths of

Audrey Guimard Philippe Van Gele
Narratives through Stone Philippe Van Gele’s Abstract Art

Blanco Anyó: The Power of Between Tradition and Innovation: Samuel

Abstraction and the Gesture of Light Blanco Anyó Samouel Latour
Latour’s Artistic Process
Curating Spaces: Eline Baas’ Blend of
Eline Baas The Fluid Journey of Savya Jain: Embracing
Vintage and Contemporary Treasures Savya Jain
Growth and Experimentation in Abstract Art
Drops of Inspiration: Jane
Puylagarde’s Global Influence Jane Puylagarde