COLLECT ART

AUTUMN ISSUE
VOL 52 Seasonal Edition

September, 2024

‘Ancient City Pingyao’ by Shijia Song

 Autumn
Issue
S E A S O N A L E D I T I O N | V O L U M E 5 2

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CONTENT:
AGNIESZKA ROWIŃSKA 05
AMAN ROHELA 11

ANITA SARKEZI 15
ANNA STEVENS 18

CARTER SCOFIELD 22
DOROTHY MCGUINNESS 25

ELYX 30
EVANGELIA HAMILTON 34

EVE FINLAY MILLER 39

GÍS MARÍ 42

HECTOR GEOFFREY DOKOPOULOS HAMILTON 46

JIAQI CHEN 52

KYE WILSON 46
LEWIS ANDREWS 52

KYE WILSON 56
LEWIS ANDREWS 59

ROCHELLE MALIA 62
RUBICA VON STRENG 66

SANDRA GALI “GINGER” 69

SHIJIA SONG 72

SLEEPR 78
TERESA GODFREY 83

ZINXIN YAN 86

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 AGNIESZKA
ROWIŃSKA
‘’There is a profound feeling that arises when someone begins to sing an old song, long forgotten by most, which you once listened to alone at home, or when you
unexpectedly encounter an old friend you just remembered yesterday. Such „coincidences” leave us momentarily amazed and make us feel that we are experiencing
something unexplainable. In my art practice, I strive to visualize the power of the intangible aspects of life beyond our senses and ability to explain: the awe-inspiring
nature of certain experiences, spirituality, emotions, delusions, hallucinations, or memories. My goal is to give „faces” to these elements, creating an alternative world
where the previously invisible becomes visible. I seek to represent the invisible part of our lives, exploring layers of visual representation and finding a language that
expresses transcendent ideas of spirituality and the subconscious. My focus lies in discovering a new spirituality for the 21st century that stands independent of any
structured hierarchy. Through my art, I aim to create an experience that allows people to encounter their sacred. Recently, I’ve delved into my subconscious, exploring its
depths to find more dimensions of myself. My exploration includes the subjects of affirmation, prayer, meditation, and other religious practices, as I aim to detach them
from the structures of specific religions. I translate the outcomes of these experiments onto canvas, creating paintings-prayers to which I attribute various intentions. In the
early years of my artistic journey, I delved into analyzing Freud’s text „the uncanny.” As time progressed, my focus shifted to recognizing that we often feel rather than
see, leading to a growing need for spirituality and connection with our own subconscious. My pursuit is to fulfill this need without relying on existing systematized
religions. I draw inspiration from religious practices rooted in prayer, repetition, and visualization of desires while seeking a 21st-century spirituality that reflects tradition
without religious declarations. Currently, I am immersed in creating a series of paintings „prayers.” I begin by painting landscapes that emerge from my dreams
(subconscious), and then I consciously add a second layer using a transparent veil created by painting numerous dots. The process of painting the conscious layer is deeply
repetitive and monotonous, akin to the repetitive nature of prayer. Each painting is assigned a distinct intention, which accompanies me throughout the artistic process. This
prolonged creative journey allows me to experience all the emotions that would accompany me when the intention is fulfilled. The color scheme remains monochromatic, as
I aim to evoke dreaminess and illusion - something barely perceptible and difficult to grasp. Ultimately, my aspiration is to create a contemporary chapel where a majestic
force exists without definition, offering an answer to our profound need. In this sacred space, spirituality transcends conventional structures and embraces a profound and
personal experience.’’

Polish-born artist Agnieszka Rowińska explores the intricate connections between art, spirituality and personal development. Growing up in a Polish
Catholic home, she questioned the beliefs and traditions around her, which set her on a path of self-discovery and exploration. In 2016, Rowińska
received her Master of Fine Arts degree from the Academy of Fine Arts in Warsaw. She embarked on a series of global artist residencies, including in
Germany, Italy, Iceland and the Philippines. She began to explore themes of memory, dreams and the subconscious in her work, using media such as
painting, installation and video art to express her ideas. Central to Rowinska’s artistic philosophy is a belief in the power of art to transcend language and
connect people on a deeper level. Her work often reflects a contemporary, inclusive spirituality, seeking to create spaces for reflection and introspection
rather than adhering to traditional religious dogma. Rowińska’s works have been exhibited both in her native country and in international solo and group
exhibitions.

05 Ark II - Oil on canvas, 100x200cm, 2024

 Your upbringing in a Polish Catholic home played a For example, my film Vangel is a poem about love do you overcome them?
significant role in shaping your journey of self- that exists on the border between dreams and memory, Representing abstract concepts like spirituality and
discovery. How has your early questioning of beliefs leaving room for speculation as to whether it actually emotions is challenging due to their intangible nature.
influenced the spiritual themes in your art? happened or not. I address this by using symbolic imagery and
I grew up in a traditional Polish Catholic home where You’ve participated in artist residencies across the abstraction, which allows for open interpretation. I
spirituality was presented as tangibly as subjects like globe. How have these diverse environments don't impose my own perspective on viewers but find
mathematics or biology. As I began questioning my influenced your exploration of spirituality and it incredibly inspiring when they share their
faith, I sought other ways to fulfill the spirituality personal development in your art? impressions, often describing my work as whispers or
instilled by my parents. Art became my first intuitive Experiencing different cultures and interacting with evoking sacred associations.
solution, followed by explorations in philosophical and artists from around the world has been incredibly Your recent series of “paintings-prayers” involves a
intellectual texts. While I hold deep respect for the inspiring and eye-opening. The limited time to create meticulous, repetitive process akin to prayer. How
faith I was raised in, I needed to find personal a project and the vastly different conditions from what does this meditative practice influence the emotional
solutions for my spiritual journey. I'm used to at home also act as a driving force, depth and intention behind each piece?
Your work explores the power of art to transcend allowing me to view the themes I explore from a new My recent series of paintings, "prayers," involves a
language and connect people on a deeper level. Can perspective. These varied experiences feed my meticulous process that mirrors the repetitive nature of
you describe a moment when your art facilitated such subconscious, adding elements that resurface in their prayer. I start by painting landscapes that emerge from
a connection with an audience? own time and inspire future projects. my dreams or subconscious, then add a transparent
My exploration of Jung's theory and the collective The concept of “coincidences” and the unexplainable layer with numerous dots. This repetitive process
unconscious has led me to tap into areas of my own play a crucial role in your work. Can you share an allows me to deeply connect with my emotions and
subconscious. I create compositions in a state between experience where such a moment inspired a intentions, embedding them in each piece. The
dreaming and wakefulness, then bring these particular piece? monochromatic color scheme enhances a sense of
landscapes to life in my studio. Interestingly, I’ve Although I am deeply interested in coincidences and dreaminess and illusion, creating a space for personal
found that viewers often connect with these symbols the unexplainable, no specific event has directly reflection and connection.
on a deeply personal level, even without knowing the inspired a particular piece. However, Freud’s text The You seek to discover a new spirituality for the 21st
full context. Uncanny played a key role in shaping my artistic century, independent of structured hierarchies. What
Memory, dreams, and the subconscious are central practice by giving direction to my interests. The do you envision this new spirituality to be, and how
themes in your work. How do these elements feeling of uncanniness accompanied me throughout does your art contribute to its formation?
manifest in the visual language you create across my childhood, and in Polish, we don’t have a direct I view my art as part of my personal search for a
different media? translation for this term. Discovering this text opened contemporary spirituality that might resonate with
In my paintings, I rely on a multilayered process my eyes and set the course for my artistic others as well. I believe our need for spirituality is
where the composition originates from my explorations. rooted in the subconscious, an area we glimpse
subconscious. The films I create, on the other hand, You aim to visualize intangible aspects of life, such as through dreams and fleeting insights. My work aims
often address the themes of memory and dreams in a spirituality and emotions. What challenges do you to explore this realm and offer a way to reflect on
more literal way, given the nature of the medium. face in representing these abstract concepts, and how these deeper aspects of our inner lives.

06 Existence - Oil on canvas, 120x100cm, 2022 Mother - Oil on canvas, 120x100cm, 2022
 Entrustments - Oil on canvas, 120x100cm, 2022

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08 Split - Oil on canvas, 200x200cm, 2024
Split - Oil on canvas, 200x200cm, 2024 09
 Freud’s concept of “the uncanny” initially influenced your work. How has your understanding of this concept evolved, and how does it continue to inform your
exploration of the subconscious?
Freud’s concept of "the uncanny" was a significant discovery for me, especially given the lack of a direct translation in Polish. It offered me a sense of intergenerational
understanding, knowing my experiences had been described before. As I delved deeper, I encountered Jung’s theories on the collective unconscious and the broader
unconscious, which continue to inspire my work as I explore new ideas and thinkers.
You aspire to create a contemporary chapel where spirituality transcends conventional structures. What would this sacred space look like, and what kind of experiences
do you hope to evoke in those who enter it?
This is a challenging question because the project is still in its conceptual phase. I envision it as the culmination of my journey into spirituality, deeply connected to the
unconscious. I aim to create an immersive, site-specific experience that surrounds the viewer and momentarily lifts them out of everyday life. The goal is to provide a space
for deep reflection, a break from modern distractions. I imagine this sacred space engaging all the senses—a luminous environment I metaphorically refer to as the "interior
of a black hole," where light has been absorbed, leaving an alternative, reimagined reality. I hope it will offer viewers a chance to reconnect with something profound,
beyond the tangible world.

10 It appeared to my eyes without actually existing - Oil on canvas, 200x200cm, 2023

 AMAN
ROHELA
Drawing inspiration from the works of some of the great landscape photographers, the focus is on capturing the vastness of these spaces. The endless
valleys, peaks, plateaus and plains that populate our surroundings are viewed in Aman’s photography through the widest lens possible. The use of such an
all-encompassing perspective serves as the perfect reflection of the self and the identity contained within it.
Just as photosynthesis is the backbone of the natural order, self-actualisation within an external, material space and reconciliation with that very space is the
backbone of Aman’s photographs. With this series Aman aims to explore how people internalise within external spaces, a process of projecting and
mirroring the intricacies within our mind onto the outside world.
Furthermore, Aman’s art reflects the importance of the relationship between the self, community and nature. The frames consist of mankind and nature
coexisting in fragile peace and delicate balance. Though it is a symbiotic relationship, any act of disturbing or deteriorating this harmony will only lead to
the demise of humankind as we know it. With global temperatures rising and there being no end in sight to the mindless resource extraction machine, this
disturbance may not be a far-fetched reality. These pictures aim to capture the beauty represented within every instance of this symbiosis and how we
should labour tirelessly to maintain it.

Certainty within Abstraction

The worn textures of the grand old mountain against the backdrop of a nebulous sky is inherently an image of contradiction. One part of the image is absolutely packed
with details and textures while the other lacks all of them entirely. Within our understanding of intangible concepts and metaphysics, it is often in nature that we find
concrete answers to these burning questions. The contradictions that exist within nature serve as a grand metaphor for the search for truth within an uncaring, gigantic and
ever-expanding universe.

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 Your work draws inspiration from great landscape
photographers, capturing the vastness of natural spaces. How do
you approach the challenge of conveying both the grandeur of
these landscapes and the intimate relationship between the self
and the environment?
The ability to look at fantastical landscapes and find patterns
within them is a deeply human trait. My photography is a
meditation on this very ability, which is known as Pareidolia. This
innate feature allows us to see reflections of our identities and
modes of expression in the natural world. It’s not so much a
challenge as it is a natural extension of our perspectives on the
world around us. Through my lens, I aim to capture these
patterns, inviting viewers to explore how they might see
themselves reflected in the vastness of nature.
You use the widest lens possible to reflect the self and identity
within your photography. Can you elaborate on how this all-
encompassing perspective serves as a metaphor for self-
actualization and the human experience?
In my photography, I often find that clarity emerges when we step
back and view the landscape as a whole, rather than fixating on its
individual elements. People have a tendency to delve deep, Flight
dissecting every aspect of their existence to shape their desired
identity or form of expression. My use of wide lenses is a This image depicts a moment in time when Earth's constituent elements combine spectacularly in a
deliberate practice to compile and connect these diverse aspects physical poetry of form and nature. The clouds obscuring our view of the peak only go on to
into a grander, more cohesive picture that represents more than emphasize the presence of a bird in flight, soaring the high skies. The depth within this image
just the sum of its parts. This broader perspective allows for a reveals a deeper fascination with scaling unsurmountable features that exist within nature. This
natural and truthful building of identity, enabling people to triumphant action is representative of the innate urge within living beings to exist and thrive despite
express themselves more freely and authentically within the any circumstances.
vastness of the natural world.
Your photography series explores how people internalize within
external spaces, projecting and mirroring their inner worlds onto
the natural environment. How do you capture this complex
process through your lens, and what do you hope viewers take
away from this exploration?
The natural world is brimming with patterns and elements that
reflect our personal expressions. The way clouds scatter across the
sky, the rugged textures of mountain rocks, or the sprawling pine
trees on a hilltop all become artistic components of nature's grand
mosaic. These elements enable us to view these natural spaces as
if they were works of art. The emotions, intellectual inquiries, and
aesthetic appreciation typically reserved for art are what I aim to
evoke through my photographs of nature. I believe it is crucial for
viewers to explore and appreciate the beauty of nature in the same
way they would analyze a masterpiece in an art gallery. This deep
engagement with the natural world enriches our understanding and
enhances our connection to the environment.
The concept of mankind and nature coexisting in a fragile
balance is central to your work. How do you visually represent
this delicate symbiosis, and what techniques do you use to
emphasize the importance of preserving this harmony?
In my work, I employ techniques such as juxtaposition, clever
framing, and recontextualization to capture and represent the
symbiosis inherent in our existence within the world. The
photographs I've published here are intentionally in black and
white, a choice that deviates from the typical presentation of
landscape photography. This stylistic decision draws the viewer's Disturbed Tranquility
attention towards the physicality of these spaces—the textures and
contrasts within different elements of nature are immensely The wonders of our world do not exist without interference. Every facet of natural beauty has been
highlighted. This approach invites viewers to draw visceral manipulated and altered in countless ways to raise its apparent value for Humanity. People, for
parallels to their relationship with nature, evoking a physical millennia, have sought to modify the world to suit their needs the best. This image reframes our
perception of these spaces. By transporting viewers to such natural perspective of the natural world and introduces the concept of collusion with the human world which
wonders, I aim to make the symbiotic nature of our relationship ends up corrupting the whole image.
with the Earth more apparent and viscerally felt.

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 With global temperatures rising and environmental degradation photography, this serves as a metaphor for the internal processes within our minds that operate in the
accelerating, your work highlights the urgency of maintaining shadows, only revealing their outcomes once complete. Just as the sun's reflection off glaciers
the balance between humanity and nature. How do you use your powers photosynthesis, the natural world plays a significant role in energizing us. It is then our
photography to raise awareness and inspire action on these responsibility to channel that energy into something grand. This interplay of light and life in my
critical issues? images is a reflection of our own potential to transform and create.
I believe it is imperative to look toward indigenous cultures and
their view of existing in mutual cooperation and respect with the
environment. The dominant force of capitalism, with its incessant
need for economic growth at the expense of our natural resources,
has accelerated environmental degradation. Through my
photographs, I aim to showcase the importance of reevaluating our
perspective towards nature and dismantling any form of resource
exploitation as vital steps to combat the climate crisis. The
visceral reaction evoked by these images serves as a reminder of
the bounty our home offers and how deeply our existence is
intertwined with it.
Your artist statement mentions that your work reflects the
relationship between the self, community, and nature. How do
you navigate these interconnected themes in your photography,
and what role does each play in the narratives you create?
There's a parallel to be drawn between how we view nature and
the communities we reside in. Both represent a sense of home,
belonging, comfort, and warmth—fundamental aspects of our lives
that are nearly indistinguishable. Communities that focus on
communal prosperity and positive outcomes for all often excel at
preserving the world around them. When everyone has enough, Taijitu
there's no need to overextend or exploit beyond certain limits. The environment loves indulging in games of contrasting lightness and darkness all the time. It is
Research supports the idea that decolonizing our perspectives on through our perspective that we learn to appreciate this game every time we witness it. In this
nature, politics, and community can be an effective starting point picture, the desolate darkness of the pine forest when placed in the foreground of a fantastical
for working towards an equitable and pleasant future for everyone. glacier, represents this same dichotomy of contrast that permeates all beings. Taijitu is the concept
My photography is driven by this call to decolonize and remove of two opposites existing in unison and collaboration with each other whilst consisting of parts
exploitative characteristics from our relationships within our representative of the other within them. Here the condensed water curves slowly around the
communities. This vision guides my artistic expression, aiming to mountains and its numerous trees. Two states of matter wildly different on a molecular level are still
illuminate these connections and foster a deeper understanding and part of the same entity.
respect for our shared environment.
In your series, you aim to explore how the mind’s intricacies are
projected onto the outside world. How do you choose the
landscapes and compositions that best represent this
psychological projection, and what stories are you telling through
these choices?
Most of these pictures were taken during my visit to Georgia. The
landscapes there possess an immense nostalgic quality, evoking a
sense of familiarity even if one has never visited. In capturing
these scenes, I didn't find myself needing to extensively search for
and select specific parts of the landscape; it was more about
following my instincts. The only way to truly capture our mind's
projection onto the world around us is to rely entirely on this
instinct to guide where we point our lens. It was instinctively that
I found elements like the foliage, clouds, mountains, rocks, and
rivers, and how they communicate with each other in ways that
are reminiscent of the thoughts going on in our minds. These
pictures underscore the need for us to close our eyes and connect
deeply and innately to that part of us that has always been around
us.
The idea of photosynthesis as a metaphor for self-actualization is
intriguing. How does this natural process influence your creative Feng Shui
process, and how do you translate this metaphor into visual art? Even though all colour is stripped away, the gradients of texture and exposure within this image
Photosynthesis is a fundamental building block of life on Earth, a represent the symbiosis of everyday life on Earth. The dark grooves towards the top of this hill
nearly magical process where plants use sunlight to create energy juxtaposed with nature deliberately hiding the peak from us showcase a binary of light and darkness
and oxygen. I believe we all possess a similar magic within us, a that permeates our world. Just as Feng Shui is the art of finding balance and equilibrium in all
potential that can be realized once we fully understand the extent aspects of life, nothing is more evocative of it than the bountiful trees populating a mountain
to which we can harness it. While the process of photosynthesis juxtaposed with the calm and tranquil sky.
isn't visible to the naked eye, its effects are profoundly felt. In my

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 Unparalleled Cohesion
Throughout the world, indigenous cultures have put a significant
importance on their relationship with nature as a community. In
this picture we see civilisation interacting with and coexisting
within the earth in a way representative of the same cohesion that
dictates the order of our world. The historic Svan towers of
Georgia are placed in an almost fantastical backdrop of beautiful
skies and mountains, both enhancing each other’s meaning and
significance.

Your photography captures both the beauty and the fragility of

the natural world. How do you balance these two aspects in your
work, and how do you convey the sense of urgency that comes
with recognizing this fragility?
One of the most effective ways to portray fragility in art is to strip
away all aesthetic embellishments and view the subject for its
physical reality. In my photographs, the choice to use black and
white was a deliberate attempt to achieve this. When you observe
the material realities of the world through these images, the
landscapes appear more tangible, almost as if you could reach out
and touch them. However, it is often within these physical
textures that you discover beautiful patterns. Stripping away color
simplifies our visual field and makes it much easier to see how all
these elements within the natural world interact with each other.
The spaces between the textures on these fantastical mountains
and the nebulous environments become much more pronounced in
black and white, inviting viewers to contemplate the beautiful
fragility of this equilibrium.
As a landscape photographer deeply concerned with
environmental issues, how do you see the role of art in
advocating for environmental conservation? What impact do you
hope your work has on viewers and on the broader conversation
about our relationship with nature?
With my work, I sincerely hope to encourage people to connect
deeply with the world around them and, by extension, with
themselves. Art possesses a beautiful ability to convey meanings
that go deeper than what appears on the surface. On the surface,
these photographs are a vivid display of the various forces of
nature at play, but at a deeper level, they represent a slowly
fading image that we are desperately trying to grasp onto. With
rising sea levels and global temperatures, scenes like these will
become increasingly rare or change so dramatically that they may
no longer be recognizable. My photography attempts to capture
these moments as a time capsule for the future when things
inevitably change, and as a call to action for all of us to do
whatever we can to maintain this beautiful symbiosis. I hope my
images inspire people to strive and fight for the environment as if
they were fighting for parts of themselves. This personification of
the wonders of nature is intended to galvanize people to take steps
toward preserving the Earth, and by extension, themselves.
Scattered Mosaic
The specks of surreal clouds over vast and gigantic mountain
ranges blend into a single image of impressionist beauty. A form
of impressionism is truly innate within nature, where different
elements are constructed onto the canvas of our horizon like the
works of great Impressionist painters of our time. A mosaic is an
artwork that is constituted of various individual parts coming
together to mean more the sum of them all. Here, the calm and
fluffy specks of clouds in a vast sky represent order within
disorder and how contradictory sometimes nature may come
across as.

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 ANITA
SARKEZI
Anita Sarkezi's textile design practice is motivated and informed by her Slavic cultural background. Her work is grounded in the interwoven histories of
rural material culture and post-colonialism in Central and Eastern Europe, where she questions the traditional use of floral patterns as national symbols.
Anita graduated from the BA(Hons) Textile Design programme at Glasgow School of Art, where she specialised in Weave, with a First Class Honours
Degree.
‘’Using the TC2 digital loom, I construct an imaginary space consisting of personal ornaments and motifs and bold and gradient uses of colour. This serves as a visual
metaphor for the flux of movement and migration and an outlet for my narrative as a migrant.’’

Folklore: Decoded II
Textile, 58x45x1cm, 2024
This is part of a jacquard hand-woven diptych (Folklore: Decoded I, II) that investigates and decodes the historical role of the floral ornament while translating
it into digital concepts and imagined natural entities. This project juxtaposes and challenges the archaic concepts of folklore and its purpose in its decorative
function.

15
 Your work challenges the traditional use of floral surrounding me in our family home and at relatives' homes. My grandmother embroidered samples inspired by
patterns as national symbols in Slavic cultures. What Matyo embroidery that were bought across the border in Hungary. Now, these might not be categorised as Slavic,
inspired you to question these symbols, and how do but as far as my research into floral ornaments goes, there are visual similarities between Slovak, Polish and
you recontextualize them in your designs? Hungarian ornaments, for example. Then, Hungarian rural material culture draws its inspiration from even further
There are multiple reasons why I chose to explore and East. I am interested in how these particular cultural references are intertwined and cross-referenced.
question why something as apolitical as a flower Your work engages with themes of post-colonialism in Central and Eastern Europe. How do you explore and
symbol is used for political purposes. convey the complex histories of these regions through your textile designs?
Having read Corinne Geering's academic text "Is This This topic came into focus after I moved to the UK six years ago and was exposed to the history of British
Not Just Nationalism? Disentangling the Threads of colonialism and its exploits. I started to investigate more of my country's history, especially the territories of
Folk Costumes in the History of Central and Eastern Eastern Slovenia, by looking into the rural material culture of the late nineteenth and early twentieth century
Europe", I found a personal resonance in the author's during the Austro-Hungarian Empire's rule. Peasant women textile makers were and still are anonymous. As
analysis. My personal history and heritage, material someone who comes from a family of peasants, migrants and seasonal workers, I wanted to 'claim my own
culture originating from Central and Eastern European history', de-colonise and de-nationalise it. That would the shortest way to explain it, I think.
rural regions, had a history of political purpose that Colour plays a significant role in your work, with bold and gradient uses being a key feature. How do you
was used by romantic national movements. This approach colour selection, and what role does colour play in conveying your narratives?
personal connection made it even harder not to I employ a frugal economy model in my practice by using deadstock silk yarns from large UK weaving mills,
associate these objects with nationalism. Labelling where I am sometimes limited in colour choices. These limitations mean I have to push things technically to
something as 'national' is also inaccurate when we achieve a specific effect and colour, eliminating the need to buy new yarns, which would contribute to
know that people have migrated through borders and consumption. So, in a way, limitation creates the need for innovation, and half of the selection process happens
brought their outsiders' influence, which then impacts that way. I love colour and it does have a positive psychological effect on using it in my work. The way it is
the local culture. Cultures mould into each other, and distributed is another aspect. To me, the solid colour sections of my work represent a place of stability while the
there is never a clear or distinct line between them. In gradients represented movement, traveling, transitioning through space.
my practice, I invent symbols influenced by my You studied Textile Design at Glasgow School of Art, specializing in Weave. How did your education shape
multiethnic background because I do not belong to a your approach to textile design, and in what ways have you evolved since graduating?
specific 'nation', resulting in imaginative hybrid I worked endlessly over the past few years at the Glasgow School of Art. The curriculum is well structured and
worlds of fictional symbols. fast-paced, and the teaching staff is invaluable. During the course, I was exposed to different approaches to
The TC2 digital loom is central to your practice. making textiles, and I just had to figure it out through trial and error. During my education, I was challenged to
How does this technology influence your creative be more sustainable and still find a personal visual language. After graduation, I was offered a position at the
process, and what unique opportunities does it offer Glasgow School of Art as an Artist in Residence. This position gives me access to the TC2 digital loom and
for expressing your ideas? allows me to produce my work, further develop my skills, work on different projects, and prepare for exhibitions.
I have always enjoyed working digitally on the screen It is an exciting time as I am exhibiting at the Dundee Design Festival and the London Design Festival
but I needed the tactile element. The TC2 digital loom simultaneously. I have also sold some work and am currently working on a commission.
gives me both because I construct my image digitally,
which I then have to apply to weaving software where
This is part of a jacquard hand-woven diptych (Folklore: Decoded I, II) that investigates and decodes
the historical role of the floral ornament while translating it into digital concepts and imagined natural
entities. This project juxtaposes and challenges the archaic concepts of folklore and its purpose in its

I need to basically 'code in' structures into the design.

I do all the steps in the process, from applying
structures to hand-weaving. Sometimes, it takes me a
week or two to create the design, then the structures,
then sampling and the final piece. People often think
that making something digital is easy, but I can tell
you from experience that it is a labour-intensive
process, which I thoroughly enjoy. TC2 is a
marvellous piece of equipment that allows me to
express and convey my intuitive inner world through
Textile, 61x46.5x1cm, 2024

any shape, fibre, or colour.

Folklore: Decoded I

decorative function.

You describe your woven designs as a "visual

metaphor for the flux of movement and migration."
How do your personal experiences as a migrant
shape the narratives within your work?
I have moved about thirty-something times and
encountered different visual information every time.
Different environments—different visual information I
have picked up and saved in a mental drawer. Work I
create is a consequence of these movements which I
tend to illustrate with the usage of colour gradients.
One colour blending into another through woven
structure suggests the transition from one place to
another.
How does your Slavic cultural background inform
the motifs and ornaments you choose to incorporate
in your textile designs? Are there specific cultural
references that hold particular significance for you?
There were always lots of decorative floral patterns

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 botanical elements. At the same time, water and the surrounding atmosphere evoke movement, allowing the eye to migrate
This image represents an interwoven cross-cultural-geographical memory and experience of the layered botanical and
aquatic terrains between my native North-East Slovenia and Scotland. This work pinpoints and marks stability with
and explore the surface while the body remains in a static position.
Textile, 62.5x49x1cm, 2024
The Wetlands

How do you balance respecting these traditions while also pushing the boundaries of what they can represent in a contemporary context?
Engaging in archival research, I am often in awe of the technical skills makers, usually women, have historically had. Looking back at traditional modes of making is a way
of looking forward. I try to convey that through meticulous research and practice through digital and analogue means. I recognise that my textile practice would only be as
well-informed if I looked into traditional making methods. Simultaneously, I am a contemporary subject living in these unprecedented times, and I see my work as a coping
mechanism for dealing with and responding to it.
In your artist statement, you mention constructing an "imaginary space" through your designs. Can you elaborate on what this space represents and how it functions
within your broader practice?
As someone who does not quite belong anywhere, I have strived to make space for myself within my work. It represents a space I can respond to and access, giving me an
illusionary sense of control. 'Imaginary space' represents a set of practices, methods and rules within which I can operate. It also responds to Benedict Anderson's texts on
Imagined Communities and The Invention of Tradition, edited by Eric Hobsbawm and Terence Ranger. If traditions are invented, why can't I assert myself and invent my
personal/imagined tradition within my textile design practice?
Migration and movement are central themes in your work. How do you see these themes evolving in future projects, and what new directions might you explore within
your textile practice?
I have extended my Artist in Residence position at the Glasgow School of Art, which will give me further access to the loom. I am planning a project on border formations
in my native region of Prekmurje, Lendava from the Austro-Hungarian Empire to Yugoslavia. The project is at a very early stage. Still, I can share that I am looking into
maps as a visual reference and some other photographic work, which I want to include by weaving into tapestries and textile objects.

17
 ANNA STEVENS
Anna Stevens is an English artist based in Manchester, UK. They create sculptural assemblages from personal detritus, body casts and fabricated elements,
Steven’s embodies past versions of themselves, creating corpse-like static cathartic reflections of complex bodymind traumas. Key points of meditation in
the work include alcoholism, consumption, interhuman relationships, negative physical and mental health, and death. The artist draws comparisons between
rituals and the sacred spaces of spirituality, the artworld and personal dependencies with religious iconography and objects that perform as relics. These
objects, that act as souvenirs that hold memories of personal histories, are often mutated and mummified to express the horror and surreality of the events.

The Nightmare
Wire & Acrylic on cardboard, 2024
Influnced by demon and angel figures from Henry Fuseli’s The Nightmare (1781) and Jan Mostaert’s The
Head of Saint John the Baptist (1520s), the scene depicts the chaotic emotional landscape of the artist
experienced pre and post-surgery for ovarian cancer.

18
 Your work involves creating sculptural assemblages from personal detritus and body casts. What draws you to these materials, and how do they help you embody and
process your past traumas?
In all honesty, I originally threw myself into using the contents of my bins because it's what I could afford. It was only later that I became interested in the objects’
materiality. If you want to truly know the details of someone’s life, explore what they discard. In my case, I recognized a pattern of glass recycling and prescription pill
packets and was confronted with a timeline of addiction and trauma physically laid out in front of me. I believe that, like souvenirs, these objects are sticky with deep
psychological bonds to personal histories. The combination of readymade items with exact impressions of oneself (photography and body casts) makes the forms feel
unavoidably me, like looking in an inescapable mirror or a visual diary.
You describe your sculptures as "corpse-like static cathartic reflections." How does the concept of the body as a vessel for trauma influence the physical forms you
create?
I think the thing with trauma is that it is inherently both physical and mental, that the effect of one exacerbates the effects on the other and vice versa. Both are intrinsically
intertwined to create an individual bodymind experience. As we move through our lives, moving from event to event, year to year, we evolve from one state to another.
These self-depictions are like snapshots of those vulnerable body-mind states, with their fragile and hollow forms reflecting the weakened self during traumatic events. The
body of work as a whole is like a morgue containing various past selves.
Alcoholism, consumption, and interhuman relationships are key themes in your work. How do you navigate the challenge of expressing such deeply personal experiences
through your art?
By not initially concerning myself with the intent to display these to an audience. Approaching the materials on a reflective, almost therapeutic, level allows me to really
explore my feelings towards those materials and past versions of myself. Surrounding yourself with traumatic souvenirs has a strange cathartic intensity. Through play,
experimentation, and a lot of introspection, the forms almost organically grow from the rubble. In short, I’m saving a lot of money on therapy.

POP!
Carboard, plaster, wire, textiles, medical packaging, acrylic and emulsion, 2024
Post-surgery and cancer diagnosis, the sculptural self-portrait reflects upon the
experiences and emotions of the artist during the time. The feeling of a giant
mass growing vs the feeling of mental deflation is encompassed in the balloon
inside the sculpture, with the feeling of something missing and vulnerability being
displayed in the incomplete figure. The piece is made up of all the pill and
syringe packets and boxes that the artist had to take during recovery from the
operation (all in the space of approximately two weeks), the abundance of which
reflects upon the overwhelming nature of the situation.

It's all going down the shitter

Cardboard, expanding foam, plaster, glass, wire, textiles, paint, 2023-2024
The sculptural piece reflects upon the artist's personal experiences of self-induced
intoxication and insatiable gluttony. They aim to display these cycles and systems
as illnesses of individuals, affecting the health of the body, psyche, and milieu.
The assemblage depicts the artist’s own urge to poison their body against all
logic, to attempt to satisfy the insatiable thirst of addiction to the point of illness
and the resulting expulsion of waste matter. The black sickness conjures images
of oil spills in nature and reflects the pattern of not knowing when to stop until
it’s far too late. By using personal detritus as materials and body cast, Steven’s
work embodies a past body-mind state, like a mummified corpse or snapshot in
time.

19
 Your work often incorporates religious iconography and relics, drawing parallels between personal dependencies and sacred rituals. Can you elaborate on how these
elements interact in your pieces?
The objects used in my work often perform as relics, their waste value is distorted due to the emotional weight that they hold, and they become signifiers of repetitive
ritualistic behaviors. I’ve always been interested in gothic elements of religious iconography, especially horrific historical depictions of the Catholic idea of hell. I think what
connects the art space, the bar and the church as sacred spaces is that we all buy into a belief system when we’re there, which allows us to place importance on a particular
way of framing reality. One has to believe that the Duchamp’s Fountain is more than just a urinal, it has to be a sacred art object for it to have value, and this helps
determine how we navigate its surrounding space. The same can be said for the belief in communion wine or the social practices of the pub. I aim for the work to
acknowledge and buy into this concept in a way for that performative element.
The process of mutating and mummifying objects in your work adds a layer of horror and surreality. What role do these elements play in communicating the complexity
of the traumas you explore?
When one is in a crisis, whether that be an instant state of shock to something specific like a cancer diagnosis or a slow alienation of the self due to extended substance
abuse, one enters a surreal state that completely warps one’s understanding of what is truly real. You are at once so deeply entrenched within the noise of the experience and
yet also a bystander looking in, seemingly incapable of doing anything to change the situation but also somewhat peaceful with the hard truths that have not quite sunk in.
The balance of these states swings from right to left in varying degrees as you process but they always infect reality, almost poisoning one’s milieu, like an oil spill. These
mutated objects act as access points into this drunken surreality.
In what ways do you see your art as a form of self-exploration or self-healing, and how do you hope it resonates with others who may share similar experiences?
It takes a large amount of introspection to create these works, I think this is the beginning of the healing process. A lot can be said for visually understanding your emotions
and belief systems as a way of challenging them and reframing them. Although these are very personal experiences, they are certainly not unique. Addiction, illness, and
relationships touch everyone in one way or another, they shape our reality, and so my hope is that people can relate to these. Simply finding something that speaks to your
experience can be validating.

Great expectations The Church

Wedding dress, wood, wire, cardboard, smartphone, wine bottles, acrylic, 2024 Cardboard, textiles, plaster, wine bottles, foam, shelving unit, wire,
metal, 2024
The artwork reflects upon a breakdown of a relationship between the artist and
their ex-fiancé. Utilizing the materials of their relationship and breakup, the artist A reflection upon the artist’s relationship with drink, the sculptural
creates a sculptural still life - a memento mori scene – exhibiting the finite nature work The Church displays the bar as a sacred space, drawing
of romantic relationships. The artist’s traditional white wedding dress is draped comparisons between the rituals of religious faith, alcoholism, and
across like a tablecloth, with the black (associated with grief) consuming the the artworld. By mutating wine bottles from their own binge
objects. drinking sessions, their used clothing and distorted body casts,
Stevens embodies a past body-mind state (a drunken perception of
being) and reflects upon the personal history that infects these
objects.

20
 The idea of souvenirs holding memories of personal histories is central to your practice. How do you select and transform these objects to reflect the emotional weight
they carry?
The objects are not so much selected as just collected and grouped based on context. Many are items that were broken during binging sessions and so hold those physical
and emotional fractures, others are selected simply due to their abundance within the collection (for example, the pill packets that accumulated pre and post-operation). I
guess in that way, you could say I am a professional hoarder, creating and curating a sort of personal cabinet of curiosities. They are transformed by the black growing
mass, which is a continuous motif within the body of work, which is representative of trauma, depression, addiction, poison, and abject waste. It is at once both an
emotional and physical state, a Dasein, a surreal and drunken belief system: it is what sticks to being.
Your work explores the intersections between spirituality, art, and personal dependencies. How do you perceive the role of art as a modern-day sacred space or ritual
for processing trauma?
Simply put, art is the communication of ideas and experiences. The artist puts something visually, linguistically, or musically representative of themselves and their beliefs
into the world, and the audience receives that information and either connects (positively or negatively) or does not. In this sense, it is much like group therapy. For one to
have any reaction to any piece of art, one must first invest belief in the art object as having some created purpose (even if we all understand that art is absurdly pointless).
In this way, it feels very much like a sacred space with a belief system.
How do you approach the balance between revealing personal vulnerabilities in your work and maintaining a sense of privacy or distance from the viewer?
By mutating the objects and presenting incomplete self-representations, the work allows room for sub-context and audience interpretation in a way that pictorial mediums
(such as photography or film) might not. I intentionally avoid using direct depictions of the face, it loses that sense of identity both as a way to depict the loss of sense of
self and also as a source of modesty.
Given the deeply introspective and cathartic nature of your art, how do you see your practice evolving in the future? Do you anticipate exploring new themes or
materials?
For a while, I have been intrigued by accentuating the socio-political aspects of my practice to discuss the collective experience rather than just the personal. Nevertheless, I
feel that the work evolves as I do, my feelings surrounding these events and subjects are always changing and providing new emotions to explore. Believe it or not, 2024
has already thrown more curve balls since making this body of work so I do not feel myself slowing down creatively. Or maybe I will just have to start causing trouble to
create some contextual material for myself!

Return to Work
Doctor's fit not and acrylic on cardboard, 2024
The work reflects upon a time of physical and mental suffering and a closeness to death but equally a state of freedom away from the
monotony of work that, when combined, resulted in an intense feeling of really being most alive. Created using the original Statement of
Fitness for Work document that the artist received post-surgery for ovarian cancer, the work performs as a two-dimensional
memorial/prayer box for living.
21
 CARTER SCOFIELD
Carter experienced burnout just before the pandemic and needed something
new to break the cycle. Wanting to create rather than just consume, he started
with a sketchpad and some sharpies. As he transitioned to working from home,
he decided to decorate the walls of his bedroom-turned-home office. From
there, he explored acrylic pour painting, 3D printing, sticker-making, and
eventually digital art.
For him, art is a way to express himself and cope with everything going on
around him. He creates what he wants to see, drawing inspiration from music,
other artists, and those closest to him. He's always happy when others enjoy
his creations. These designs are part of a 1000-piece series he began to help
himself move from grieving back to living.
562 - Digital Art, 24x18cm, 2024

518 - Digital Art, 24x18cm, 2024

602 - Digital Art, 24x18cm, 2024

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 Your artistic journey began as a way to break out of burnout. How did the transition from consuming to creating impact your mental and emotional well-being?
Creating helps me break out of spiralling in my head and getting back into a state of flow. It forces me to take action and put my emotions into the external world instead of
sitting around ruminating. Bringing an idea to fruition, exploring new techniques, and planning out larger scale projects all help me to keep going.
Starting with a sketchpad and sharpies, you eventually explored multiple mediums like acrylic pour painting, 3D printing, and digital art. What drew you to experiment
with such diverse forms of expression?
I'm definitely a "jack of all trades, master of none" when it comes to creative expression. Trying a new medium and having fun with it inspires me to keep testing out new
things. I find that switching between mediums/projects helps me overcome creative roadblocks. Sometimes I'm drawn to the messiness and lack of control that comes with
pour painting and other times I want the simplicity of tapping the new canvas button on my iPad.
How did the shift to working from home influence your decision to start decorating your space with your own art? Did your environment play a role in shaping your
creativity?
With lockdown, staring at nothing above my home office in my bedroom added to the stress of the situation so art helped me build a space I wanted to spend time in. I
started to see my room as a personal art gallery and over time I set out to fill every empty space. All the objects in my environment suddenly had the potential to become
something beautiful.
Acrylic pour painting, 3D printing, sticker-making, and digital art each offer unique ways to express yourself. How do you choose which medium to work with for a
particular piece?
I find that different mediums inspire different art styles. The ideas I had when working with sharpies and paper no longer came to me once I had access to endless brushes
and settings in the Procreate app. A lot of it comes down to what ideas pop into my head and what supplies I have on hand. Once I use up all my canvases and paints, I'll
take a break and go back to digital and vice versa when I'm tired of staring at a screen.
You mentioned that art is a way for you to cope with "everything." How do you channel complex emotions or experiences into your creative process?
I think I see art as the answer to "what do I do about this?" I can spend forever obsessing over something difficult in my head or I can slap some paint on a canvas to move
forward. When so much feels out of my control, art provides a chance to create some beauty and respite.
Music, other artists, and people closest to you are key sources of inspiration. Can you share how these influences have shaped specific pieces or projects?
When I first got started with acrylic pour painting, I told my friends I would make them a painting if they gave me a theme which gave me lots of color palettes to explore
and fine tune. One of my friends convinced me to get an iPad which jump started my digital art journey. My tattoo artist introduced me to the app Geometrica which
allowed me to play with symmetry in a completely new way. I listen to a ton of edm and the visuals at shows has shaped my digital style.
Your art evolved organically from decorating your home office walls. How does the physical space where you create influence the art you produce?
The art in my space is a physical map of my journey and also serves as inspiration for me to improve. After filling up walls with my first batch of small pour paintings, I
challenged myself to attempt larger canvases and to dial in my technique. My space represents my current level and constantly evolves with me as an artist. It's incredibly
gratifying to take down a work because I just created something that makes me happier.
665 - Digital Art, 24x18cm, 2024 525 - Digital Art, 24x18cm, 2024

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 578 - Digital Art, 24x18cm, 2024

Creating art is a personal process for you, but you also enjoy when others
appreciate your work. How does audience feedback influence your creative
direction or motivation?
Unless I'm creating a work specifically for someone, I try not to let the idea of an
audience influence me. I think of it more as a "happy accident" when someone
else enjoys my art. I started creating art to have something that I wanted to see in
the world so I focus on myself as my audience.
As someone who started making art during a challenging time, what advice
would you give to others who might be looking to use creativity as a form of
self-expression or coping?
I think the hardest part is taking the leap to make something for the first time. It's
easy to get caught up in comparison to other artists at their peak. Make one thing
and if you enjoy the process, make 10, and if you really want to keep going,
make 100, 1000, etc. My biggest advice is to create for the sake of creating and
forget about the judgement of its quality.
Having explored various artistic mediums, do you see yourself continuing to
experiment with new forms, or do you feel a particular connection to any one of
the methods you've tried?
Definitely planning to keep experimenting! Most art forms I consider to be "just a
matter of time." I don't have the space (yet) for a laser cutter or metal working
equipment but they're on the to do list. I see myself returning to most mediums
eventually but the scales usually tip in favor of the unknown.

508 - Digital Art, 24x18cm, 2024

24 735 - Digital Art, 24x18cm, 2024

 DOROTHY
MCGUINNESS
Dorothy McGuinness took her first basket making class in 1987. She has participated in more than 200 basket workshops over the years. She has studied
extensively with Jiro Yonezawa, a Japanese basket maker and teacher. Dorothy discovered her medium of choice in 2000, when she took a workshop with
Jackie Abrams using watercolor paper as a basket weaving material. She now works exclusively in diagonal twills and mad weave creating contemporary
sculptural baskets. What most attracts Dorothy to using paper and paint for weaving is the ability to play with color and pattern. She enjoys exploring the
interplay of weaving, color and design in new sculptural pieces and continues to experiment with various weaving methods and techniques.
Dorothy has participated in numerous local, national and international shows and has won various national and international awards. In 2007 she
participated in a Fiber Arts Certificate Program at the University of Washington Professional and Continuing Education School. She also participated in the
EDGE professional development program sponsored by Artist Trust in Seattle, Washington. Dorothy was born in 1961 in Western Washington and
currently resides in Everett, Washington.

‘’After exploring the woven form, I have mastered the art of diagonal twill and mad weave, with which I create forms and structures not normally found in the basketry
world. My medium for this unique work is watercolor paper, which I paint and cut into very narrow uniform strips to achieve the precision I seek.
Approaching my work as a puzzle drives me to discover new shapes and weaving innovations. I often think, “How will it work out if I try this, or how can I get this shape
or pattern combination? What if I use these colors in this combination in this order? What if…”
I am intrigued by the potential outcome of any new design. The evolution of my body of work is built on taking risks, and avoiding the “known”. The risks offer
challenges, which often lead to new directions. This is the excitement that keeps me working in a repetitive medium: it is an on-going meditation on improvisation, a
continual experiment through which my work can progress and develop.’’

Space Time Distortion - Watercolor paper acrylic paint, waxed linen thread, 17'’x14'’x6'’, 2024

25
 Your artistic journey began in 1987 with a basket-making class. How did that initial experience influence your later work, particularly your discovery of using
watercolor paper as a medium?
I believe all the classes I have participated in over the years have informed my work in some way even if I am unaware of it. Before I found paper I was searching for a
medium to concentrate on, but I was not really happy with the materials that were available to me. When I discovered paper I was finally able to take all the basketry
knowledge and apply it to a material that offered so many possibilities.
You've studied extensively with Jiro Yonezawa. How has his teaching and the Japanese basketry tradition shaped your approach to weaving and design?
Jiro Yonezawa converted me to the intricate twill weaves and the dedication to perfection that he conveys in his astonishing work. The incredible work of other Japanese
bamboo masters showed me possibilities that were conceivable in the woven form. This influenced my weaving of sculptural forms using basketry techniques

In 2000, you found your medium of choice in

watercolor paper. What was it about this material that
captivated you and led you to work exclusively with it in
your basketry?
Paper is a very easy medium for working in diagonal
twills. The use of acrylic paints allows one to work with
whatever color paper one may choose, you can buy the
materials at the local art store and there is a minimum of
prep required. Best of all you can cut it into strips using a
pasta maker. This presented me with the immediacy of
weaving which natural materials did not allow me.

Byzantine
Watercolor paper acrylic paint, waxed linen thread,
9'’x20'’x14'’, 2019

Variations on a Theme 5 - Watercolor paper acrylic paint, waxed linen thread, 9'’x15'’x10'’, 2023

26
 Your work primarily explores diagonal
twill and mad weave techniques. What
draws you to these particular methods,
and how do they allow you to express
your artistic vision?
I find diagonal twill and mad weave
flexible enough to work out the various
ideas in my head. I also like that with both
of these techniques once you have woven
the base the colors have been set and you
just start weaving the sides of the piece.
Color and pattern play a significant role
in your work. Can you describe your
process for selecting and experimenting
with color combinations in your sculptural
baskets?
I know the basics of color theory and
apply it quite often in my work. But I also
will often pick some colors at random and
see how they weave up. I am still finding
new weave patterns to add to my list of
methods.
You describe your approach to your work
as a puzzle, constantly asking "What if?"
How does this mindset influence the
evolution of your pieces, and how do you
balance experimentation with precision?
I am forever trying out new ideas in my
work. I may try out one idea which leads
me to another which leads me to another,
etc. The precision comes with careful Chirality Right - Watercolor paper acrylic paint, waxed linen thread, 4'’x4'’x8'’, 2024
packing of the weavers in each piece and
the finishing of the rim. Chirality Left - Watercolor paper acrylic paint, waxed linen thread, 7'’x13'’x8'’, 2024

27
 Your artist statement mentions the excitement of taking risks and Variations on a Theme 4 - Watercolor paper acrylic paint, waxed linen thread, 8'’x14'’x9'’, 2022
avoiding the "known." Can you share an example of a risk you've taken
in your work that led to a significant breakthrough or new direction?
I was weaving a piece with uneven corners to see what would happen
and I had no idea that the piece would turn out as it did. The piece did
not sit flat; one corner was not in the plane of the basket base. It was a
revelation that I went on to utilize in many other pieces. I still use this
technique occasionally today.
Having participated in numerous shows and won various awards, how
do you see your work resonating with both national and international
audiences? What do you think draws people to your unique style of
basketry?
I hope that my work conveys the possibilities of basketry as an art form.
That my sculptures express my on-going dialogue of taking fiber art and
basketry, in particular, beyond the functional craft form that often
defines and constrains it.
You’ve completed programs like the Fiber Arts Certificate Program
and the EDGE professional development program. How have these
educational experiences influenced your professional growth and artistic
practice?
The EDGE program and the Fiber Arts Certificate were both helpful in getting my artist statement, bio, and resume done in a professional way. The EDGE program was all
about the business of an artist's practice from pricing your work to applying to galleries. The Fiber Arts Certificate taught me how to critique my own and others' work and
the class formed a tightly-knit group of artists that continues to meet to this day.
As someone who has mastered a repetitive medium, you describe your work as an ongoing meditation on improvisation. How do you keep your practice fresh and
continuously evolving, especially within the constraints of basketry?
I have found that there is always a new concept or method on the horizon for me. I’m never blocked for long. I have notebooks full of more ideas than I could possibly get
done in my lifetime. These ideas are often the inspiration I need to start my next project or series.

Oasis - Watercolor paper acrylic paint, waxed linen thread, 6'’x12'’x9'’, 2019

28
 Zipper Dance
Watercolor paper acrylic paint, waxed linen thread,
17'’x8'’x8'’, 2013

29
 ELYX
Ely X is a Digital Artist, writer, psychologist, and Entrepreneur woman. She is mother, Poetess. Art Manager, CEO/Founder, and
Creator/Collector of digital art. She was creating art and poems since early age and designing images and websites for business and
marketing over more than 13 years. She is a specialist in 1/1 digital art, animations, glitched, and Al art, With around 100 1/1 artworks sold to many
collectors around the world. She loves innovation and artistic intuition in my designs.
Her artwork “Dream Fantasy” was chosen by vote magazine cover on The NFT Magazine in 2022, the Japanese Art Magazine 365 ArtPlus in 2023, and
Cista Arts Galleries and Magazines in 2024. Also, her artworks was exposed physically on Big Sscreens in New York (Art Basel), Miami, Roma, Ciudad
de las artes y las Ciencias Valencia, UK, Seoul, and NFT New York 2024

30 The Lord of Archillect #11 - Digital Art, 2024

 You've been creating art and poetry since an early age. How has your creative Ywonder and mystery. The artwork blends elements of the ethereal and the
process evolved over the years, especially with the integration of digital tools and fantastical, aiming to explore the blurred boundaries between reality and
platforms? imagination.
My creative process has always been somewhat intertwined with technology. As a psychologist and digital artist, how do your experiences in psychology
From a young age, I had an aptitude for navigating the digital world, and I influence the themes and concepts in your art? Do you find that your art serves
quickly began experimenting with digital tools in my artistic creations. Over the as a form of therapy or expression for you?
years, the integration of these tools has allowed me to expand my creative Absolutely. For me, art is a powerful way to externalize emotions and channel
possibilities, pushing the boundaries of my work in ways I couldn’t have imagined thoughts, serving as a therapeutic outlet in moments of stress or adversity. Much
earlier. of my work explores human nature, particularly the feminine archetype, and our
Your expertise spans 1/1 digital art, animations, glitched art, and AI- connection to divinity and the subconscious mind. These concepts are reflected
generated art. What draws you to these specific mediums, and how do you through surrealism, where I explore the interplay between conscious and
decide which to use for a particular project? unconscious realms.
I’m fortunate to have complete creative freedom in my projects, as they are Your work has been showcased globally in cities like New York, Miami, Rome,
entirely self-directed. When creating a collection, I let inspiration flow and allow and Seoul. How do these international experiences influence your artistic vision
my intuition to guide me in choosing the medium that best fits the concept. Each and approach to digital art?
project has its unique demands, and I decide which medium to use based on how Exhibiting my work internationally for the first time over two years ago was a
well it aligns with the emotions, themes, and messages I want to convey. thrilling experience, and it continues to be a source of motivation. Each of these
‘’Dream Fantasy" has been featured on various prestigious platforms like The exhibitions has exposed me to new perspectives and artistic communities,
NFT Magazine and 365 ArtPlus. Can you share the inspiration and creative broadening my creative horizons and encouraging me to continue innovating in
process behind this particular artwork? digital art.
"Dream Fantasy" is perhaps my most significant and expensive work to date. In With over 13 years of experience designing images and websites for business
addition to being featured in several magazines, as you mentioned, it has also and marketing, how do you balance the demands of commercial design with
been selected for exhibition on giant screens in New York, Miami Beach, and your personal artistic pursuits?
Seoul. It's probably my favorite piece. This artwork perfectly encapsulates my I’m fortunate to be at a point where I can focus entirely on my own projects, both
creative process, which involves a kind of "meditation" or "dream" state where I artistic and business-related. This gives me incredible freedom to express myself
connect with the source of inspiration that guides all my creations. For this piece, creatively without the constraints often associated with commercial design work.
I combined artificial intelligence with digital painting, then used various tools to I’m grateful for this balance, which allows me to pursue my artistic vision fully.
refine and enhance the final image.
"Dream Fantasy" is deeply inspired by the surreal realm of dreams and the
limitless possibilities they offer. My creative process involved delving into
subconscious thoughts and translating them into visual art that evokes a sense of
The Lord of Archillect #1 The Lord of Archillect #8
Digital Art, 2024 Digital Art, 2024
The Lord Of Archillect is a collection inspired by brutalist architecture, The Lord Of Archillect is a collection inspired by brutalist architecture,
specifically inspired by an AI creation called "Archillect" and the face of divine specifically inspired by an AI creation called "Archillect" and the face of divine
presence, in which all my works of art are inspired. presence, in which all my works of art are inspired.

31
 As a successful entrepreneur and founder of a digital art company, what challenges have you faced in the intersection of art and business?
One of the biggest challenges I faced early on, like many creators, was the fear of failure. However, I’ve learned that every difficulty is an opportunity for growth. Through
persistence and a commitment to continuous improvement, I’ve been able to overcome obstacles and continue creating with a strong conviction and unwavering will.
Innovation and artistic intuition are key aspects of your designs. How do you stay inspired and innovative in a rapidly evolving digital art landscape?
Inspiration and innovation have never been an issue for me, as I draw from a universal source—nature, the human mind, art, and architecture. I believe the key to avoiding
creative blocks is to stay open to change and not confine oneself to a single style. Embracing diversity in creative expression keeps my work fresh and dynamic.
You've sold around 100 1/1 artworks to collectors worldwide. How do you build and maintain relationships with your collectors?
I believe communication is crucial in any human interaction, and my ability to express myself through my art plays a significant role in attracting collectors. Maintaining
open and genuine communication with them allows me to build lasting relationships, and I think they’re drawn to the authenticity and emotion conveyed in my work.
As a mother, poet, and digital artist, how do you navigate the complexities of these different roles, and how do they influence each other in your life and work?
Like any individual, I am made up of different facets that complement and enrich one another. Being a mother, poet, and artist allows me to nurture different aspects of
myself, which in turn enhances my creativity and personal growth. These roles intertwine naturally, giving me the opportunity to bring my best self to my work, personal
life, and society.

32 The Lord of Archillect #3 - Digital Art, 2024

 The Lord of Archillect #6
Digital Art, 2024
The Lord Of Archillect is a collection inspired by brutalist architecture,
specifically inspired by an AI creation called "Archillect" and the face of divine
presence, in which all my works of art are inspired.

33
 EVANGELIA
HAMILTON
Evangelia Hamilton was brought up in Greece (Born 1944-1945) and trained as an architect there, working on the original 1976-1977 design of the
building at 40 Leoforos Vasilisis Amalias, before moving to England to study town planning, and then did a ph.D at the London School of Economics. In
the 2000s she returned to fine art, drawing from old masters in the National Gallery, and began printmaking early the next decade. In 2022 she was
selected for the Royal Society of British Artists Annual Exhibition, and following that in the New English Art Club, Hampstead Art Society, Royal
Cambrian Academy (2024), and Royal Hibernian Academy (2024) along with many others.
Her artwork is focused on drawing and printmaking, using graphite, charcoal, and intaglio printing with steel, aluminium, copper, and zinc plates. It is
drawn from real life and real places or heavily influenced by the Old Masters such as Rembrandt, Durer, and Rubens, and captures spaces (interior or
exterior) and the people, life within, and interactions between.

Observations in Space, After Tenniel and Unknown

Copper etching & single print, 31x33cm, 2024

34
 Your career began in architecture and town planning before you
transitioned into fine art. How has your background in these fields
influenced your approach to drawing and printmaking?
Drawing is a requirement for doing architecture up to today. In
some countries, art is part of the school curriculum.
You were involved in the original design of the building at 40
Leoforos Vasilisis Amalias in Athens. How did working on such a
significant architectural project shape your creative vision?
It was part of a 9-year-long professional development that included
me as an associate in a team (Bitsios and Petrioli), we participated
in three Juried architectural competitions and we won prizes. The
1977 historic building was designed on the principle of a grid
façade, a second skin envelope made from aluminum louvers, was
built for office use, and was ‘interesting architecturally’ according
to the press, Kathimerini. In 2010 40 Amalias was set on fire by
an arson attack. After that, I learned was purchased by an Israeli
company, was refurbished, and was changed totally outside, but I
have no connection with this.
After moving to England, you pursued advanced studies in town
planning and later a Ph.D. at the London School of Economics.
How did these academic experiences contribute to your artistic
practice?
You learn why there are run-down spaces in the city and destitute View from a London Room
people. You shouldn’t ignore them in art and paint a picturesque Copper etching, engraving, drypoint, roulette, 42x46cm, 2023
image devoid of reality. Avoiding these themes is irresponsible. Under a Tree
Copper etching, drypoint, 23x31cm, 2020

35
 The Opening of the Fifth Seal over London, After El Greco
Zinc etching with watercolored chine collect, 27x23cm, 2023
This work was influenced by "The Opening of the Fifth Seal" by El Greco, but is updated for the modern era in London as
skyscrapers stand over St. Paul's Cathedral in the bakground. The figures in the front are influenced by the painting itself. The
watercolours applied are used to bring the scene to life in perspective.

36
 In the 2000s, you returned to fine art, drawing inspiration from Old Masters like
Rembrandt, Dürer, and Rubens. What was it about these artists that resonated with
you, and how do they continue to influence your work today?
They painted life as it is. Works of mine such as “St John Opening the Fifth Seal in
London, After El Greco” were inspired directly by these older works. I took classes
in London at the Royal Drawing School for many years, drew from old masters'
works in the National Gallery, and from sculptures in the British Museum, and
studied also History of Art.
Your work has been selected for exhibitions at prestigious institutions such as the
Royal Society of British Artists and the Royal Cambrian Academy. How do you see
your role within the contemporary art scene, given your classical influences?
The exhibitions were juried. It is important an artist must practice drawing from life,
from masters and reading History of Art to develop their ideas and language, it’s
important to take influence from important works of masters.
Your work is primarily with graphite, charcoal, and intaglio printing using various
metal plates. What draws you to these specific materials and techniques, and how do
they help you achieve your artistic vision?
These are the classic materials for drawing and creating light and dark. It needs a lot
of practice. There is a great amount of detail to do and figures interact.
Dredger at Southampton Port

Zinc drypoint and etching,

23x27cm, 2024

Trees in Holland Park - Warm

Copper drypoint,
50x38cm, 2020

The Anthem of the Seas Arriving at Southampton Port

Etching and drypoint on Zinc,

Cloisters 27x42cm, 2024

Etching and engraving on copper,

42x48cm, 2023

37
 Your artwork often captures real-life spaces and the people within them. How do you approach the process of translating these real-world environments and interactions
into your drawings and prints?
I sketched outdoors and observed people and nature in real life. Later, I turned many of these sketches into paintings or re-did them in prints.
Given your experience in both architecture and fine art, how do you perceive the relationship between architectural space and the human figures you depict in your
artworks?
Architecture studies facets of technology, theory, humans, and city space according to the Japanese. In artworks, figures interact with each other and there is a narrative.
Your journey from Greece to England and your various academic and professional pursuits have undoubtedly influenced your artistic outlook. How do these cultural and
geographical transitions manifest in your art?
England and London specifically, offer opportunities again, in the British Museum and also from the National Gallery. These are vital educational opportunities that exist in
every country. Museums offer drawing classes for children and adults.
As an artist who returned to fine art later in life, what advice would you give to those who are considering a similar transition, particularly from a structured profession
to a more creative one?
You can always return to the arts or start practicing it. It requires a lot of work, even if you are in an artistic profession and have built up skills, and you have to keep at it.
People have been exhibited in the UK at 80 and beyond after returning to the arts!

Surreal Life 1
Copper drypoint and roulette, 31x33cm, 2023
"Surreal Life 1" originally started out as a pastel drawing, but was then worked into a drypoint copper and roulette print with surreal elements. Here, the stalks of asparagus end in anchovy heads and the whole scene
appears elevated over a door and lamp in the background.

38
 EVE FINLAY MILLER
Eve Miller is an interdisciplinary artist based in Leeds, specializing in ceramic sculpture, painting, printmaking, and installation. Known for her playful and
intuitive approach, Miller experiments with various textures and materials, with a particular affnity for clay. This medium allows her to shape, mold, and
bring her ideas to life in a physical form. Her work frequently explores the emotional and psychological connections associated with specific colors, often
reflecting on how these hues relate to mental states, thoughts, and emotions. Miller’s practice extends into creating immersive installations that incorporate
light and sound, inviting viewers to engage deeply with the spaces she creates. Informed by phenomenology, her work seeks to explore the relationship
between the viewer and architectural space, providing moments of presence and grounding. Recent solo exhibitions include Perspective for ArtWalk
Wakefield (2023) and Shapes of My Clay at Lord Whitney Leeds (2022). Miller’s practice also includes socially engaged projects and teaching
workshops, making art accessible to a broad audience.

‘’As an artist, I am deeply inspired by color, form, and the intuitive process of creation. My work is a reflection of what comes to me instinctively, often starting with
spontaneous drawings that capture my thoughts and ideas in the moment. I love collaborating with others and draw inspiration from all forms of art, nature, and social and
historical issues. Exploring concepts and ideas is what excites me most, as I believe in the power of art to create spaces for contemplation and calm. In my practice, I aim to
provide viewers with a break from the pressures of daily life, offering them a moment to be present and reflective. My installations, often incorporating light, sound, and
tactile materials, are designed to engage the senses and invite a deep, meditative experience. Whether I’m working on a large installation or a small ceramic piece, my focus
remains on creating a connection between the viewer and the work, allowing them to engage with it both emotionally and intellectually.’’

39
 Perspective Installation

Ceramics, various sizes, 2023

This site specific exhibition at the Chantry Chapel, for ArtWalk Wakefield captured moments through my perspective, bringing together my work in painting, sculpture and ceramics into a cohesive, immersive
installation. ‘Perspective’ integrated two ongoing elements of my practice that happen alongside each other but are disparate in nature. As an artist with an evolving multidisciplinary practice, I found the themes and
forms I work with sculpturally were reoccurring within my paintings - with clear similarities in colour, form and playfulness. The installation for ArtWalk Wakefield expanded the aesthetics of my paintings and
experimental drawings into a three-dimensional experience alongside my ceramic sculptures, giving the viewer access to all layers of my creative processes and practice.

40
 Shapes of my Clay

Ceramics, various sizes, 2023

This sculpture is from Shapes of My Clay installation. Made from earthen-wear clay.

41
 GÍS MARÍ
Born in the Netherlands and based in Portugal, Gís Marí paints large-scale,
abstract, expressionistic oil paintings. He was drawn into the world of painting
during his study of psychology in Leiden. His apartment and its white walls
increasingly served as an atelier, and instead of preparing for his exams, he
was occupied with the arts. In his early 20s, he quit university to devote his
life entirely to painting. Gís Marí rented his first atelier in Amsterdam [NDSM
Wharf], where he worked for 2 years. His increasing discomfort with the
gentrifying, speedy and money-driven Amsterdam saw him move to southern
Europe, where he fell in love with the city of Porto. He rented an abandoned
industrial store in central Porto, which served as an atelier and house, and he
worked here for four intense years. In 2019 he moved to an old rice
warehouse in the port town of Figueira da Foz, where he currently lives and
works. In modern times, where quantity and efficiency prevail over quality,
Gís Marí believes in old-world values. He works on a painting for many
months and up to years. After constant conversation with the painting, he only
puts his signature under his best work and destroys the rest. As he believes in
the physical power of his work, he uses no social media; the painting has to
interact with the observer ‘in the flesh’.
Gís Marí, atelier Figueira da Foz, Photo by Luís Brandão, Icarus
Oil on canvas,
190x215cm, 2023-2024

What I try to convey with my painting is energy.

For me art is about stimulating whatever is in the beholder.
One can burst into tears, scream for happiness, laugh or experience any other emotion.
If one is, after encountering my work, a bit different than what they were before, I am satisfied.
I see myself as a messenger traveling between two worlds: from my own ‘inner’ world to the
‘common’ world and back, see it as the character from Greek mythology, Hermes.
I pick the flowers from my unique, inner world and translate them via a comprehensible medium
to the outer world.
The longer the journey, the more unique the flower and, therefore, the artwork.
This explains why I work on a painting for a long period, in lucid concentration, and often in solitary periods.
My biggest inspiration is – besides reading, interacting with other humans and observing society- without any doubt: Nature.
On the entrance of the Amsterdam Zoo, where I used to go as a child, is written in big letters ‘Natura Artis Magistra’.
This is Latin for 'nature is the teacher of art', and I could not agree more.
As an artist I put myself in the footsteps of the all-embracing piece of art created by Mother Nature.
For instance, look at the complex symmetry of a snail shell, better than a Mondrian. See the tension in the claw of an eagle, the most powerful Franz Kline;
observe a bright, red berry against a green leaf; two strong complementary colours invented by Mother Nature long before Goethe or Johannes Itten wrote
about them.
And I could go on forever.
Signing a painting for me is like cutting the naval cord; the painting is born.
As a parent I can solely support it by giving it a title, writing poems on the backside, using the best materials, and conserving it in the best way possible.
However, the fact that I am the painter is, for me, of secondary importance, just like the parents of a human being are to define the child.
The painting now has to deal with the world and its spectators.
I gave all that I could.

42
 Your transition from studying psychology to towards each other. I think one should not create in a I cannot be blind to that. However, what I am aiming
becoming a full-time painter is fascinating. How do rush; one should work through and contemplate their and hoping for is that all those digital platforms will
you think your background in psychology influences art. eventually lead to a physical encounter with my work.
your approach to abstract, expressionistic art? You describe yourself as a "messenger traveling I hope that the digital world will act as a pathway to
The influence studying psychology has on my work between two worlds" like Hermes. Can you elaborate the physical world.
mostly relates to the use and exploration of empathy. on how this mythological figure shapes your artistic Eventually, a client may come to visit me at my
As an artist, being empathetic is important; a piece of process and the themes in your work? atelier or a gallery, or they might see a work in person
art doesn’t come from yourself alone but is an The metaphor of Hermes describes perfectly how my on the wall of a collector. Then, the observer can
accumulation of infinite factors from the world around process of creating works. stand before a painting, see it as a whole, see the
you, too. It is valuable to interact with people with I try to generate energy, which I then convey through texture, smell it, and feel it. That is when the real
different ideologies as well as to learn about other the medium of paint onto a canvas. To generate this magic happens for me.
views through books, music, or other media. energy as an artist, I see myself as a messenger You’ve mentioned that nature is your greatest
Weigh their thoughts, explore them, and eventually travelling between two worlds: I travel from my own inspiration, even more so than human interaction or
compose your own. inner world to the ‘common’ world and back, seeing societal observation. Can you share an example of
You’ve moved from Amsterdam to Porto and now to myself as Hermes, the character from Greek how a specific natural element or scene has directly
Figueira da Foz. How have these different mythology. influenced a particular painting?
environments influenced your work, and what drew I pick the flowers from my unique inner world and The first thing that comes to mind is the presence of
you to each location? translate them via a comprehensible medium to the water—rivers or oceans.
I rented my first atelier in Amsterdam in my early outer world. I grew up in a city that was a few kilometres from the
20s. It was an old shack at the NDSM wharf – the The longer the journey, the more unique the flower sea and never let go of having my environment near
industrial and raw part of Amsterdam. Since I am and, therefore, the artwork. the ocean.
autodidactic, I had no technique to rely on; it was trial This is why I work on a painting for a long period, In Figueira da Foz, where I currently live, my atelier
and error, experimenting with the structure of the with high concentration, and often in solitude. is just a five-minute walk from the ocean, and my
paint and the interaction between the paint and the In a world dominated by social media, you’ve chosen apartment has a view on the Mondego River.
canvas. I spent endless days experimenting and to rely on the physical presence of your paintings to Whenever I am feeling lost in my thoughts or lack
learning. interact with observers. What motivated this decision, inspiration, I go to the ocean and I’m refreshed by the
When I moved to Porto two years later, I was more and how do you think it impacts the viewer’s fresh, oxygen-rich air. I also love to observe the
mature as a painter. There, I rented a spacious experience of your work? ever-changing reflection of the light on the water’s
industrial store, which allowed me to work on a larger My artwork is large in size, rich in colour, and often surface.
scale. Living in Portugal also allowed me to composed of thick impasto paint layers. The moment I’ve just finished a series of paintings that have the
concentrate better since there were fewer distractions. you reduce one of my paintings to a 10-centimetre theme of the Mondego River. In these, I strove to
For me, life in Southern Europe is more physical and phone screen, you lose a lot of its power and magic. capture the energy the river has during different tides,
more real. People are less rushed and more respectful I am aware that the world is beginning to favour the ebb and flood.
viewing art in digital rather than physical formats, and
O rio Mondego com maré baixa,
Oil on canvas, 167x123cm, 2024

Oil on canvas, 215x173cm, 2024

La fragancia de tus sueños,

43
 You’ve said that signing a painting is like cutting the umbilical cord. How do
you determine when a painting is "born" and ready for the world, and what
emotions accompany that moment?
The most important element for me to understand if a painting is finished is by
taking time away from the work and look profoundly. There is a moment when
you feel that a brushstroke does not add to the painting but makes it less. By
observing, contemplating, adding, and erasing for weeks, my feeling about the
painting—if good—becomes stronger. I start to remember every detail of it, and it
stays in my head all day. I even dream of it.
Then, if the painting is good enough and survives this period of weighing and
doubt, there is a lucid moment when I decide that the painting is finished and I
add my signature. This is a ritual for me. I think carefully about the title,
sometimes put poems on the back of the canvas, and think through every detail.
After adding my signature, the painting is born for me. I never repaint it again.
Your process involves working on a single painting for months or even years.
What are the challenges and rewards of such a prolonged creative process, and
how do you maintain your focus and energy throughout?
The challenge of working on a painting for such a long time is that you develop a
relationship with the work, and that makes it harder to fully take risks at a later
stage of the painting because you have something to lose. Though it is hard to
The eagle doesn’t catch flies
keep taking risks fully, I see it as an obligation. You consider the metaphor that a Oil on canvas, 183x216cm, 2024
chain is as strong as its weakest link; my paintings might be as strong as their
weakest brushstroke.
How do you make the difficult decision to destroy a piece, and what do you
O mundo é um moinho
learn from these moments of artistic ‘failure’?
Oil on canvas, I only put my signature on a painting that I am completely confident about. If
170x111cm, 2024 there is any doubt, I usually put the canvas aside for some time. This gives me
and the painting itself the chance to ripen and perhaps develop a relationship that
was not there initially. If, after a period of time and observation, I decide a
painting does not meet my standard, I cut it into pieces. This is an emotional and
negative process, but after the moment I destroy a canvas, I immediately forget
about it and focus on new paintings. I do not let doubt and insecurity influence
the future.
How do you see your role in the life of a painting once it leaves your studio?
The moment I put my signature on a painting, it is born, and I never repaint it
again. My job as a parent is then to do anything I can to conserve and support
the work as best I can. Besides that, the hard reality is that after the painting
leaves my atelier, it must deal with the world on its own. I will be dust one day,
but my paintings will remain. Magic will exist only between the observer and the
painting.
Ars longa, vita brevis.
Maio
Oil on canvas, 188x233cm, 2023-2024

44
 Tudo é inventado, menos a verdade

Oil on canvas,
216x178cm, 2023

45
 HECTOR
GEOFFREY
DOKOPOULOS
HAMILTON

Two Sisters, Stage 12

Copper drypoint,
27x21cm, 2020

Two Sisters, Stage 12 depicts the aftermath of a sibling fight, and

has science fiction elements (the coat of arms has an alien supporter
attached and depicts a symbol for Pluto, with a alien landscape). The
modern setting is fixed by the plug socket on the wall. Many
elements here were inspired by Rembrandt. The earlier stage of this
print, Stage 11, was exhibited in the Wells Art Contemporary in
Wells Cathedral in 2022 and was one of three awarded the Nana
Shiomi Young Printmaker Prize.

46
 Artist, published Writer, Engineer, Polymath, Hector Hamilton studied Mathematics and Philosophy at St. Hugh's College, Oxford University, and also
completed an Electronic Engineering degree at the University of Southampton where he then pursues a ph.D. After picking up drawing, Hector took a
number of traditional intaglio printmaking classes at the Royal Drawing School in Shoreditch and this quickly became has main medium to work in. First
exhibited at the Royal Academy of Arts in the Summer Exhibition of 2018 for "BRUTALLY UNTITLED", post-pandemic Hector racked up a large
number of exhibitions including at the Royal West of England Academy, Royal Scottish Academy, Royal Hibernian Academy, as well as the RE
Printmakers, and was also awarded the Nana Shiomi Young Printmaker Prize in 2022 at the Wells Art Contemporary.
Hector's inspiration came from a science fiction setting with occult and archaic elements he worked on, also inspired by current and past events, and had
written short and long works and compiled a significant amount of lore on. These elements made its way into many of his prints. More recently Hector was
also exhibited at the Royal Watercolour Society for a Sumi-e ink painting, and he has started to take up pastel as well as ink drawing from real life.

47 War Sequence 1: The Road to Szamarfalu - Steel Etching, Engraving, and Watercoloured Chine Colle, 21x21cm, 2023
 The Exode

The Exode took twelve years to reach its final destination, which was unplanned,
but then nothing usually went as expected on these missions. The “incident”
happened a year in, after the “ramjet” started to kick in and the resultant artificial
gravity normalized to what Captain Faulkner, whose unofficial motto was “Go
Faulkner Yourself”, called “what the passengers are used to”. In a fraction of a
second, a one-in-a-godzillion chance encounter with a dark object threw the
vessel off its original course to Aldebaran, and towards the Pleiades cluster, while
shearing the main communication dish.
The expected arrival would not be 70, but over 400 years in Earth time, enough
for the vessel to pass from being “missing” to “completely forgotten”, until one
discovered a missing link on their family tree. Perhaps, if the speed of light
“barrier” were broken, they would arrive to a world settled and far more advanced
than theirs’, populated by humans so much more developed they might as well be
aliens. Regards repairing the communication dish at the immense speed,
Faulkner vetoed it; no more casualties among the crew could be tolerated, else
the ship would likely barrel uncontrolled on to infinity. Superstition among all was
high, as the vessel had miraculously survived a close encounter due to its speed
and was given a new heading. Those left chose to embrace the new course into
the Bull’s Heart, bringing with them their varied culture to melt their hopes and
dreams together anew under a crimson sun.

48
 War Sequence - Train Scene, the Day After - Steel Etching and Aquatint with Watercoloured Chine Colle, 23x33cm, 2024

Your career spans mathematics, philosophy, engineering, and the arts. How do totalitarianism, and the spacer, Lunarian civilization. This is a few days after the
these diverse disciplines intersect in your creative process, and how do they Moon was attacked, a fuel depot was destroyed, and now there’s an evacuation
influence one another in your work? on. You see this in War Sequence – Train Scene, The Day After, which is from
There is a lot of intersection, in part because I tried to make some elements of my the perspective of Mars (I should also note this plate was worked from early
art regards science fiction at least somewhat realistic, or believable. Philosophy of 2023 – it took a while to finish – kind of prescient given events later that year).
Mind and Kantian Philosophy was also a major influence in the work, for Your background in engineering and electronic engineering seems worlds apart
example how an advanced civilization might go about creating AI or what they’d from the arts. How does your technical expertise inform your approach to
use them for or what rights they’d give them. creating visual art, particularly in terms of process and materials?
You've been exhibited at prestigious venues like the Royal Academy of Arts and The microchips mass produced for your pocket calculator, computer, laptop,
the Royal West of England Academy. How has your experience as a published flatscreen telly, and now phone and watch, all come from various
writer influenced the visual narratives you create in your artworks? photolithographic processes. Which is to say, printmaking but for microchips. It’s
So I was only published in late 2023 for “The Exode” in the Cista Arts a lot more expensive, the detail is on the scale of nanometers, and there are many
Chapbook #6, where-as my first exhibit was 2018 in the Royal Academy of more stages involved in the process and much more in terms of nasty chemicals,
Arts. My experience with the science fiction setting came from imagining it but it’s still a printmaking process. In printmaking for Two Sisters I drew on the
around 2009, and the early writing was 2012-13 for a concept video game, and copper plate directly and then used a steel needle to cut the lines, and the figures
then attempts to work it into a novel for NANOWRIMO in 2015. Having the took place over several stages. I think some of the main influences though are
concepts of the characters laid out helped a lot with the design and what was with the designs, as particularly in space people are literally living in machines or
going to be going on, like the clothing of the Two Sisters series or what they’d buildings they have to maintain and build upon.
have in the room or the architecture. Primitivist Orpheus, Modernised After Savery
Your science fiction settings often include occult and archaic elements. What Zinc Etching, Aquatint, and Watercoloured Chine Colle, 23x27cm, 2024
draws you to these themes, and how do you integrate them into both your
written work and visual art?
So the idea behind the “spacer” civilization is they’re a splinter group, and they
actually have as a result over 2000 years of continuity which links back to the
ancient era. Occult practices and traditions aren’t going to go away unless they’re
particularly harmful. This shows up in the designs of buildings, or the symbolism
used, or the practices, such “Domine Dirige Nos” which is the motto on the coat
of arms in Two Sisters, Stage 12 (Stage 10 had this written differently); this is
also the motto for the City of London. The presence of archaic or occult elements
is somewhat alienating for both the reader and also for the “normal citizen of an
Earth nation”, but there’s also a level of continuity that’s held between all eras;
for example you have in Brutally Untitled 6 the woman who is pregnant, in a
dilapidated building, and on an old rotary phone, today we have smartphones but
there’s still bad living conditions and similar circumstances.
Many of your artworks are influenced by the lore you've developed through
your writing. Can you share an example of how a specific piece of lore has been
translated into one of your prints or artworks?
War Sequence 1: The Road to Szamarfalu shows the two protagonists, who are
effectively refugees from a major war between an Earth succumbing to

49
 You also work with non-fiction, documenting real-life events and encounters.
How do you balance the imaginative worlds of your fiction with the realities you
depict in your non-fictional art and writing?
The fictional worlds, while imaginative, are backed up by real life events and the
main anomaly would be the more fantastical elements. However, it’s alluded that
even if these elements were absent, the “spacer” civilization would continue
functioning; it’s more that the fantastical element finds sanctuary there than
otherwise. The non-fiction works of mine have been more of a recent thing,
documenting current events, ideas, and people. Unfortunately, recent events have
been beyond parody.
Your artworks have been showcased across several major art academies. How
do you see your role as both an artist and a writer in contributing to
contemporary art and literature?
The Exode was the first time I actually put out a work from my science fiction
setting to the public and it actually got published then and there. I think the main
contribution has been to the visual arts first, the spacer civilization could be
described as a near-utopia in some ways due to the general lack of poverty, and
focus on wellbeing, understanding, knowledge, and also expansion of civilization
to the stars. It also presents the human factors that act in opposition to that. London, During war
Steel Etching and Engraving with Watercoloured Chine Colle,
With your extensive academic background, how does the study of philosophy 21x38cm, 2024
and mathematics play a role in the conceptual development of your art and
written works? but a lot of people scooped up by the spacers were just “accused”, so you had
Philosophy was a big foundation in the setting, because this “spacer” civilization these folks taken in and dumped in an advanced society they had trouble
you have in the science fiction setting has a set of fundamental rights and functioning in, and were a minority. This has a lot of parallels to the condition of
principles and there’s mechanisms by which you have to enforce that. Particularly refugees today, and this was a theme I’d tried to work into my works since at
in space, because if things go wrong, they really go badly wrong for a lot of least 2015 or so.
people. You actually have this in real life on Earth right now too, since a Another matter was the dangerous allure of totalitarianism, and that Earth, and
comfortable level of civilization is literally dependent on well thought-out and people from the planet, need to adjust to a universe in which their “world” isn’t
humane governing systems, machinery, and standardization. anymore the center of the universe, and in fact that they are a minority.
As to mathematics, I tried to work in a lot of “hard” elements to the science Given your wide range of expertise and interests, how do you envision the
fiction setting and civilization and that means information on energy input, future of your practice? Are there any new fields or subjects you're eager to
output, and how much fuel needs to go into their rockets.
explore in your upcoming projects?
In your science fiction writing, you explore the integration of occult elements Ideally I’d want to expand on the whole science fiction setting in terms of art and
with futuristic settings. How do you see these themes reflecting or commenting printmaking, and definitely in the field of writing, but I’ve wanted to incorporate
on current societal trends or technological advancements? this into a video game setting and I’ve attempted this on my own. I guess it could
First, in a sense the information for this publication has been processed through also be adapted for film, but I don’t want this to just come out as another action
“intelligent sand” etched with a specific design and chemicals, which is to say moviefilm where the action is just too fast paced to keep track of, and the effects
microchips. One original idea was that the occult elements were given refuge by are overblown or not great quality. I think in the coming weeks it’s more likely
the “spacer” civilization, and this was a project over about a thousand years, but I’ll try to work more in pastel and oil.
it’s not a big part of their population. Some people have actual occult powers,
Dusk at the Gas Station - The Vampire Ozymandian Landscape 4
Aluminium Sugarlift Aquatint and Drypoint with Watercoloured Chine Colle, Zinc Etching, Aquatint, and Drypoint with Watercoloured Chine Colle,
59x70cm, 2024 23x27cm, 2023

50
 Brutally Untitled 7 - Ultramarine Haze, After the War Broke Out

Steel Etching, Engraving, and Drypoint

51x61cm, 2023
Brutally Untitled 7 is set in the same science fiction setting with retro elements, depicting a doctor (the woman) lying on a couch
after receiving news of a major war breaking out, where all doctors have been drafted. The scene is chaotic to show the state of mind
and distress. Old medical equipment is found lying around, including a jar of leeches and an old type X-ray apparatus and a crate of
replacement bulbs. In the rear there is a painting of a space battle, along with a painting of Titania and Bottom (from Shakespeare's
Midsummer Night's Dream). This was exhibited in the Hampstead Art Society in London in 2024.

51
 JIAQI CHEN
Artist, published Writer, Engineer, Polymath, Hector Hamilton studied Mathematics and Philosophy at St. Hugh's College, Oxford University, and also
completed an Electronic Engineering degree at the University of Southampton where he then pursues a ph.D. After picking up drawing, Hector took a
number of traditional intaglio printmaking classes at the Royal Drawing School in Shoreditch and this quickly became has main medium to work in. First
exhibited at the Royal Academy of Arts in the Summer Exhibition of 2018 for "BRUTALLY UNTITLED", post-pandemic Hector racked up a large
number of exhibitions including at the Royal West of England Academy, Royal Scottish Academy, Royal Hibernian Academy, as well as the RE
Printmakers, and was also awarded the Nana Shiomi Young Printmaker Prize in 2022 at the Wells Art Contemporary.
Hector's inspiration came from a science fiction setting with occult and archaic elements he worked on, also inspired by current and past events, and had
written short and long works and compiled a significant amount of lore on. These elements made its way into many of his prints. More recently Hector was
also exhibited at the Royal Watercolour Society for a Sumi-e ink painting, and he has started to take up pastel as well as ink drawing from real life.
Jiaqi Chen’s artistic practice intricately weaves together photography, installation, and film to
explore the complex relationship between humanity and nature critically. Centering the human
body as her primary medium, she engages in a nuanced dialogue that examines the intersection
of human form and the natural world, highlighting the fluid dynamics of their interaction. Water
emerges as a recurring motif in her work, symbolizing flow, sustenance, and destruction while
blurring the boundaries between reality and memory. Through water, she captures fleeting
moments of decay and disappearance within landscapes, evoking a reflection on the
impermanence of time. The interplay between photography and the concept of mortality
becomes evident in these transient moments. Chen’s work, characterized by its openness and
ambiguity, invites viewers to enter and become an integral part of the interpretive process.

When you give yourself to places, they give you yourself back, Exhibition site, 2024
Image, wooden box, ice, 16mm B&W film.

52
 When you give yourself to places, they give you yourself back
stills from the 16mm B&W film, 2024

What draws you to the element of water, and how do you use it to explore the The human body is central to your practice, acting as a bridge between the
boundaries between reality and memory? human form and the natural world. How do you approach using the body as a
A pivotal moment in my connection to water came during a trip to Iceland, where medium, and what unique perspectives does it offer in your work?
I witnessed a small iceberg slowly melt and merge with the Blue Ice Lake, In my work, I use the natural movements, poses, and presence of the human body
becoming one with the water. In that moment, I deeply felt the transience of life, to create a dialogue between humanity and nature. I integrate the body into
and the image of the melting ice has since lingered in my mind. This moment of landscapes, earth, and rivers, aiming to merge it with the surrounding world.
disappearance has profoundly shaped my understanding of time and the Your visual narratives are described as open and ambiguous, encouraging active
impermanence of existence. viewer interpretation. How do you balance this openness with conveying specific
How do you decide which medium best serves a particular concept or narrative themes, such as mortality or the impermanence of time?
in your exploration of humanity and nature? In my visual narratives, I foster openness and ambiguity to encourage viewers to
Typically, I don’t rely on a single medium to express a concept or narrative but actively engage and interpret the work personally. To balance this with specific
prefer a diverse approach. Initially, I use photography for its straightforward themes like mortality or the impermanence of time, I incorporate subtle symbols
recording capabilities, which help me uncover clues within the visual archive I and motifs, such as decaying natural elements or cyclical patterns, which guide
create. These clues then guide me in exploring film and installation to further viewers without dictating a fixed interpretation. This approach allows the work to
develop and enrich the work. resonate universally while still inviting individual exploration and reflection.

53
 When you give yourself to places, they give you yourself back
stills from the 16mm B&W film, 2024

54
 When you give yourself to places, they give you yourself back - stills from the 16mm B&W film, 2024 How has your background in film and photography influenced your approach to
installation art, particularly in creating immersive environments that engage the
viewer on multiple sensory levels?
My background in film and photography informs my approach to installation art by
enabling me to create strong visual connections between moving images and
physical spaces. For example, projecting film onto the surface of ice establishes a
dynamic dialogue between the media. This combination enhances the sensory
experience, drawing viewers into a more immersive environment.
You’ve received mentorship from Metro Imaging and the Royal College of Art.
How have these experiences shaped your artistic development, particularly in
refining your approach to the themes you explore?
Mentorship from Metro Imaging and the Royal College of Art provided diverse
perspectives and encouraged media exploration. This has led me to emphasize the
sensory and poetic aspects of my work, aiming to evoke deep emotional responses.
Your work captures fleeting moments of decay and disappearance within
landscapes. How do you convey the concept of mortality through these transient
moments, and how does photography play a role in this exploration?
Water, as a symbol, can evoke both tranquility and turmoil. How do you I convey mortality by capturing fleeting moments of decay in landscapes, using
navigate these contrasting emotions in your work, and what responses do you photography to preserve and highlight the impermanence of life. This approach
allows me to freeze time, emphasizing the delicate balance between life and decay.
hope to elicit from your viewers?
In my work, I’m less interested in navigating the contrast between tranquility and Walking and poetry are sources of inspiration for your visual narratives. How do
turmoil and more in creating a grey area that invites viewers to project their own these contemplative practices inform your creative process, and how do they
emotional experiences onto the piece. I leave space for personal interpretation, manifest in the final pieces you create?
acknowledging that each individual's unique experiences will lead to different Walking and poetry inspire my work by fostering mindfulness and emotional
readings of the work. depth. Walking reveals subtle details and rhythms, while poetry sparks visual
Your work critically examines the relationship between humanity and nature. metaphors. These practices shape my art through atmospheric moods and symbolic
How do you approach this exploration, and what insights do you hope to share elements.
through your art?
In exploring the relationship between humanity and nature, I approach my work by
focusing on the interconnectedness and tensions between the two. I often use
natural elements and human forms to highlight both harmony and conflict,
reflecting on how our actions and existence impact the environment.

55
 KYE
WILSON
Kye Wilson is an award-winning visual artist using moving image to create video art and installations, often incorporating multidisciplinary, site-specific
and live artworks. The main focus of his work is how art and technology can be used to explore the embodiment of space by the self and other, while
challenging notions of absence and presence, real and simulated, and live versus mediated experience.
Wilson uses specialised equipment and innovative filmmaking techniques to engage audiences, allowing them to bring their own sense of self and
experiences to the artworks. His mission is to challenge public perceptions on contemporary art and technology by collapsing the dichotomy of
creator/spectator in the production of meaning.
Wilson’s work has been performed, exhibited and screened nationally and internationally, through platforms including Kartong International Cultural
Festival, The Gambia; APT Gallery, London; Portsmouth Historic Dockyard; Winchester Cathedral; Osek Monastery/Galerie ITC, Czech Republic; and
Circulo de Belles Artes, Museum of Fine Arts, Madrid.
He has previously received the award for Best Video Artwork at MADATAC, Madrid Festival of Contemporary Audio-Visual Arts in Spain; Best Film at
the Undercover Surrealism exhibition at Hayward Gallery, London; and given a decoration from the jury prize at the Festival of Video Ar "KinoLevchyk" in
Lviv, Ukraine.
Notable commissions include the Journeys Festival International to create I AM OTHER, Reckoning with Refugeedom; Faces, awarded by Portsmouth
Festivities and commissioned by Guildford Remembers, Guildford Borough Council, and Monocular View, commissioned by Space Interrupted. Wilson is
also a regular recipient of Arts Council England funding, most recently for his projects Embodied Vistas, Angel:legnA and Empathy Machine.

Temporal Evocation (Video Still)

Moving image, 2021

Temporal Evocation is a heterotopic non-place, that is both uncanny in its familiarity and universal representation of the natural world, but problematic in its lack of specific identity
and intrusion from a stranger who is always turned away. The piece questions our perception of time and duration through blending different periods of the day into a seamless filmic
panorama. The solitary, faceless figure, either an alter ego or a personification of the viewer appears and then reappears, as an uncanny double (and triple), although impossible,
seemingly within the same time and location. This dislocated, mysterious double space is in part inspired by a hypnopompic hallucination the artist had, and just like the hallucinogenic
experience between sleep and wakefulness, it merges fragments of memories, dreams and reality into a composite liminal zone. Temporal Evocation won the ‘Best Experimental Short
Film’ category at FIOCC Five Continents International Film Festival, Venezuela; and received an Honorable Mention by Deep Focus Film Festival’s judging panel.

56
 How do you approach the intersection of physical and digital spaces in your video art and installations?
My work traverses physical and digital spaces, often combining the two – this can be seen in my site-specific artworks particularly, an example of which is ‘Entrapment of
the o/Other’. This work was a filmed, Butoh-inspired, live performance with artist Helena Eflerová that was showcased as a video installation in The Round Tower, a
medieval fortification in Portsmouth. For this work I used the centre column of The Round Tower as a projection screen. This method worked particularly well as the
image of the life-size figure and its surroundings lined up exactly with the architecture of the building to create a kind of ‘video trompe l'oeil’. The success of this
illusionary technique, blurring the physical and the digital, was reiterated by audience reactions, who on occasion thought they were watching a real person in front of them.
For my collaborator, Helena Eflerová, the work was not only defined in relation to its place in the physical world, but also in relation to her own perceptions of herself,
particularly as a female protagonist in our moving image artworks. We wanted this approach to enable her to occupy the position of the other, at the same time allowing her
to de-personalise and distance herself from the artworks. In doing this, we wanted audiences to experience not just Helena’s identity in the work but also their own identity
and their views of self-perception (in a specific space) at that specific time.
You challenge the boundaries between real and simulated, absence and presence. How do these concepts influence the themes and narratives of your artworks?
All these terms are complex and open to interpretation, and I do feel that my artworks seem to float in the liminal space between them all. I believe we live in a world that
can seem like a simulation, where many things are false and superficial, where we are required to be something we are not all the time and where “truth” is degenerating. I
hope my artworks offer viewers a truthful experience of the ‘real’. As British artist and writer Victor Burgin said when commenting on what he looks for in a work of art, it
is not a representation of reality…but rather ‘an engagement with the real’. So, rather than presenting a narrative as such, I want audiences to bring their own experience of
the ‘real’ to the artworks to create their own real-life narratives around the work. In my ‘Unified Spaces’ series I focused on the theme of absence and presence, playing
with the idea that something is or is not present. These works offered the audience a telemetric engagement - with the process of electronically transmitting data from
remote sources. As with ‘Entrapment of the o/Other’, the moving image was presented life-size in scale, within an installation context. The illusion of a real person being
in the space was heightened by filming in high definition, projecting a pre-recorded durational performance in real time, and ensuring the protagonist in the video always
stayed within the confines of the projected image in each space.
How do you decide which tools and methods to use for a particular piece?
When I begin a project, I usually have an in-depth conversation with my long-term collaborator Neil Hunt, who is often the editor and cinematographer for my work. We
discuss what I am trying to achieve conceptually with the artwork but also what can be done practically. This includes considerations around what format, equipment,
technology or styles we might use to inform or enhance the artwork and how it might be interpreted by us and an audience viewing the completed work. My 2017 moving
image work, ‘Angel:legnA’, employed the motifs and working methods of celebrated Soviet Slow Cinema filmmaker Andrei Tarkovsky to explore collective human
experience. It was essential to use track and dolly equipment in this piece when emulating complicated durational Tarkovskian tracking shots. Although it may have been
easier to use a Steadicam, we decided on a tracking system so the artwork would have a more authentic feel, reminiscent of Tarkovsky’s work, as he wouldn’t have had this
type of equipment available to him when he was creating.
Can you elaborate on how you encourage audience participation in your work?
I have encouraged audience participation in several of my solo and collaborative works by featuring them in the actual artwork itself. ‘Faces’ created in collaboration with
Helena Eflerová combined direct audience participation with live performance and video to create a film featuring individuals telling true stories from the First World War.
Told on camera by local people from intergenerational communities, participants offered their own perspectives on what life must have been like in 1918, in between
reciting words from over a century ago. The resulting film created an insightful and moving experience that celebrated localism and heritage by connecting the present and
past through community co-created art. Making work that was both scripted and not loosens control of the author, and while I can create aesthetic parameters for the work,
the final outcome is led by those who are both participants and audiences for the piece.

57
 How does the site-specific nature of many of your installations affect the way you conceptualize and create your art? Can you share an example of a piece where the
location significantly influenced the final work?
My site specifics works are informed by historical research of the place itself – often the exact place the work is exhibited for the first time. ‘Monocular View’ was
significantly influenced by the location - the artwork was filmed and showcased in Fort Brockhurst as a rear projected video image through the threshold of an open door in
the actual building itself. This artwork responded to the unique character of the English Heritage property by re-contextualising the Fort’s history and was inspired by the
imagined views looking out from the Fort (‘field of fire’ defence positions, now overgrown) combined with those looking into the Fort (from the perspective of an invading
enemy). Each viewpoint slowly dissolves into an oppositional one, achieving a sense of the “continuous present”, a feeling of experiencing the present moment unfolding
and disappearing.
You've been recognized with several awards for your video art, including Best Video Artwork at MADATAC. How has this recognition impacted your artistic journey
and your approach to new projects?
Receiving recognition and awards for my work gives me the confidence to carry on doing what I am doing, which has felt particularly hard in recent years under a
government that does not seem to value arts or creativity. It justifies there is value in creating works that make us question ourselves and our lived experience and that
people are still seeking out these meaningful interactions. Recognition also seems to make others take your work more seriously, including being considered for further
opportunities by having a track record of awards and funding for projects and artworks. The award from MADATAC specifically, was the starting point for a long-term
collaboration with the festival, which has included the opportunity to develop and showcase new works and potentially will again in the future.
Your commissions often address complex themes like refugeedom and remembrance. How do you balance the artistic and emotional demands of these subjects in your
work?
It is difficult to make works addressing themes like this. I try to be cautious when dealing with difficult and complex subject matter that might cause such division and
emotive impact. I do this by being respectful and avoiding stereotypical and conventional narratives. I strive to create a situation where I support people to present their
stories, rather than considering myself as the storyteller when it is not my story to be told. In projects such as ‘Spearman’ and ‘Faces’, I incorporated testimonial informed
by a range of individuals and their lived experiences. I always ensure to engage with diverse groups to gather a representative picture and seek out narratives that might not
necessarily be widely known.
How has your experience with international exhibitions and festivals shaped your perspective on the global landscape of contemporary art and technology?
I have found this to be one of the most rewarding elements of my art career, especially when I have been lucky enough to attend in person. My varied experiences have
really broadened my perspective on contemporary art and technology; for example, I have taken work to MADATAC festival, which specialises in cutting edge new media
and digital technologies but also created work in The Gambia, as part of my video installation project ‘Spearman’ made in collaboration with artist Tony Spencer.
‘Spearman’ followed a West African musician who had migrated to Germany. For this project, we wanted to transport him, as a video image, back to The Gambia to
perform live with his former traditional West African art troupe Kouma Kan Africa, at the Kartong International Festival. In The Gambia it was much more difficult to get
things done; for example, we needed to construct a projection screen that would usually have been a straightforward exercise, but in The Gambia, it took the help of many
members of the local community to make this happen. This showed me how different places work but that we are able to achieve the same goals.
Empathy seems to be a recurring theme in your projects, such as in "Empathy Machine." How do you use art and technology to evoke empathy in your audience, and
why is this important to you?
‘Empathy Machine’ was a research and development project in which I explored Virtual Reality (VR) as an art form, as opposed to using it as just an emerging
technological tool. With this project, I wanted to focus on VR and its capabilities for empathy, I wanted to investigate ethics, consumer behaviour, the idea of producing
new social fields, and memory-image. I’m not sure I will ever be able to create a truly empathetic artwork. However, I do use certain filming techniques, such as long
durational takes or static shots, to guide the audience or viewer into experiencing my artworks works in a certain way. It is not always successful, and I always want to
leave much of it open to the individual interpretation of the viewer, but I do try to influence feelings of empathy with the character/performer in the piece or to encourage
them to embody it themselves in some way through the video/installation. In my extensive research, I have found many technological artworks that are supposedly
empathetic are often stereotypical and cliché and do not seem to consider specific individuals, groups or places in a truthful way.
As a frequent recipient of Arts Council England funding, how do you navigate the challenges of securing funding for experimental and multidisciplinary projects? What
advice would you offer to emerging artists seeking similar support?
I have been making work professionally since 2005, but it has always been difficult to fund projects of this nature, as audiences who engage with this type of work have
historically been quite small. However, with
improvements in accessibility and more
investment in creative technologies, I believe
this is changing. My advice would be to try
to find suitable commissions or opportunities
that fit your potential project ideas, rather
than creating work that you think fits into a
particular funder’s criteria. This will help
keep your work authentic and unique to you,
without clouding your vision with the
expectations of others. I would also
recommend applying for funding from Arts
Council England as there aren’t really many
other alternatives. If you are unsuccessful,
which will be highly likely as they are not
able to support all fundable applications, keep
reapplying as some of my key projects have
only happened as a result of multiple
applications.

58
 LEWIS ANDREWS

Lewis Andrews moved to Leeds in 2016 to study a BA(Hons) in Fine Art at Leeds Arts University . After graduating in 2019, Lewis continues to work in
Leeds. In 2022, Lewis completed his Postgraduate Fine Arts Degree also at Leeds Arts University , graduating with a Masters Degree in the Creative Arts.
During his Master’s Degree, Lewis’s practice became deeply focused on the methodology of translating information and data from sources within science
into artworks. Lewis has continued to work and build upon this method in his work constructing a theory of working called ‘The Informative Encounter’.
Lewis has participated in exhibitions up and down the country and internationally with many notable achievements. Lewis held his first solo show
'186,000mi/s' whilst studying at Leeds Arts University in 2018 at Wharf Chambers, Leeds, UK. Lewis was one of the artists picked to participate in the
Aon Community Art Awards program 2019 running through till 2021 with his oceanic sublime photography work displayed in Aon Headquarters, London.
In November 2020, Lewis was selected to participate in the Mayes Creative Watching the Sun: Virtual Residency alongside other artists with an interest in
astronomy and ancient astrology . Lewis went on to participate in two more virtual arts-science residences with Mayes Creative and work from the residency
was included in a publication which was then included within the Royal Astronomy Society Archive. To name a few of his achievements as Lewis continues
to work from his studio based in Leeds, UK.
Lewis’s work acts as a conduit between the realms of art and science. The supply of information from science fuels the production of visual material which
in turn communicates the knowledge of a scientific endeavour. In short, Lewis’s work focuses on dealing with complex thoughts, ideas and facts within
nature and science. Some explore those in which we seem to be overshadowed and overpowered in comparison by the vast distances, size or quantities.
Others investigate moments of extreme power, creation and rebirth on a molecular scale or on a scale comparable to that of the universe. Questioning our
relationships, place and role within the universe, environment and natural spaces.

Titanic Collision I/ III/ VIII

Indian Ink on Watercolour Paper,

21x29.7cm, 2023

The universe is a very violent place. Galaxies containing billions of stars are seen colliding with each
other all over the cosmos. Truly a collision of titans. Such is the fate that awaits our galaxy , the
Milky W ay when we collided with our galactic neighbour Andromeda in about 4.5 billion years.
Despite this, the distances between the stars in both galaxies render the likelihood of them colliding
with other stars nearly impossible. However, the same cannot be said for stars being ejected from this
collision.

59
 How do you balance the integration of scientific information with artistic you noticed any differences in how viewers from different regions or cultures
expression in your work, and what challenges do you face in this interpret and engage with your art?
interdisciplinary approach? Yes. People from all walks of life have now encountered my work and it’s
It depends on the work and subject matter. Quite often it’s about trying to interesting to see the different responses I’ve gotten from the variety of work
visualise something from large amounts of data and information which can be and development of trying to stimulate the ‘Informative Encounter’ with the
quite overwhelming. However, if making the subject visual, it appears as audience. Above all else, the most important aspect for me is that the work so
though we can attempt to understand it with a little more ease. The combination far has opened up conversations between the audience out of general curiosity
of scientific information with an artwork and then trying to communicate that in the subject matter and wanting to learn more.
through an ‘Informative Encounter’ was the basis of my Master’s thesis and The combination of fine art and science is unique in your work. How do you
something which I continue to actively work with and push the boundaries with strike a balance between artistic expression and scientific accuracy, especially
in my practice. when dealing with complex scientific concepts?
- New Knowledge The artwork itself doesn’t necessarily have to be visually accurate as long as it
- New Viewpoints / Impossible Viewpoints remains true to aspects of the scientific information that spawned the work. The
- Comprehension balance and line between the two subjects shifts for each work with some being
- Visualising Data more artistic expression that scientific accuracy whilst others are vice versa. The
- Collapsing Distances finding of this balance is found through meticulous experimentation and
- Answering Questions thinking about how the idea in question could be most effectively be
- Open Up Conversations communicated through an ‘Informative Encounter’.
- Condensing Information As an artist, you often challenge perceptions of scale and size, exploring the
- A Catalyst for information vastness of the universe and the minuteness of molecular structures. What
- Understanding or attempting to Understand emotions or thoughts do you aim to evoke in your audience?
The ten characteristics stated are the result of investigations conducted during When exploring either of these ends of the spectrum, my work aims to
my masters degree in attempting to understand ‘The Informative Encounter’ as communicate curiosity and wonder with awe. Because artworks are a reflection
a methodology of working. Similarities between all of them can be made in the of the artist’s emotions and these three I would say are the ones I experience
sense of them all being used to try and understand or attempt to understand an when I read / research the subject matter. As mentioned previously with the
entity, process or scientific data. So much so that ‘Understanding or attempting technique of an ‘Informative Encounter’ with my work, the artworks want to
to understand’ is its own characteristic and I would say the basis of my artistic stimulate these sorts of emotions when interacting with a viewer.
expression is I’m trying to understand a subject matter just as much as the Do you create to understand or do you express what you have already
audience through my artworks. Every piece of work within my practice
conforms to one or more of the characteristics above. However, sometimes the learned? Or is it some combination of both?
work itself will not be able to communicate the entirety of the subject matter. It’s a combination of them both. Most of my work aims to achieve some kind
Instead, it could offer snippets to the viewer, enough to open up conversations of ‘Informative Encounter’ with the audience. A gain in scientific information
that may lead them to further research the subject matter. through the use of a visual medium. Of course, I’ve already learnt about the
subject matter whilst making the artwork but there have been a few subjects
What is the most rewarding aspect of being an artist for you? I’ve understood more through creating the work.
There are so many aspects which I feel rewarding being an artist however I
would say it offers a playground for expression and exploration. With my What does it mean to be original or unique (referring to art)?
practice I incorporate ideas from nature and science which I’m curious about Tricky. Nothing in art is original, it’s always been influenced by something
and want to explore further and visually conduct investigations into them which else. Think of it more like a tree constantly growing. I’m just another branch
then produces my artworks. As a child, I often liked looking through books growing off the influence of previous works and artists. To be unique, again
with lots of images, they felt like windows to something else. Now being an tricky. Sounds simple but I would say just be yourself and stay true to what you
artist I can create my own windows but also learn about a subject matter in the want to create and your ideas.
process. The additional bonus being I then get to display that artwork in either Is the end result more important than the process? Or the process?
and exhibition or publication like this one. Equal within my practice. To stimulate the informative encounter I mentioned
Nature and our place within the universe seem to be recurring themes in your earlier, the artwork needs to translate the scientific information visually in
which the audience can access that information. Then of course, there’s the end
art. What draws you to explore these subjects, and how do you hope your product which serves as the catalyst for the informative encounter.
audience will respond to them? Does art have a purpose?
This aspect of my work can be traced back to myself asking myself constantly Indeed. However, an artwork’s purpose can be decided by the artist or viewer.
‘what’s our place within this cosmos?’. Honestly, I don’t mind if the answer The list is endless in terms of what art has been made for over the centuries.
turns out to something like we are insignificant, it’s the asking of the question
that’s the fun part to me due to all the learning involved to get to the answer Are there any specific artists, scientists, or thinkers who have influenced your
(which will probably never be answered). When it comes to audience, this is a artistic approach and concepts? How have their ideas shaped your work?
question I like to leave open, what do they feel their place is in our cosmos? Many, I could easily go over the word count here. The pivotal artists that
Moving to Leeds to study Fine Art and completing your Postgraduate Degree shaped my practice would be Antony Gormley’s drawing works and Katie
Paterson’s conceptual approach but their ideas resonated so much with my
there must have influenced your artistic journey. Can you share how your work. Science and an endless list of Scientific thinkers are a huge influence on
time in Leeds has shaped your artistic vision? my work of course. With science endeavours evolving and becoming more
100%. My studies on my Bachelors and Masters Degrees in Leeds have shaped complex all the time, so too does my work evolve and attempt to translate
my practice to become what it is today. The way I like to think of it is my complex ideas.
Bachelors laid the foundations of my practice by guiding me to different subject What do you do to keep yourself motivated and interested in your work?
matters which fascinated me and creating work based on those interests. My Sounds ironic but take breaks. Whether that be a day, week or sometimes a
Masters build a superstructure on top of those foundations by focusing on how month. Nobody can work on art 24/7 effectively. When I come back, I’m
the subject matter should be communicated and spending time to develop the fully motivated again. The other main factor would be continuing to explore
theory of an ‘Informative Encounter’ methodology of working. ideas and theories within science which I’m naturally curious about and then
Your exhibitions have taken place across the UK and internationally. Have trying to visualise them within an artwork.

60
 Titanic Collision IV/VI

Indian Ink on Watercolour Paper,

21x29.7cm, 2023
The universe is a very violent place. Galaxies containing billions of stars are seen colliding with each other all over the cosmos. Truly a collision of titans.
Such is the fate that awaits our galaxy , the Milky W ay when we collided with our galactic neighbour Andromeda in about 4.5 billion years. Despite this,
the distances between the stars in both galaxies render the likelihood of them colliding with other stars nearly impossible. However, the same cannot be
said for stars being ejected from this collision.

61
 ROCHELLE MALIA
Rochelle Malia (b.1998, South Africa) is a Sheffeld-based artist-maker specializing in
ceramics. They graduated in 2023 with a BA in Ceramics and Glass from the University for the
Creative Arts. Currently, they are a Clay Space Resident at Yorkshire Artspace. Their work is
centred on the process of making and how it makes them feel, to connect with themselves and
their audience. Inspired by their experience as a domestic abuse survivor, Rochelle’s work is
cathartic and defiant. Their work explores emotion, mindfulness and play informed by a
contextual background in craftsmanship, multi-sensory design, ritual and inclusivity.
‘’My practice is focused on exploring mindfulness, intuition, and play. By using chance I
“destroy” the vessels I make, capturing the event in print and vessel alike. A constant loop of
taking and releasing control. Creating the vessels is an act of mindfulness, focusing only on
meticulously crafting. Destroying the vessels offers a space for play, to release control. This
process-focused practice is healing for me. I am interested in using making and “destroying” as a
tool to connect rather than to create physical things. To forge a deeper sense of connection to
myself, others and the world.’’

Black & White Vessel

Ceramics, 25x15cm & 5x5cm, 2023

Wheel thrown and altered vessel in black clay, black shiny glaze, gas-fired
alongside wheel thrown and altered vessel in porcelain.

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 Your work is deeply influenced by your experience as a domestic abuse survivor. How does this personal history shape the emotional and cathartic aspects of your
ceramics practice?
Making has always been a form of coping for me so now I make an effort to lean into this aspect for the betterment of my mental health whilst also making work that is
authentic to my experiences. The process of making tangible objects helps to ground me in the now, rather than my past, which can be difficult when faced with C-PTSD
symptoms. The more cathartic aspect of breaking the vessels allows me space to let go of negative emotions or be more playful in my practice, focusing on how it makes
me feel rather than getting attached to the outcome.
You describe your process as a balance between creating and destroying vessels. Can you explain how this duality reflects your exploration of mindfulness, intuition, and
play?
Throwing on the wheel is a skill that requires a high level of focus between myself and the clay, to feel the response of the material to form a vessel. I find myself entirely
focused on the process which acts as a form of mindfulness. During creation, I change the shape of the vessels or add markings intuitively rather than strictly planning what
form I create. Destroying the vessels allows me to be more playful as it's not as controlled as throwing.
The act of "destroying" your vessels is integral to your practice. What does this act symbolize for you, and how does it contribute to the overall narrative of your work?
T o me, it symbolizes freedom. I still struggle to find a balance between control and freedom that is healthy. Destruction is wilder than creating because of its
unpredictability, playing with this allows me to release control, it is necessary as it directly opposes how I create the vessels. The two halves together create a feedback
loop.
Your work emphasizes connection over the creation of physical objects. How do you see your art fostering connections with yourself, your audience, and the broader
world?
My work continues to help me to connect to myself, allowing me to be honest with myself in ways I can’t otherwise. I hope that the authenticity of my work, speaks to my
audience and the broader world about the value of making and destroying as a form of connection so that they too can use these tools to gain a stronger connection to
themselves and the world. I’ve also found this connection can be further emphasized through workshops with the public, offering a third space to make new lasting
connections.
Chance plays a significant role in your creative process. How do you incorporate elements of unpredictability into your work, and what impact does this have on the final
pieces?
As I continue to make I can sometimes roughly predict how a pot may respond or what marks it may make however I’ve found that trying to control this aspect left me
unsatisfied with the outcome, it feels different; It feels false. I break the vessels in various ways depending on my mood, releasing expectations on the result to allow myself
to be fully immersed in the moment. Whether you release control or not it's impossible to predict the outcome or recreate it exactly,yet I find releasing control produces
more authentic works with exciting developments that would otherwise remain undiscovered.
Porcelain print - Porcelain on paper, A2, 2023 Porcelain print - Porcelain on paper, A3, 2023

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 Craftsmanship and multi-sensory design are key components of your work. How do these elements inform the way you approach both the making and the destruction of
your vessels?
Although my work isn’t functional pottery I still make vessels to a high standard because I value the artistry in well-crafted objects, despite the disparity between art and
craft, that I find myself thrust between. For example, I purposefully accentuate the element of touch in my vessels, from the throwing lines to fingerprints. I am interested in
multi-sensory design as it removes barriers and fosters new immersive connections to art. When destroying my vessels sound is a direct result grounding me further in the
present, this multi-sensory process is vital to the experience.
Ritual and inclusivity are important themes in your practice. Can you share how these concepts manifest in your work and the experiences you hope to create for your
audience?
My work is ritualistic, the nature of making and destroying is repetitive and linked to emotion. Although it is not tied to a religious belief the process is partly inspired by
my visits to Shinto shrines in Japan during my time studying at Nagoya University of The Arts. Inclusivity is important to my practice because I want my work to be
accessible. After all, art is for everyone, not the select few. I make work at a variety of price points to make it more accessible and I am working on ways to extend my
practice beyond myself to involve the public through participation so that they might feel the benefits too.
How has your time as a Clay Space Resident at Yorkshire Artspace influenced your practice, and what opportunities has this residency provided for your artistic
growth?
My time in Clay Space has allowed me to approach making at my own pace, opening up more possibilities for me to create work that is closer to my goals. Access to
specialist equipment, expert advice, workshops, talks, and a kind, welcoming team gives me well-needed support to grow artistically.
Your process-focused practice is described as healing. How do you navigate the tension between control and release in your work, and what does this mean for your
personal journey?
The tension is a welcomed aspect although I do find it challenging at times, it is always best to keep moving through the process as I know in the end it will lead me to
where I need to be. It terms of my journey it helps me to regulate and express myself in a safe way, which has not always been the case for me. It's genuinely life-saving
care for me.
As a Sheffield-based artist-maker with roots in South Africa, how do your cultural background and current environment intersect in your ceramics practice?
My cultural background gives me gratitude for the opportunities that immigrating to England has allowed me to access. I am the first in my generation to go to university
and receive a degree, being from a low-income family meant access to loans to study and travel to study. This gave me the skills and experience to secure my current
studio space at Yorkshire Artspace to begin my professional practice. I have always felt a strong need to succeed because of my background, it's been a driving force since I
was a child.
Black Vessel

Black clay, 25x15cm, 2023

Wheel thrown and altered vessel in black clay, black shiny glaze, gas-fired.

64
 Porcelain Vessel

Porcelain, 20x20cm, 2023

WheeWheel thrown and altered vessel in porcelain, inlaid black underglaze, blue
shiny glaze, gas-fired.

65
 RUBICA VON
STRENG
Rubica von Streng graduated from Berlin’s University of Arts UdK as
a masterclass student in 2018. Her works, such as the paintings of the
monumental “PortLand” cycle, have found a place in highly
recognized art collections in Germany and aborad. They often deal with
the beauty of nature, biodiversity and the future of civilization.
Abstract portrait and landscape painting enter an exciting liaison in her
oeuvre. Her multilayered, oil paintings on canvas and paper appear
watercolor-like and radiate an unexpected lightness, however heavy
and complex the subjects. The artist achieves this balancing act by
means of her self-developed so-called arpeggio painting technique:
wafer-thin layers of highly diluted oil paint are applied one after the
other, creating a powerful ensemble of overlapping color spaces and
forms that interact with fragments of varying shapes.
“Rubica von Streng’s works provide viewers with a continuous and
moving visual experience,” says Kerstin Bitar, chief art historian at
Museum Rosengart Collection, Lucerne. “In an interplay with initially
recognized motifs, they will constantly discover new figures, plants
and landscapes. It is a continual process. This unfolding of very
different visual elements in her pictures is extremely fascinating. Her
PortLand works open up many different perspectives – into the depths,
into the distance, into the future.”

Rubica von Streng by Efacts Photography

Toadstool in Autumn - Oil on Japanese paper, 79x53cm, 2021

Rubica von Streng’s dynamic and

touching works on paper,
particularly those of the
„PortLand“ cycle, offer attentive
viewers many different
impressions time and again. The
five paintings shown in this issue
belong to the second part of the
cycle, entitled „Limits of
Inside Out - Oil on Japanese paper, 79x53cm, 2021

PortLand“. It unfolds a motley

assortment of natural phenomena,
both physical and metaphysical,
with various types of landscapes
and living beings and their
interplay in different states of
matter. In order to create those
fascinating multilayered
paintings, von Streng utilized her
self-developed arpeggio painting
technique.

66
 Transgression

Oil on Japanese paper,

79x53cm, 2021

67
 How do you manage a work-life balance as an artist?
My life is a life with art. As an artist, there are no strictly defined boundaries between my private and professional lives; the two areas are interconnected. I can't just drop
my paintbrush every day at 5 p.m., call it a day and drive home from the studio. It often happens that I work on a painting for twelve or more hours at a time and only
allow myself short breaks in between so that I don't lose my flow. Nevertheless, I try to pay attention to my work-life balance. Intensive working days, nights and weeks
alternate with longer rest periods in which I recharge my batteries - most often in nature.
Could you describe your ideal working environment.
The studio is the place where I can develop and implement all my creative ideas and inspirations; I need this space to be productive without interruption. I have set up the
studio so that I can spend a long time there, because there are phases in my creative process that cannot simply be interrupted. It's also important for me to have enough
space to be able to leave work that I've already started for a while without having to pack it up and take it to storage. That way, I can continue working on them
spontaneously when I get the impulse. Also important: I have reserved an area, i.e. part of the floor space, for color tests to find out whether and how different color tones
work together before I apply them to the canvas. Not forgetting the light. For studio lighting, I only use daylight lamps that come closest to the color temperature of natural
light. The lamps are handy and portable, so I can work with them very close to the painting to view the layers of paint applied on top of each other in detail and in good
light.
Please describe your studio or workspace.
For me, it is a place of tranquillity and passion at the same time. I have created it for myself and set everything up so that I feel comfortable in a good atmosphere and can
work creatively. My studio also has to function as a showroom, because I often have collectors, gallery owners and curators visiting me. I always keep one wall of the
studio free for such meetings so that I can show them my work.
What's the best piece of advice you've received as an artist?
After seeing my early works, a renowned art collector had already told me before I started with my studies: "Regardless of whether you get accepted to university or not,
you have to keep creating art." In moments of doubt, this helped me to pursue my path. And I received another piece of advice from one of my professors while I was
studying. He said that you are never immune to being copied by others. However, I shouldn't worry about that, because it was primarily proof that I was very good. In fact,
some artists have already tried to copy my painting technique – albeit with very mediocre results.
Could you describe the best piece of art you've created
There is no particular painting that I consider to be my best work. But my oeuvre includes
A New World some key works that were created in different phases of my career. These are works that have
a special significance for me for various reasons, for example because I managed to execute
Oil on Japanese paper,
79x53cm, 2021 an idea perfectly or because they were created at a time when precisely this one picture had to
be created in this very way. One such example is the work "Inside Out" from the "PortLand"
cycle, which can be seen in this issue of Collect Art Magazine.
What's your creative process look like?
The creation of my works usually follows a clear path: the idea for the picture and everything
that goes with it first arises in my head and is continually developed further. The creation
itself is a mixture of painting technique and intuition. During this process, and especially at
the end, an ongoing quality control takes place in which I check whether the resulting work
corresponds to my initial idea - or not. Occasionally the result can deviate significantly from
the original idea; something like this can hardly be planned, and I take the freedom not only
to allow these deviations, but to see them as unplanned but exciting additions to my oeuvre.
What is your preferred medium, and why?
Without a doubt: painting. Contrary to the widespread assumption that you can no longer say
anything new with painting, I believe that not all canvases or other media have been painted
yet. The world and its face are constantly evolving; new motifs emerge, old ones disappear;
new perspectives replace old ones. And especially today, in view of the ongoing digitalization
and automation of society and its underlying mechanisms, I believe it is important to use
painting to consciously set the tone. This also has to do with the impending loss of the haptic.
In a world that is increasingly cluttered with electronic media, painting is a rock in the surf
because it is able to outlast the ephemeral, the digital. I also think - and this is of course
completely subjective - that painting can evoke far more emotions than other genres of fine
art.
What motivates you as an artist?
Everything that is essential to gain a better understanding of the complexity of life and the
universe.
With each piece offering different impressions over time, how do you envision viewers
interacting with your work? Do you aim to evoke specific emotions or leave the
interpretation entirely open to the audience?
An engagement with my art is very important to me. In conversations with people who visit
my exhibitions, I often notice that the pictures stir up a lot of - sometimes very different -
emotions in the viewers. I have also observed how fascinated some people stand in front of
the works and keep discovering new things in them. What exactly they see in them and how
they interpret or understand them, I like to leave to the viewers. Basically, I don't want to
provide answers to pertinent questions with my pictures, but rather use my art to encourage
people to think about these questions in the first place. The appropriate answers will then
hopefully come of their own accord.

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 SANDRA GALI
“GINGER”
Sandra Gali studied Art History, her passion, and trained in Journalism and Communication, her vocation. Later, she became certified as a Coach, driven by
the calling to support others on their journey of self-discovery. She has always been deeply connected to creativity in its various forms and expressions. In
recent years, especially since the passing of her mother in 2008, art has become an essential vehicle for supporting others in their grief as a coach. Her
commitment lies in self-awareness, consciousness, and the act of transforming the deepest personal experiences into artistic expressions that invite reflection
and self-discovery. Sandra's artistic journey is an extension of her inner journey. Her high sensitivity, a trait that accompanies her, has allowed her to
develop a very personal vision of the world, capturing through art profoundly intimate subtleties and nuances. This perception enables her to create works
that establish an intimate connection with the essence of life, inviting those who observe them to reconnect with their own inner peace. For Sandra, each
moment of artistic connection is more than just a form of expression; it is also a meditative space, a deep contemplation of life, both of the inner and outer
world.

ART WILL SAVE US

#ArtWillSaveUs
#organicHealing
Organic Healing is a collection of 33 pieces that are cozy, silent,
gentle, and familiar. Each piece measures 40x40x4 cm and is
inspired by the journey of self-discovery through art.
The collection explores different cultures and ways of life, featuring
organic reliefs and modernist elements that connect with the artist's
hometown, Barcelona. The pieces are not confined by the canvas;
instead, they freely explore space and forms, much like the soul and
inner self of individuals.

69
 You studied Art History and Journalism before becoming a certified coach. How
do you integrate these diverse experiences into your artistic and coaching
practices?
My background in Art History provides a deep understanding of how art
communicates across time and cultures, which I integrate into both my artwork and
coaching. Journalism, on the other hand, has trained me to observe the world
attentively and express complex emotions with clarity. Both of these skills
converge in my coaching practice, where I help others articulate their inner
experiences. In my art, I use storytelling through textures, forms, and volumes to
create pieces that resonate with the human journey of self-discovery.
You’ve mentioned that your art became a vehicle for supporting others in their
grief after the passing of your mother. How did this personal loss shape your
artistic direction and coaching philosophy?
The loss of my mother was a pivotal moment in my life, and it deepened my
understanding of grief as a process that doesn’t have clear boundaries. My artistic
direction became more introspective, focusing on the healing that emerges from
within, even when there are cracks or imperfections. As a coach, I see grief not as
something to "overcome" but as something to transform. In both art and coaching,
I emphasize the beauty and strength that arise from embracing these emotional
scars, much like how my work expands beyond the canvas, symbolizing growth
despite life's challenges.
Your work focuses on self-awareness and consciousness. How do you approach
transforming deeply personal experiences into artistic expressions that resonate
with others?
I believe that deeply personal experiences carry universal emotions. When I create I go suer deep,, I channel my own journey of healing, but I do it with the intention of
inviting others to see themselves in the work. In "Organic Healing," for example, the wrinkles, cracks, and gold represent our shared human experiences—pain, resilience,
and the inner light that shines through. By focusing on these universal themes, I create art that resonates with others' inner worlds while remaining true to my personal story.
High sensitivity is a trait that you say accompanies you. How does this heightened sensitivity influence the way you perceive and represent the world in your artwork?
Being highly sensitive person (HSP) allows me to perceive subtle shifts in emotion and energy, which I incorporate into my art through textures, layers, and volumes. This
sensitivity helps me capture the nuances of both the visible and invisible—the emotions beneath the surface. In my work, I seek to translate these delicate, often unspoken
feelings into tangible forms that invite viewers to pause and reflect on their own emotional landscapes. Finally I learned to pass from a weakness of extrem sensibility to a
“gift”
Your collection "Organic Healing" features 33 pieces inspired by the journey of self-discovery. Can you walk us through the process behind creating this collection, and
how it connects with themes of healing and introspection?
"Organic Healing" is a reflection of my own healing journey, but it’s also a universal invitation to explore how we grow through challenges. Each piece starts with an
exploration of space and texture, where I intentionally allow the materials to "break" or "wrinkle" as a metaphor for life's inevitable wounds. Then, I introduce gold or light
elements that emerge from these imperfections, symbolizing the resilience and beauty that come from within. The process is deeply meditative, focusing on the balance
between fragility and strength, growth and reflection.

70
 You draw from various cultures and ways of life in your art. How does your
hometown of Barcelona and its rich artistic heritage influence your creative
process?
Barcelona, with its modernist architecture and vibrant artistic scene, has always
been a source of inspiration. The organic forms of Gaudí and the interplay of light
and shadow in the city's streets deeply influence my use of texture and relief. The
way the city merges tradition with innovation resonates with my own work, where
I blend the organic, imperfect forms of nature with modern artistic techniques,
allowing my pieces to expand beyond the canvas, much like Barcelona’s
architecture seems to grow from the earth itself.
The organic reliefs and modernist elements in your work explore both space and
form, much like the inner self. How do you view the relationship between
physical space and the emotional or spiritual space in your art?
For me, the physical space of the canvas is only a starting point. My work
intentionally "escapes" the boundaries of the canvas, symbolizing how our
emotional and spiritual selves are not confined to any one space or experience. Just
as the forms in my pieces extend outward, our personal growth transcends the
limits we or society place on us. The reliefs, cracks, and golden elements in my art
represent how we can expand and shine beyond the challenges we face, mirroring
the limitless nature of the human spirit.
For you, art is a meditative space and a form of deep contemplation. Can you
share how your creative practice serves as a tool for mindfulness and connecting
with your inner peace?
Creating art is my form of mindfulness. Each brushstroke, each layer of texture, is a moment of stillness, a reflection on the inner journey. The process of allowing the
material to "breathe" and grow organically is a way of connecting with the flow of life. Through this practice, I reconnect with my own inner peace, and I hope that when
others engage with my art, they too can pause, reflect, and find a sense of tranquility.
Your art seeks to establish an intimate connection with the essence of life. How do you hope your audience experiences this connection when they engage with your
work?
I dont really seek for nothing, but it would be nice to know that my audience feels a sense of recognition when they engage with my work, as if they are looking at a
mirror of their own experiences. The pieces in "Organic Healing" invite introspection, encouraging viewers to explore their own emotional scars and triumphs. I want them
to see that, despite life’s challenges, there is always a light within us that shines through. Ultimately, I hope my work inspires a sense of connection, both to oneself and to
the shared human experience.
The concept of "Organic Healing" suggests a journey through art. What advice would you give to others looking to embark on a similar path of self-discovery and
healing through creativity?
My advice is to embrace the process without fear of imperfection. True healing and self-discovery happen when we allow ourselves to be vulnerable, to "crack" and "break"
open, much like the textures in my work. Don’t be afraid to explore the depths of your emotions, and trust that beauty will emerge from within, just like the golden
elements in "Organic Healing." Art is a powerful tool for transformation, and the key is to remain open and curious about where the journey might take you.

71
 SHIJIA SONG

The main direction of is research is to explore how to express political ideology through art, with a focus on closely integrating art and
political concepts. Through a range of diverse approaches, including installations, public art, curatorial projects, and web-based works,
Shijia examines how the context of the work influences its relationship with the viewer. Shijia believes that art not only beautifies life
but also serves as a powerful tool to reflect and comment on social reality. Often seeking out the unexpected, he incorporates ironic
twists into images or combinations that challenge conventional expectations. Through his work, Shijia aims to inspire public attention
and provoke thought on current political and social issues.

A dawn by the sea

Photograph, 70x100cm, 2019
This photo captures the enchanting moment of dawn, where the ethereal transition between night and day is illuminated by soft light. In
this work, the blending of light and shadow, the gradient of monochrome, and the blurred line between sea and sky together create a
world that is both real and dreamy.

72
 Your research centers on expressing political ideology You work with diverse mediums, including measures caused by the new coronavirus, the tense
through art. What initially drew you to this installations, public art, and web-based works. How atmosphere on the streets appeared particularly real
intersection, and how do you approach integrating do you decide which medium best conveys the under the lens. These pictures are both a portrayal of
political ideology into your artistic practice? political message you aim to express, and how does individual plight and an echo of collective strength.
I have developed a strong interest in political content each medium impact the viewer's interpretation? Due to the limitation of the gallery space, I was
since I was a child under the influence of my family I usually express my ideas through pictures. These unable to fully display all the works as originally
environment. As time went by, I gradually realized pictures are not just static images. Sometimes I turn planned. Faced with such a challenge, I decided to
that China's unique political environment was full of them into videos or sequences to present them in a abandon the traditional way of framing the pictures
mystery and interest. This environment is in sharp more dynamic form. But whether it is a video or a and try to decorate the exhibition space with eye-
contrast to the world outside the firewall, which sequence, they all originate from the original static catching safety warning tape. This temporary solution
makes me feel an unprecedented shock and inspires pictures. According to different display scenarios, I not only solved the problem of insufficient space but
my strong desire to express my inner thoughts. My will choose the appropriate medium in a targeted also gave the work an unexpected visual tension: the
uncle loves taking pictures. He not only inspired my manner. In offline galleries, I prefer to use high- yellow and black pattern of the warning tape seemed
interest in visual arts but also taught me how to use a quality prints to present my works, which can truly to metaphorically imply a potential sense of crisis,
camera, so I have been exposed to the world of convey the texture and details of the image. In digital which fits the tense and confrontational emotions
photography since I was a child. Photography is not media such as electronic billboards, I will fine-tune conveyed in the work. Although this display method
only a tool to capture moments, but also a powerful the pictures according to the size and resolution of was improvised, it strengthened the expression of the
medium to tell stories and express opinions. With a different display devices to ensure that the final visual work in terms of perception, making the audience not
deeper understanding of photography, I gradually effect is comfortable and attractive on various screens. only "see" the photos, but also "experience" a specific
came up with the idea of ​using art, especially This diverse expression allows me to convey my ideas social situation. During the exhibition, the audience's
photography, to express my political views. I believe in different environments while maximizing the response was unexpectedly good. Many people said
that through visual art, complex political thinking can audience's visual experience. that the use of warning tape broke the dullness of
be presented in a more subtle and profound way, Context plays a significant role in how your work is conventional exhibitions and added interactivity and
which can not only allow the audience to feel the impact to the work. They believed that this innovative
perceived. Can you share an example of a piece way of exhibition made the social theme of the work
beauty of the work but also make it easier to accept where the context drastically altered its relationship
the ideas contained in it. This way of expression more distinct and the viewing experience more
with the viewer, and what insights did you gain from profound. This attempt made me realize that artistic
transcends the limitations of language and becomes a this experience?
more open and inclusive way of communication. expression does not have to be confined to traditional
In the exhibition “Together and Apart”, I exhibited forms. Sometimes breaking the rules and daring to try
Through photography, I hope to build a bridge the photography 1206, which recorded the delicate
connecting the inner and outer worlds, so that more can give the work new vitality and meaning. It is this
and complex relationship between people and the unintentional breakthrough that makes 1206 shine
people can see and think about these political realities police under the lockdown policy in Beijing during the
hidden behind daily life. with unique charm in the exhibition.
White Paper Revolution. Due to the strict lockdown

73
 You incorporate ironic twists and unexpected many people feel confused or even desperate due to but the real highlight is often the interactive session
combinations in your work to challenge conventional the suppression of information and the complex after the guests share. In this process, the audience
expectations. How do you balance irony with the political environment and fall into the so-called can speak freely and inspire each other's thinking,
seriousness of the political issues you address, and "political depression" I hope that my art can serve as a thus colliding with more profound sparks of thought.
what impact do you hope this has on the audience? bridge for them to reconnect with the world, allowing This equal and open discussion atmosphere makes
When I am creating, I don’t like to interfere with the them to see that even in an uncertain environment, every participant not only a bystander but also a
audience’s thinking, nor do I tend to guide them to there is still light worth pursuing. builder and promoter of dialogue. It is this
accept a certain point of view deliberately. I know that Your work aims to inspire public attention and interactivity that makes the participants feel the
everyone’s experience, feelings, and way of thinking provoke thought about current political and social positive significance of these activities. They not only
are unique, and the content I convey is based on my issues. How do you measure the effectiveness of your gain knowledge here but also see the power of
perspective and subjective experience, and sometimes art in achieving these goals, and what kind of communication and the possibility of people
these expressions may deviate from or even conflict responses do you typically receive from your empowering each other. Many audiences reported that
with the audience’s cognition. Despite this, I still audience? through these activities, they found spiritual resonance
insist on expressing my ideas, because this is not only In addition to photography exhibitions, I will also and hope for the future. This is particularly important
my way of communicating with the world but also a organize some lectures and exchange activities on to me because I hope that in this way, more people
respect for my true feelings. In this process, politics and art. The core of these activities often can feel that they can still find a positive way of
sometimes my friends around me may feel that my focuses on China's political art. My original intention expression and communication in a complex social
work is not appropriate or difficult to understand, but is to build an open platform through these activities so and political environment. My goal is not only to
this will not affect my creative enthusiasm. On the that artists, scholars, and audiences with similar convey opinions but also to bring hope to the audience
contrary, I am willing to take this opportunity to meet interests can gather together to discuss and explore the and inspire them to face and think about the world
new audiences who can interpret my work with deep connotations of politics and art. Although the with a more open mind.
different perspectives and experiences. This diverse form of the event is a lecture, it is not just a one-way
interaction makes me understand that every expression information transmission, but more like a collision and Ancient City Pingyao
is a two-way dialogue with the audience, rather than a exchange of ideas. I always believe that "smarter ones Photograph, 70x100cm, 2017
simple output of information. I hope that through my are among the people", and many profound insights This is a set of documentary photography I took
work, the audience will realize more possibilities in and valuable opinions often come from the life in the ancient city of Pingyao in Shanxi Province,
life. My goal is not to change their views but to experience and unique perspectives of ordinary people.
inspire them to explore new ways of thinking and help Therefore, I will invite some guests with rich
China, which fully records the doors" of different
them find their hope and direction. In today's society, experiences and unique insights to share their views, eras and types in the ancient city.

74
 In what ways do you see art as a powerful tool for emotional resonance when facing my works. What individuals deeply reflect the underlying logic of
reflecting and commenting on social reality? How do they see is not just the point of view of an artist, but society. However, the biggest challenge came during
you ensure that your work resonates with a broad the observation and thinking of an ordinary person like the shooting process - a policeman suddenly appeared
audience while addressing specific political them on the current social situation. This emotional and told me that they came to check because someone
ideologies? resonance inspires the audience to identify with art reported that there was an "unknown thing" there.
I always believe that art can only truly exert its and also makes them feel that my work is positive and Although after some confirmation, it was found that I
powerful power when it involves everyone's own powerful. My creation is not only to show my point of was just doing artistic creation and there was no
interests. No matter how the outside world changes, view, but also to build a bond of communication and danger in shooting, I was eventually asked to stop
people always pay the most attention to things related understanding between many similar individuals, and shooting. This incident not only interrupted my
to themselves - personal life, emotions, future, and to speak for our common life and common hope. creation but also deeply revealed the reality that
even self-positioning in a larger collective. No matter Can you discuss a specific project where you Chinese citizens lack the right to express themselves
how complex society is, everyone's focus will successfully integrated art and political ideology? freely and take photos in public. My work finally
eventually return to the core of "self". It is this focus What challenges did you encounter in the process, came to an abrupt end in this absurd scene, and I
on "self" that makes art a powerful tool of expression and how did you overcome them? failed to complete the expected shooting. This
because it can touch the audience's truest feelings and My video sequence The Black Box is a series of street experience made me realize more clearly that in
needs. In my creation and expression, I never hide the documentary experimental photography I shot in China's public space, personal expression is often
ordinariness of my position. I am just an ordinary little Nanjing in 2019. I chose to shoot in the city center regarded as a potential threat. Even an ordinary
citizen, without wealth, power, or a strong because it brings together all kinds of people, photography project may be regarded as an "unknown
background, which makes my voice the same as that representing the diversity of Chinese society. The thing" and questioned. This is not only a restriction on
of tens of millions of ordinary Chinese. We face subjects covered people of all identities, including the freedom of artistic creation, but also a silent
similar difficulties and feel the same hope and anxiety, students, cleaners, white-collar workers, and tourists suppression of citizens' basic rights. In this absurd
so my creation is not to point out from a high from other places. Each individual played his or her ending, "Black Cardboard Box" has also become
position, but to stand among them and make a voice role in this busy urban environment. During the another metaphor for the contemporary Chinese social
that belongs to each of us. What I express is a shooting process, I tried to capture the subtle environment. It records not only the moments on the
personal point of view based on my life experience relationship between individuals and the collective in street but also a true portrayal of the tension between
and inner feelings. Every work I create, whether it is public spaces. An important observation in the social control and personal freedom.
photography, installation, or lecture, is a voice for shooting is how people show their identification with Ancient City Pingyao
myself, and also for ordinary people who have no collective ideas, obedience to instructions, and Photograph, 70x100cm, 2017
channels or dare not express themselves. In this reactions out of curiosity in their daily lives. These This is a set of documentary photography I took
context, my art is not only a tool for self-expression seemingly ordinary moments are a reflection of the
but also a bridge connecting the audience, allowing specific manifestation of Chinese political ideology in in the ancient city of Pingyao in Shanxi Province,
them to see their own reflections and feel the daily life. Under the highly abstract political discourse China, which fully records the doors" of different
resonance. Because of this, many viewers can find system, the behavior, reaction, and choice of these eras and types in the ancient city.

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 Public art and curatorial projects are central to your Every setback and misunderstanding make me more significant and cannot be ignored. In this era of
practice. How do you navigate the challenges of deeply aware of the boundaries of artistic creation and information explosion, we face the dilemma of
presenting politically charged work in public spaces the price of freedom. They constantly remind me that difficulty distinguishing between true and false. The
or within institutional contexts? I must always find that delicate balance between the Internet is flooded with a large amount of information
It is a very dangerous thing to engage in such pursuit of expression and safety. This is not only a test published anonymously, and it is difficult to verify its
creation, especially in the social environment of of artistic creation, but also a challenge to my self- authenticity and source. Especially when it comes to
China. Creation and expression in public spaces are beliefs and expression strategies. Through these political content, this unfiltered digital information can
often full of unpredictable risks. I am well aware of experiences, I have learned to think in difficult easily have an impact on people's ideologies. People
this and always remain vigilant. In recent years, some situations and find a more clever and intelligent way can be misled or even brainwashed without even
well-known artists have encountered fierce criticism of expression without violating my personal beliefs. realizing it, which makes digital media very dangerous
and attacks for their speeches or works in public and Every reflection and adjustment make me more to some extent. Although anonymity and accessibility
even became the target of public criticism. This made determined and powerful on the road of art. I believe of information dissemination allow freedom of
me more aware of the importance of expression and that this constant challenge and tempering is not only expression, they also provide a breeding ground for
safety. I have also encountered similar accusations and shaping my work but also shaping myself. false information and extreme views, causing
abuses on the Internet. These negative comments The digital realm offers unique opportunities for cognitive confusion and social divisions. In addition,
made me realize that every move of artistic creation in political expression. How do you utilize web-based digital media also has obvious limitations in sensory
the public domain may be infinitely magnified and works to explore and communicate political experience.
interpreted. To avoid too many misunderstandings, I ideologies, and what advantages or limitations have
try to avoid making extreme remarks when creating. you found in this medium? The view from cave dwelling
This not only reduces unnecessary risks but also I often post digital content to my social media Photograph, 80x100cm, 2021
leaves more room for explanation and discussion. platforms because it’s fast and can go viral. Especially
Appropriate ambiguity and blank space allow the for art that needs to be viewed on a monitor, I can This photo was taken in a deserted cave dwelling
audience to think from their standpoints, and I can send the link directly to friends so they can view it group in Inner Mongolia. The cement road
express my views within a relatively safe boundary. anytime, anywhere. This immediacy and convenience outside the entrance of the cave is the only way
Despite this, I still like this challenge in my heart. allow my work to continuously impact the audience,
Faced with the ever-changing external environment, no matter where they are, they can feel the content
to communicate with the outside world in this
these pressures and risks have become an important and emotions conveyed by the work. However, the area. These cave dwellings carry special
opportunity for me to rethink and reflect on myself. negative impacts of the digital sphere are equally significance in the history of the Loess Plateau.

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 Although viewers can easily access pictures and information about historical presents them in a more friendly and creative way. This transformation
events on the Internet, the visual impact and emotional transmission of these undoubtedly reduces the audience's resistance. In my creation, I always adhere to
images are far inferior to real objects and on-site experiences. For example, in this concept of turning politics into art. No matter how the external environment
my previous lecture on the Tiananmen Massacre, although everyone can find changes, I will maintain my style and expression. This style has accompanied me
pictures and videos from that year online, the experience of being there in person through more than ten years of artistic journey and is a reflection of my
is completely different. The audience can not only see the photos but also touch understanding of the world and self-identity. Although the times are changing,
the clothes worn by the students. This direct sensory stimulation allows people to the audience's acceptance and the scale of social censorship are also constantly
experience the reality and cruelty of the event, which is irreplaceable by digital changing, but I firmly believe that artists should not easily change their core
experience. This kind of live immersion can inspire deeper emotional resonance in expression. In the face of various challenges, I will fine-tune the presentation of
the audience and closely connect history and reality. In the digital realm, these the work according to the different environments, but I will not change the core
subtle emotions and touches are often isolated by the screen, becoming cold and of the work. I believe that this persistence is the most powerful part of art. Art
lacking in warmth. Although the speed and influence of digital communication are should not cater to changes in the environment but should maintain its own
unparalleled, the information noise, cognitive risks, and sensory deprivation identity during changes, and present real thinking in a consistent style and attitude
brings are challenges we have to face. Therefore, while using digital media to in the face of various complex social issues. Although adjustments are necessary,
expand our influence, we also need to remain vigilant and think deeply about how change is not what I pursue. My style is not only a creative technique, but also
to find a balance between reality and virtuality, ensuring that audiences can my voice, my position, and a way of communicating with the world. Over the
maintain independent thinking when receiving information and avoid falling into past decade, I have continued to grow in this persistence, and I hope that I can
the trap of falsehood and extremes continue to move forward firmly along this path. Art is not only my tool of
Looking ahead, how do you envision the role of art in shaping political expression but also a part of my life. In future creations, I will continue to explore
discourse, and what future directions do you see for your own work in this how to maintain myself in a rapidly changing environment, and let more people
evolving landscape? see, feel, and think through art, and become a bridge connecting the audience and
I firmly believe that in this fast-paced world, the role of art will only become the world. No matter how uncertain the road ahead is, I hope to continue to move
more and more important. People in modern society are constantly looking for forward with a unique perspective and a constant style and pass on the power of
new and interesting things in the information explosion, and art just meets this art to more people.
need. Art, with its unique form of expression, can transform complex political
topics into a more understandable visual language, allowing the audience to
accept and think about these originally challenging contents with a more relaxed See the sealed room
attitude. It separates political issues from the field of profound abstraction and
Photograph, 70x100cm, 2018

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 SLEEPR
Sleepr, born in 1988 in Australia, is an ultracontemporary artist known for pushing the boundaries of traditional art through performance and digital
mediums. His work explores themes of anonymity, identity, and the human psyche, often challenging viewers to question their perceptions of reality.
In 2023, Sleepr gained significant attention at Art Basel Miami with his immersive performance, "Medicine For The Soul," where he spent five days in an
opaque chamber, accessible only through a red phone. This piece exemplified his commitment to exploring the psychological dimensions of art, drawing
viewers into a unique and thought-provoking experience. Sleepr’s work has been featured in notable exhibitions worldwide, including Sotheby’s
Contemporary Discoveries and a major show in London’s Soho. His innovative approach continues to captivate audiences, making him a distinctive voice in
the global art scene. As an artist constantly pushing the envelope, Sleepr remains at the forefront of contemporary art, blending traditional forms with
cutting-edge digital practices.
‘’My practice is about documenting hidden dimensions that are accessible only through mental imagery—the "spirit world" that plant magic reveals. I am deeply committed
to exploring these unseen realms, where the boundaries of reality blur and the psyche unveils its most profound secrets. Art, for me, is a conduit to these spaces, offering a
way to capture and communicate the experiences that lie beyond the ordinary senses. In my work, I seek to translate these visions into tangible forms, creating a bridge
between the inner world and the physical one. As an academic and researcher, I approach this process with a deep sense of inquiry, using art as a tool to map the psyche's
hidden landscapes. My practice is rooted in the belief that these dimensions hold the keys to understanding the deeper layers of our existence. Through my art, I invite
others to explore these realms alongside me, to engage with the mysterious and the unknown. This journey into the spirit world is not just about self-discovery but about
uncovering the universal truths that lie within all of us. My work challenges viewers to see beyond the surface, to connect with the subtler energies that shape our reality,
and to embrace the transformative power of the unseen.’’
The Surrender
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 Bedroom Explorer
Digital Painting, 2024
Miracle at the bus stop
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 Your work often explores themes of anonymity and identity. How do these concepts intersect in your art, particularly in performance pieces like "Medicine For The
Soul"?
My work continually explores the intersection of anonymity and authenticity, and how these two sides of the coin chase and fuel the other. I think people see me wearing a
mask and think initially – “he’s hiding who he is!” – but strangely, by wearing a mask I can actually be more authentic than in the real world. I think we all wear masks
everyday with whoever we speak to.
In 2023, you gained significant attention with your immersive performance at Art Basel Miami. Can you describe the conceptual process behind "Medicine For The
Soul" and what you hoped viewers would take away from that experience?
At Art Basel Miami I was placed in a small opaque box and made art continuously for 5 days, while wearing a mask. No one could see my identity, and I was only
accessible to talk to through a red telephone, yet I was absolutely present and accessible to all. Thematically, my work is all about the artist documenting “the other side”,
and so the box represents this, this gap between accessibility of the everyday person and inaccessibility to these spirit realms. It’s very symbolic and alchemical.
Your artist statement mentions that your practice is about documenting hidden dimensions accessible through mental imagery. How do you translate these intangible
experiences into physical forms, and what challenges do you face in this process?
Strangely one of the most diffcult things I’ve ever experienced is trying to document what some of these interdimensional objects look like. They are the most baffing,
complex and exotic forms I’ve ever seen, or ever could imagine. They are so completely hyperdimensional that my mind actually has a very diffcult time in comprehending
them – and as such – a diffcult time remembering what they look like. There’s an amnesia quality I’m constantly battling. I sketch and scribble, make mental notes, use
memory techniques, verbally record diaries – anything to just get some of these qualities down.
As an artist who blends traditional forms with cutting-edge digital practices, how do you see the role of technology in contemporary art? How has it influenced the way
you approach your work?
Technology has underpinned every ability I have to create work. For me the medium is not important whatsoever, until it becomes a limiter. I’m a big believer in the limits
of the medium, being the very definition of the limit of the imaginations capability. In the mind, there are no limits – as Dr. John Lilly so famously described.
Your performances and installations often challenge viewers to question their perceptions of reality. How do you design these experiences to provoke such introspection,
and what role does viewer interaction play in your work?
First, I try to map out and understand the experiential process that my mind went through, so that I create a symbolic process to represent this so that the viewers go through
the same thing.

It’s all in your head

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 Five dimensional toys
Digital Painting, 2024
The source of novelty
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 With exhibitions at prestigious venues like Sotheby’s and London’s Soho, how do you think your work resonates with diverse audiences across different cultural
contexts?
I feel like my work resonates with anyone who has spent time being introspective. There is this expansive, other space that is just behind the façade and illusion of reality. I
feel like we can all sense it – like there is something more to all this than meets the eye. Anyone scratching at the wall, or pulling that thread, stirs something
within all of us.
Your art is deeply rooted in exploring unseen realms and the subtler energies that shape our reality. How do you balance this esoteric focus with the demands and
expectations of the contemporary art market?
The artworld is the ultimate dichotomy of passion and business and I really enjoy both aspects. I think there’s lots of broken market dynamics within the art world, but I
really believe there are ways for it to be a win-win for everyone involved – collector, artist, society. I truly believe the arts is a crucial industry for us all. It gives us
purpose, direction and hope. Just as we are galvanised and unified in our collective missions to the Moon or Mars, so too is the mission I am undertaking in documenting
these unseen realms.
In your view, what is the transformative power of the unseen, and how do you hope your work influences others to connect with these subtler aspects of existence?
Jung spoke in depth about how pivotal it is for us to explore our shadow as it is who is truly steering the ship. We are driven from these unconscious desires within
ourselves, and to continue exploring into the known. To look inside is one of the things that scares us so deeply, and yet it is this frontier that we must explore.
As someone who constantly pushes the envelope in contemporary art, where do you see the future of art heading, particularly in relation to performance and digital
mediums? How do you plan to evolve your practice in response to these trends?
I am travelling to into the Amazon jungle in Peru to take ayhahuasca with traditional indigenous Shipibo-Conibo shaman soon for a month, where I will study and
document the nature of these visionary spaces in a series of new works. The digital works will be stored forever on the blockchain. I couldn’t think of two more remote
aspects – the digital future and the organic past colliding together in a beautiful synthesis. William Blake said: “Nothing is lost..” – we only really ever move on.

The Harmala mysteries

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 TERESA
GODFREY
Teresa Godfrey is a full-time artist based in Co Fermanagh, N Ireland. She is an alumnus of the Art2Life Creative Visionary Programme 2024 and is
currently a member of the Art2Life Academy. She is also a member of Visual Artists Ireland and The Irish Palette Artists Collective.
Teresa left school at sixteen and began a career as a Draughtsman in various engineering and architectural offces before entering university as a mature
student and gaining a BSc Hons in Geography and an MA in Documentary Film Production.
She continued her interest in drawing and art by regularly attending Life Drawing classes and Fine Art courses at Belfast Metropolitan College, The Crescent
Arts Centre Belfast, and Strule Arts Centre Omagh.
Teresa is also a published poet, novelist, award-winning screenwriter, and filmmaker. Her written work has been broadcast on UK radio and her films have
been produced on UK’s Channel 4 Television.
‘’I would describe myself as an intuitive artist. In the past, I made representations of trees, forests, sea life, animals, people, and all that I could see around
me. Such objects will always form the basis of my art but now it’s how I feel about what I see that inspires me. This is why I don’t outline or plan too
much before I begin. I allow the making process to take over. Sometimes that does reveal an identifiable subject but more importantly, at least for me, it’s
the range of emotions that come through in the shapes, patterns, lines, and colours that appear in my work that is more important and more interesting.
I work mainly with acrylics on canvas or wood panels and use a variety of implements including brushes, pens, pencils, scrapers, and sometimes collage to
create patterns, shapes, and textures. I like bold colours and bold statements. I find that working in a series allows one work to feed off another. That way
ideas have time to develop and it keeps the energy flowing between each piece. I use gloss medium to enhance the colours and then varnish or cold wax to
preserve the work. The more I think about my art and why I do it the more I realise that every time I pick up a brush or mark-maker or choose a colour I
am trying to tell you who I am. Look! This is me.’’

Morning - Acrylic on canvas, 80x60cm, 2024 Afternoon - Acrylic on canvas, 80x60cm, 2024

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 Your journey from draughtsmanship to fine art is quite unique. How did your background in engineering and architecture influence your artistic style and the way you
approach your work today?
Working in drawing offices helped develop my accuracy and attention to detail and taught me important technical and observational skills. At that time, I was fascinated by
the drawings of the old masters like Raphael, Durer, Da Vinci, and Michaelangelo. Then, when I began attending life drawing classes I became aware of the drawings of
Maggie Hambling, Tracey Emin, etc. leading me to explore a looser, more expressionistic style. Now I express myself through colour and texture more than in line but I
would say that drawing professionally set me on the path to the artist that I am today.

You describe yourself as an intuitive artist, allowing the making process to guide you. Can you share an instance where this approach led to an unexpected yet
meaningful outcome in your work?
The Last Day began as a simple exploration of using pink, a colour that I wouldn’t normally choose for a background. I wanted a contrast to the pink so I turned to black
and added the dark shapes of the horse and tree. At that point, I had to ask myself what is this really about. The starkness and barrenness of the image gave me the answer
and led to the triptych, which of course, is a comment on climate change.

Your artistic practice has evolved from making representations of the natural world to focusing on the emotions these subjects evoke in you. How did this shift occur,
and how has it changed the way you create art?
I’m still very much influenced by the natural world in terms of subject matter and palette but for me, accurate representation is no longer enough. I have things I want to say
about our relationship with the natural world – about how we use and abuse it – that go beyond simply reproducing it and I try to say them by trusting my instincts as an
intuitive painter and allowing my thoughts and emotions to develop visually on the canvas. Some of my paintings, like The Last Day triptych, are intended as warnings, but
in others, I’m saying that if we take action now to stop the destruction there is still hope.

As someone who has explored various creative fields—poetry, screenwriting, filmmaking, and visual art—how do these different forms of expression inform and influence
one another in your work?
In recent years, poetry has been the biggest influence on my visual art. The American poet, Emily Dickinson, advised “Tell all the Truth but tell it slant” which I take to
mean if you come at something too directly you won’t see the deeper meaning below the surface. This is something that also applies to filmmaking and screenwriting. In my
opinion, art is most interesting when it’s an unveiling of meaning and that is what I aim for in my work.

You mention that working in a series helps keep the energy flowing between pieces. Can you elaborate on how this process works for you and how it impacts the final
body of work?
Working in multiples is a great way to remove the fear of taking risks, especially when creating abstract or semi-abstract art. It takes away the pressure to produce one
perfect piece by allowing more experimentation as you shift from one to another. It’s in that freedom of movement that pattern and colour combinations begin to emerge and
themes and ideas begin to take shape. This is where the intuitive artist taps into her subconscious. This is where we find out who we are and what drives us.

Your work often features bold colors and statements. What draws you to these vibrant choices, and how do they reflect the emotions and themes you wish to convey?
My early work was greatly influenced by David Hockney and British Pop Artists like Peter Blake who showed that figurative paintings could be bright and bold and highly
relatable. But my love of vibrant colour was first ignited by Post-Impressionists such as Cezanne and Van Gogh and by the American Abstract Expressionists. In their
work, it’s colour that creates emotional truth more so than subject and this is what I try to achieve in the work I’m currently making.

As a member of the Art2Life Academy and other artist collectives, how has your involvement in these communities shaped your creative process and development as an
artist?
Art2Life, which is an intensive learning programme based on principles of Design, Value, Colour, Texture, Risk, and Soul, has completely revolutionized my approach and
helped my art become stronger and more in tune with my needs and aspirations. As a working artist, Visual Artists Ireland keeps me up-to-date on what’s happening in the
Irish art scene and keeps me informed about opportunities for workshops and exhibitions. The Irish Palette collective, which was formed by artists like myself who have
participated in the Art2Life Programme, offers a mutual support network and organises opportunities for members to exhibit their work.

Your artist statement mentions using a variety of implements to create patterns, shapes, and textures. How do these different tools contribute to the overall feel and
depth of your work?
For me, making art is an exciting adventure – a physical endeavour that requires stamina and courage. Sweeping gestures, delicate strokes, daring scrapings and scratchings
all come together to create a dynamic rhythm and energy in the effort to reveal emotional intent. Without that effort, that building up of intensity, there will be no emotion.

With a background in documentary film production, do you find that storytelling elements influence your visual art? How do narrative and emotion intersect in your
paintings?
My paintings always tell a story. Firstly, to me in the physical act of making the painting. By that, I mean that what I think the story will be often turns into a deeper more
meaningful narrative. That’s why I like to begin by being playful and allowing the story the freedom to develop. Then, when complete, I hope that viewers will recognise at
least something of my intent and possibly even develop the story further through their emotional reactions. So, storytelling through painting isn’t that different from
storytelling through any other medium because the best stories are the ones that reach beyond their original premise to discover the unexpected.

As an artist working in Northern Ireland, how does the local landscape, culture, and history influence your work? Do you find that these elements appear consciously or
subconsciously in your art?
I cannot help but be influenced by the world in which I live. In the past, some of my work has caused consternation because it references the horror of what we in Northern
Ireland euphemistically call The Troubles. Now I try to be more subtle in my references so that instead of provoking shock I provoke thought.

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 Evening - Acrylic on canvas, 80x60cm, 2024

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 ZIXIN YAN
Zixin Yan is an artist specializing in sculptural painting. A graduate of UAL (CSM) in 2023 and MRes at RCA (2024). Zixin's work explores painting
through innovative experiments with materials and installations, reflecting diverse cultural experiences from living in China, Romania, and the UK. This
multicultural background shapes a neutral perspective, using art as a barrier-free language to address universal questions. Recent projects, like "Artificial
Wombs," delve into themes of female identity, balancing natural and technological advancements. Zixin’s practice-based research enriches the context of the
work, pushing its boundaries to offer new insights and emotional depth.
‘’My work spans drawing, painting, installation, and sculpture, exploring how the fleeting nature of human experience contrasts with the timelessness of
nature. I often blend natural and digital elements in my artwork, inviting viewers to immerse themselves and become part of the experience. Living in China,
Romania, and the UK has shaped my multicultural background and diaspora identity, giving me a unique perspective. I see art as a universal language that
can tackle significant questions. Through practice-based research, I blend personal and historical contexts, continually pushing the boundaries of my work.
My current project, “Artificial Wombs,” explores how the uterus is represented across different cultures, balancing technological intervention with the
natural abilities of the female body. By using archival methods, material experimentation, and immersive displays, I aim to present an alternative narrative
for the future, highlighting art's ability to provide a deeper, more inclusive understanding of the world.’’

Within my sculptural painting practice, I develop an embodied

imagination, exploring the internal female reproductive organs as
allegorical landscapes. I focused on the flow of affection which responds
to the historical representation of female affection but in an expressive
way. It’s a discharge of the oppressed emotions because it is perceived as
taboo. This is the painting language I developed which emphasises the
fluidity of the female body and expresses the uterus as a wellspring of
creativity. In this way, I could build the foundation for imagining a
future with the artificial womb in a compassionate feminine way.

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 This work is part of my practice research project “Artificial Wombs: rethinking the representation of the uterus through a sculpture painting practice”, which
examines perspectives on artificial wombs, using art, mythology, and ethical discussions, to explore female identity, reproduction, and the impact of medical
technology through sculptural painting.

This work is part of my practice research project “Artificial Wombs: rethinking the representation of the uterus through a sculpture painting practice”, which
examines perspectives on artificial wombs, using art, mythology, and ethical discussions, to explore female identity, reproduction, and the impact of medical
technology through sculptural painting.

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 Your work often involves blending natural and digital elements. How do you navigate the balance between these two worlds in your art, and what do you hope to convey
through this combination?
I don’t think it is something I need to balance in my art. My works are more like the constructed view of nature through digital elements. The digital elements usually
appear as the creating tool, such as collaging or reducing natural colour to a ghostly digital sense by using Photoshop, to represent my understanding of nature. By doing
this, my works manifest the distanced relationship between humans and nature in daily life due to various reasons, implying the ongoing technological intervention towards
nature and emphasising the ghostly presence of the digital world that gradually replacing the natural world.
"Artificial Wombs" is a project that explores the intersection of technology and natural female identity. What inspired you to tackle this subject, and how do you
approach the complexities of these themes in your work?
There are multiple causes for this project, I knew it from a book called “Eve”, by Claire Horn at the bookshop of the Wellcome Collection in London. “the possibility of
the artificial womb is never been this close, a book that prepares people for this radical future”, likewise, I think art can provide a test site for speculatively imagining this
future. From a personal level, “Artificial Wombs” has the possibility of challenging the idea that “it is nature to give birth as female” and the social expectation or
constraint it comes with, excited me.
Instead of looking at a variety of text-based ethical discussions that Horn brought out in her book, I approached it visually, centring on the imagery representation of the
uterus from primitive art, mythology illustration and medical images, in dialogue with contemporary female artists’ reflection, to interrogate how the past and current
understanding of the uterus was constructed. My plan for imagining this future is to explore multi-collage installation as a way of speculative storytelling.
In your sculptural paintings, you experiment with a variety of materials. What draws you to material experimentation, and how do you decide which materials best
express the ideas you’re exploring?
My sculptural painting and material experiment together form my multi-media installation. Painting as a personal extension of the body, mix-media are outside of the body,
metal, latex, and silicone are used for symbolising technological and medical intervention. Their materiality carries different stories so it gives unique impressions. Such as
feelings of artificial technology, by choosing the materials that have the quality of abjection, but it is not the abjection of the animalistic but of the complete detachment of
the animalistic. I also made annotations for the materials I tested, so language is also part of the choosing process.

The concept of "Artificial Wombs" suggests a futuristic narrative. How do you envision the future of female identity and technological intervention, and how does your
art contribute to this discourse?
I will broadly experiment with materials that work individually and imply different sets of stories, also combined to show the complexity of this topic. For example, Latex
gives a sense of the uncanny of artificial flesh, metal as the material used widely in surgical instruments, and textiles often regarded as domestic works. I want to use art
practice as a non-binary way to think about the future relationship between body and technology, to manifest the discourse that the artificial womb brings out.
Your work aims to immerse viewers and make them part of the experience. How do you design your installations or sculptures to achieve this level of viewer
engagement?
Through the combination of sculptural painting on large translucent fabric that allows people to walk around and look through to see each other. And the display of
sculptures that will be installed around the space site specifically.
You mentioned that your art explores the fleeting nature of human experience contrasted with the timelessness of nature. How do you visually represent these contrasting
ideas in your work?
In my BA graduate work, I made two translucent banners that depicted the death of microbes to show the life cycle of the natural system. The translucency set of the fabric
allows viewers to walk around and give a feeling of being part of it, to trigger the awareness of the limited time human life has.

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 Living across different cultures has given you a neutral perspective. How does this neutrality manifest in your art, and do you see it as an advantage in addressing
sensitive or universal themes?
My theme is often rooted in questions that appear across cultures, and I do research across different cultures and languages. As in the “artificial wombs” project, I
researched images across different cultures and found out the understanding and the oppression towards female bodies are ubiquitous and similar. I also apply methodology
inspired by phenomenology and psychogeography to my project about my hometown. I think I can only add an in-between perspective and draw and compare the pros and
cons from both cultures (mainly Chinese and Western)
Having lived in China, Romania, and the UK, how does your multicultural background influence your creative process and the themes you choose to explore?
The main influence is not obvious, and it is not directly shown in my choice of theme. But it’s more like an independence from any culture and an autonomy of using art to
construct my identity.
You describe art as a universal language. How do you use this "barrier-free" communication to address universal questions, and what are some of the significant
questions your work seeks to answer?
I see art as a universal language because it transcends cultural and linguistic barriers, allowing me to explore complex questions that resonate with people from all walks of
life. Through my work, I aim to address significant issues like the relationship between nature and technology, particularly how advancements like artificial wombs might
reshape our understanding of identity, motherhood, and the body.
Your practice-based research plays a crucial role in shaping your art. Can you describe how this research informs your creative decisions projects?
For example, in my project “Artificial Wombs”, the starting point is always vague but I developed and understood my feelings through the development of my archive,
which is my research of the past knowledge construction. By doing this I reaffirmed that I want to imagine such technology that directly relates to the female body in a
more compassionate and brings more discussions and representations from female voices, unlike in the past.

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