Collect

Art
‘Digital Dreams’

NOVEMBER 2024 |
SPECIAL EDITION | NO 55
On the cover ‘!’ by José Evangelist

WWW.COLLECTARTWORK.ORG
 FROM THE
EDITOR
In the ever-evolving landscape of art, the digital realm has emerged as a powerful frontier for creativity,
experimentation, and connection. This special edition of our magazine, ‘Digital Dreams’, explores how
international artists are redefining artistic expression through the boundless possibilities of technology. As
the lines between the physical and virtual worlds blur, this issue serves as a celebration of the innovative
voices shaping our digital future.

From AI-generated compositions to immersive virtual realities, the artists featured in ‘Digital Dreams’ are
pioneers in a rapidly shifting cultural terrain. Their work speaks to the intricate relationship between
humanity and technology, reflecting on how our digital existence influences identity, memory, and the ways
we engage with the world. Each piece in this edition is a testament to the transformative power of digital art,
showcasing the medium's capacity to inspire wonder, provoke thought, and redefine traditional narratives.

The artists highlighted in this volume hail from diverse cultural and creative backgrounds, each bringing a
unique perspective to the digital canvas. Through their biographies and artist statements, we gain insight into
their inspirations, challenges, and creative processes. Their works are more than mere displays of technical
skill—they are explorations of what it means to exist in an increasingly digitalized world.

This edition also features personalized interviews that delve deeper into the minds of these innovators. These
conversations uncover the driving forces behind their practices, from early influences to their visions for the
future of art in a digital age. These artists are expanding the boundaries of what art can be.

The theme of ‘Digital Dreams’ extends beyond the artworks themselves. It invites reflection on the broader
implications of our digital realities. How does technology redefine our perception of beauty? How do
algorithms shape our understanding of creativity? And what does it mean to dream in pixels and data? These
are some of the questions we hope to explore with this special edition, encouraging our readers to engage
with these ideas on both intellectual and emotional levels.

As we turn the pages of ‘Digital Dreams’, we are reminded that the digital age is not just a technological
revolution—it is a cultural renaissance. These works challenge us to rethink how we interact with art and with
each other, offering glimpses into a future where creativity knows no bounds.

Welcome to a world where the virtual and tangible collide, where imagination is encoded into zeros and ones,
and where the dreams of today shape the art of tomorrow.
CONTENT:
05 Isabela Castelan

11 Jason Engelbart

18 José Evangelista

24 Lewis Andrews

29 Saecred Solitude

35 Weizhi Cao
Isabela Castelan
Isabela Castelan is originally from Brazil but lives and works in London, where she has her
studio. She has a BA (Hons) in painting, from Chelsea College of Arts and Design, followed
by an MFA (painting) at the Slade School of Art. Her work encompasses, painting,
performance tools and digital photography. She has exhibited in UK, Brazil, Germany and
recently in South Korea, with works held in public and private collections.

‘’Sometimes I work with media such as performance and digital photography. These works are
records of small improvised performances composed between myself and my surroundings and
documented intimately by myself. Some images acquire a symbolic meaning, to do with my personal
history. In Brazil we have a strong spiritualist tradition that comes out of our mixed cultural
background and heritage, traditional cultures, African heritage. This informs the work that I make
and my approach to mythical stories. My subject matter explores the way in which my own identity
becomes mixed with the mythical narratives and iconic figures of my past. The collective memories
and spiritual aspect of my Brazilian heritage are important here.’’

05 Mask - Photography & Digital media, 20x30cm, 2017

Curumim - Photography & Digital media, 20x30cm, 2017

Angels - Photography & Digital media, 20x30cm, 2017

Your Brazilian heritage and its spiritualist traditions play a significant role in your work. Could you
share some ways this influence shapes your creative process and choice of subject matter?
The spiritualist traditions bring with them rituals, ornamented figures, symbolism, and stories. I am a mystical
person and enjoy these things and see them as inspiration. When I think or read about some of the stories and
characters, I feel a direct connection, and it creates a nest in which I can embark in a creative process.
You've mentioned that some of your images acquire symbolic meaning connected to your personal
history. Could you talk about one particular piece where this symbolism strongly emerged?
Being a woman is an important part of my identity and of the psychological me, so I tend to represent mostly
women characters. There is a piece called ‘Macuna’ in which I am covered in Bamboo leaves, it has a lot to do
with my femininity. Other pieces like ‘Lost’ and ‘Narciso’ also reflect a psychological trace of myself.

Working in both painting and digital media, how do you balance the spontaneous nature of
performance and photography with the more deliberate process of painting?
They both refer to my identity and my body in different ways. With the digital works, my body stands as model
and as a vessel to embody characters. With the painting I use my body to interfere, act in a more direct way.
But there is a lot of improvisation in my painting especially in the making of the painting tools. I do feel a
connection between both processes, especially because improvisation and my identity are present in both.
In what ways do the “improvised performances” you capture reflect or connect with the mythical
narratives and iconic figures from your heritage?
Some stories and symbolism of the characters find their way into the performance through objects, expression
of the body, mood of the place I choose to perform. I tend to use the things that are ready available at site.
Some times I collect a big dried leaf or some kind of seed, things I find will help me to connect, enhance the
performance, maybe a piece of clothing or even if I am half naked. These are things that make me more
inclined to capture a character in a performance.

07 Narciso - Photography & Digital media, 20x30cm, 2017

Your works are held in public and private collections worldwide. How does your approach to art
change, if at all, when you know a piece will become part of a collection?
My approach to my work does not change, but I know that a private collector or a public collection will
treasure the work. To know that the work is being treasured and looked after is a really good feeling. It can
bring a sense of placement, giving to the work a certain importance.
Living in London but creating work inspired by Brazilian culture, how do you see your identity evolving
within these contrasting cultural spaces?
It is exactly this contrasting cultures that expands my way of thinking, but being in London makes me value
more my native identity and when I am in Brazil I miss London. It is these give and take that makes my identity
sharper. London is a multicultural city and made me aware that diverse cultures contributes a lot to a more
open way of thinking. In a way my identity becomes more open to accepting this cultural diversity. There is also
the fact that London is full of art shows and this is something that contributes to my work. Some how it all plays
in reshaping the way I perceive myself.
Performance tools and digital photography are unconventional in traditional painting. What inspired
you to incorporate these media into your practice, and how do they enhance your work’s storytelling?
I think my identity plays important part in it. The painting tools are shaped around my childhood memories and
my identity as a woman, The digital work also refers to my identity. I think what inspired me is to be imaginative
and let things flow. Both processes tend to remind me of who I am, so to be in touch with my self allows me to
be creative.
Aimara
Pina Photography & Digital media,
Photography & Digital media, 30x20cm, 2022
30x20cm, 2022
Aiamara is a kind of clothing made of cotton and feathers used by the Tupi
Pina refers to a kind of palm tree. Guarani native indians in Brazil

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Rama - Photography & Digital media, 30x20cm, 2022 Mani - Photography & Digital media, 30x20cm, 2022

Arace - Photography & Digital media, 20x30cm, 2022

Brazilian spiritualism is known for its diversity, blending influences from African, indigenous, and
European traditions. How do you integrate this cultural fusion into the visual elements of your work?
The places I choose to perform are of importance, so the elements that are there are also visually important.
My photos are done outside, I choose carefully the place that I will shoot, because I tend to get deeply
involved in it. From a beam of sun light, maybe being by the water, or dressing up for the photos, brushing my
hair in weird way, It all builds up for a better approach and result. The final work will also give clues to
associate characters and stories to it. But I think that being Brazilian and understanding closely how the culture
and its beliefs work is crucial.
Your art often captures intimate exchanges between yourself and your surroundings. How do you see
the role of “place” influencing the themes you choose to explore?
I feel that the place in which I perform is crucial part of the work. I think even the sound of my native language
can make the place I choose to perform visually more interesting . A lot of Brazilian words comes from Tupi
Guarani, the native language of the Indians that lived in Brazil before the European colonisation. That is why
my digital work is made in Brazil, I feel It would be impossible to explore some of these themes in London. When
I am in Brazil, everything in the photos seems to fall into place, the lighting, the weather, the vegetation, and
the stories that seem to bubble up in my head.

Lost

Photography & Digital media

20x30cm, 2017

This image is about the mystery of trying to find something that is hidden in the garden at night.

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Jason
Engelbart
Jason Engelbart, born in 1960, completed his studies from 1980 to 1984 at the ALSTERDAMM
Art & Design Academy - SCHOOL OF VISUAL ARTS in Hamburg, Germany. During his studies,
he was a student in Professor Lothar Walter‘s master class and earned his degree in art and
design. After his graduation he has worked primarily as a Creative Director in design studios.
1989 he founded his own design agency DIE BOTSCHAFT, Hamburg I Berlin. At the end of
2009, Engelbart handed over the agency to his three managing partners and started his
second career as a professional artist. Since 2010, Jason Engelbart has focused entirely on
his artistic work. In the years that follow, he develops his own personal artistic signature. In
2011 Engelbart begins to experiment with the various tools of the Photoshop program. He
thus lays the foundation for his abstract digital Neo Paintings. Engelbart lives and works in
Hamburg. With his work cycle BAROQUE PASSION he was represented at national and
international exhibitions such as the Amory Art Week New York, Art Basel Miami and the
Swiss Art Expo Zurich. Engelbart‘s work has been honored with numerous international
awards.

11 Heavenly Dance - Digital Neopainting, 88x140cm, 2024

‘’The source of my inspiration can be found in the masterpieces of the High Baroque from 1650 to
1720 and the Late Baroque.
Driven by my search for the perfect moment, the moment of perfect love, the divine, I trace these
values especially in the masterpieces of the baroque art epoch. Using my characteristic digital
painting technique, developed over the years, I abstract selected original baroque works of Guido
Reni, Giovanni Battista Tiepolo, Johannes Zick and others by superimposing picture levels, blurring,
overpainting and re-composing them. In the work process, my very own flowing structures and
pictorial rhythms emerge, while the original color composition remains largely untouched. In sum,
colour and form transform into a single aesthetic-abstract event that is experienced on a purely
emotional level as a holy moment.
My Works invite the viewer to consider the spaces of our lives that we are able to perceive at a
subtle level, but that which we often forget or ignore in our day to day. In a restless and at times
superficial world, I would like to remind us of the love, the freedom and joy as our natural birthright.
My artworks are a testament to a cultivation of wholesome, human qualities, for positive change and
development, which I state as my principle artistic vision. The underlying historical works thereby
experience a current dimension of perception while at the same time creating the impression of a
déjà-vu when contemplating my abstract neo paintings. Through this form of digitally painterly, an
abstract re-staging of the Baroque painting, I build a finely balanced bridge to contemporary art
without disenchanting.
Each of my fine art gallery prints comes with subsequent framing on Alu-Dibond and a final acrylic
high gloss sealing. It is strictly limited to one original, digitally signed on the front and comes with a
certificate of authenticity.’’
Secret Of The Morning Dew - Digital Neopainting, 90x170cm, 2023

In my creation, I've poured the essence of tranquility and the ephemeral beauty of dawn into a digital fine art piece. Through an abstract lens, I've sought to capture the ethereal
interplay of light and color that whispers of the serene moments at daybreak. This artwork emanates a calming energy that invites contemplation and a sense of wonder, perfect for
adding a touch of serene inspiration to any space.

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 Fount Of Infinite Joy - Digital Neopainting, diameter 100cm, 2023

In this creation, I've imbued each swirl with a kaleidoscope of emotion, the warm hues dancing with cool undertones in an eternal abstract symphony.
Captured digitally, this piece is a fusion of passion, hinting at nature’s untamed energy.
You began your career in design before transitioning fully to art in 2010. How did your experience as a
Creative Director shape your approach to your artwork?
For me, there has never been an obvious dividing line separating the disciplines of design and art. Both are
related and complement each other positively, subject equally to the creative process. As a creative director, I
carried out my design work using a computer, so it made sense to also pursue my artistic expression using
these same tools.
Your “Baroque Passion” series draws deeply from Baroque masterpieces. What is it about this period
that resonates with you personally, and how does it inform your reinterpretation of these works?
I am particularly inspired by the opulence of these works. The subtle interplay of light and dark, their very
specific colour compositions, and the sacred aura emanating from the overall appearance. For me, there is a
special appeal in channelling the emotional and spiritual essence of these masterpieces, and then bringing
them into the present through my own abstract interpretation.
In your artist statement, you mention the “moment of perfect love” as a central inspiration. How does
this concept manifest itself in your digital Neo Paintings?
For me, this moment of perfect love represents the emergence of a deeper form of divine love. It’s the guiding
principle that manifests in my Neo Paintings in the form of a distinctly sacred aura.

The Now Is For Eternity - Digital Neopainting, 110x150cm, 2023

In this digital creation, I've infused emotional depth with abstract forms, using a fine art approach to explore the profound bliss of transcendence. Soft,
swirling textures and a symphony of warm and cool hues evoke a celestial dance.

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Can you walk us through your process of transforming Baroque paintings through digital abstraction?
How do you maintain the essence of the original while making it distinctly your own?
At the beginning of the digital painting process, I immerse myself completely in the emotions of the original
template. And then within Photoshop, the original is painted over with overlapping, transparent image layers,
which I build upon step by step. This is how the abstract image elements emerge from their figurative
representation. Within these layers, I also paint the colour moods and their flowing forms, typically using simple
digital tools like the paint brush and ‘smudge finger’. Finally, I compress the overlapping image layers onto a
single self-contained layer, to finally work out all the finer details of the abstract work.
How has your relationship with technology and digital tools like Photoshop evolved over the years, and
what do you see as the biggest advantage of digital painting in your practice?
Throughout my professional career as an artist and designer, technology and its digital tools have always been
central to my creative work. In terms of my digital paintings, working with Photoshop offers me precise control
over the colour moods of the individual areas of the image, empowering a fluid compositional process by
removing and adding individual image layers. In addition, the colour palette truly feels inexhaustible to me.
Your work invites viewers to reconnect with subtle, often overlooked aspects of life. How do you
envision your art influencing someone’s perspective or emotional state?
My work challenges the viewer to engage with the sacred vibrations that my artworks draw upon and reflect.
It’s an opportunity to listen to oneself, to reflect, and to connect with the deeper meaning of our existence. In
the best-case scenario, this process of reflection leads to a deeper gratitude for this life we’ve been given.
The balance between tradition and modernity is evident in your digitally abstracted Baroque
paintings. How do you see your work contributing to contemporary discussions in art?
For me, there’s a special meaning here in terms of the process of evolution from tradition to modernity, where
there lies a possibility of reaching a younger audience, and encouraging their curiosity in the masterpieces of
the Baroque art period. Another appeal for me is situating traditional forms of expression within the context of
our digital age, and thus, working with the creative tensions that exist between the different art periods.

Glory Of The Gods - Digital Neopainting, 150x130cm, 2023 Sacred Truth - Digital Neopainting, 145x120cm, 2022

15
You’ve exhibited internationally at Art Basel Miami, Armory Art Week New York, and others. How has
the response to your work varied across different cultural audiences?
To my delight, my works have enjoyed astonishing acclaim in the US. On the one hand, people seem open-
minded and curious about religious topics in particular. Equally, they’re also very interested in European
cultural history. In Europe, my works have met a positive response, particularly in countries such as Italy, France
and Spain, as they are works directly linked to their own cultural history, while also forging an exciting path to
the present.
You focus on high-quality print finishes, with framing on Alu-Dibond and acrylic sealing. What led you
to choose this method, and what effect do you feel it adds to the viewer’s experience?
In the overall context of my current works, which are inspired by Baroque masterpieces, this choice of
contemporary production materials underlines the historical origin evolving towards the modern, in a fashion
that’s both independent and pure. Additionally, this form of processing reflects the digital origin of the works.
Looking forward, do you see yourself experimenting with other historical periods or artistic influences,
or is your current focus on the Baroque where you feel most creatively aligned?
It is the nature of the artist to forever search for new and original forms of expression. I remain excited to
discover where my artistic journey will take me. For the moment, I continue to be inspired by the Baroque
masterpieces.

Breath Of A Wish - Digital Neopainting, 100cm, 2023

Love For Eternity - Digital Neopainting, 100cm, 2023

16 Heavenly Bliss - Digital Neopainting, 160x110cm, 2024

 In The Light Of Joy

Digital Neopainting,
150x130cm, 2023

‘’In crafting this piece, I delved into the abstract, using digital brushstrokes to evoke the sensation of rapture and serene motion. The warm and cool tones
swirl together in an ethereal dance, creating an ambiance of upliftment and tranquility. The gentle contours and soft gradients mirror the ephemeral beauty
of a blissful dream.’’
 José Evangelista

José Evangelista was born 1965, in Santo Domingo, capital city of the Dominican Republic,
located in the southern region of the country. Since 2013 works and live in Faro, Algarve,
Portugal, developing his ART-project of drawings, paintings, photography, computer digital
images collages, multimedia (video + audio) and short films. The studio a deals with video
mapping and production design projects for concerts and musicals and giving computer
aided design support to architectural and interior firms. Our studio also carries out volunteer
projects with educational institutions in Faro (Algarve) for children and young people related
to artistic work. As production designer, we contribute (non-profit) in productions of school
performing arts projects. Worked with different firms in the area of construction design,
interior design of buildings in the Dominican Republic, currently in Portugal and others
countries. In 1997 one project in his career was the architectural remodeling of the
Presidential Palace of the Dominican Republic built 1947 (50th Anniversary) , being one of
the three architects selected. In it, his tasks were interior design, mainly the floors, as well as
new auxiliary buildings, the heliport, and as project manager of air conditioners, structures,
electric issues directed by the different consulting firms. As a production designer : Worked
in the production and architectural planning of events and concerts and shows, such as Julio
Iglesias, Oscar de La Renta catwalks etc. As a university professor : Taught at –UCE-
Universidad Central del Este (Alma Mater) and –UNIBE-(Universidad Iberoamericana), as
certified professor of CAAD since 1990 (computer aided architectural design), such as the
subjects interior and architectural design.

Exodo Exodo
Mixed media on paper, Mixed media on paper,
50x70cm, 2020 50x70cm, 2020

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Sorrow Garden - Mixed media on paper, 50x70cm, 2020

Sorrow Garden 2 - Mixed media on paper, 50x70cm, 2020

Your artistic work spans a wide range of mediums, from drawings and paintings to video mapping and
multimedia projects. How do you choose which medium to use for a particular concept?
There´s not any in specific, my work is a synthesis of many elements, such as little objects “TRASH” that we
find in the street, thoughts, common people history etc. the final product are videos and computer generated
images “Hybrids” digital collage or still from the videos.
Maybe because architecture my another profession, talking With Christophe Besse, who is writing about my
videos, we define it as an 4 dimensional “ART-SPACES” that we pass through and during this “periplus”
something change.
Having been born and raised in Santo Domingo and now working in Faro, how do the cultural contrasts
between the Dominican Republic and Portugal influence your creative approach?
People as me who live in an island need to go out and come back, not the same when one lives in a
continent, I never see myself as an immigrant but personal reason or something people call destiny, I stop by
in Faro and stay.
Since I was a child I get positive moods from changes, starting over in other places, in my case New York,
San Pedro de Macóris, Berlin and now here, my home.
You were part of the architectural remodeling team for the Presidential Palace of the Dominican
Republic. What was that experience like, and how did it shape your understanding of architecture as
both art and function?
It is an 1947 eclectic style 19th. Century building, art all around to keep, this REHAB project was a challenge
for a young architect, we have not only design new buildings, remodeling, interiors, news technical
installations , we have also to do architectural survey for the CAAD plans layouts, original being lost .
Technologies were not the same as today. I did all the plans myself in only one computer, Autocad DOS 10
version, at the same time manage the constructions procedure with others architects and constructors.

Obstinate
Mixed media on paper,
50x70cm, 2018

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Force - Mixed media on paper, Mate Giclee Print, 85x150cm, 2020
In your studio, you collaborate with both the arts and architectural sectors. How do you see these
disciplines intersecting and complementing each other in your projects?
Since youth see myself in different task, architect, artist, cinematographer, photographer etc.
In somehow Architecture helps me to understand this 4 dimensional “ART-SPACES” concept, but is very
difficult to work with art at the same time, both disciplines demand much time.
Your work as a production designer for high-profile events such as Julio Iglesias concerts and Oscar
de la Renta shows is impressive. How do you approach creating a visual atmosphere for such different
types of performances?
I studied Cinematography (1983), because set design, accidently in 1998 a Minister ask me for design an stand
for the president and we won a prize, since then I start to work in successfully in ephemeral architectural,
then as producer in 2007 I did independent research, studied production design for New York Broadway
Musical. My approach is the emotion of set-design, forms without any creative limitation and the adrenaline
in the machinery of a life performance show.
The volunteer work you do with educational institutions in Faro is a unique aspect of your career. What
inspired you to engage in these community projects, and how has working with young people
influenced your own art?
Make people Happy that art is for.
First we have to give to something back to this society, second is a great feedback, young people teach me
new things “UPGRADE ME” inspire me and help me to understand this changing world much better.
Teaching has been a significant part of your career, especially in CAAD (computer-aided architectural
design). How has teaching impacted your understanding of art and design, and what do you find most
rewarding about it?
“When you teach you learn”
After graduated, CAAD teacher was my first job then universities ask me to teach design
(architectural/interior). I really miss my students, we did great things, and the most rewarding was the
opportunity to inspire then with my life “I was dreamer with empty pockets” but knowledge open doors and
always somebody helps.

22 Stubborn - Mixed media on paper, 50x70cm, 2020

Your work includes supporting architectural and interior firms with design solutions. How does your
experience in both art and architecture inform your approach to these projects?
Is very collateral team work, I am an old man, as I say before need young people near, most of the architect I
work with are very young, they listen, respect me as a person and foreign professional, teach me the new
trends and technologies that helps also in my “ART-SPACES”.
You work with digital collages and video, both relatively modern art forms. What excites you most
about using technology in your creative process, and how do you see these mediums evolving?
I never want to focus my work because technologies, is only a tool, art school teach us the creative rules
which are very clear to be follow, then we develop our style, the most important is the artistic qualityand
its contributions to the humanity.
I don´t know if my art work is good enough, there is passion here that makes me so happy and it will change
according to the times as myself.
Something exciting is that our philosophy is to use GLP (open sources) software as Blender and Gimp, etc. We
work in community worldwide having the opportunity exchange and contribute in their development.
What new directions or themes
are you currently exploring in
your personal artwork, and are
there any upcoming projects
you’re particularly excited
about?
“All Art is autobiographical”
Federico Fellini,
2013 “the change” when moving,
Faro became my home and
inspire “The Trash-Transform
Project” (work in progress) is a
fictional history by the that start in
Tbilisi Georgia.
This project includes painting,
drawings, photography, videos,
audios, site-specific installation
and will be all together in a book
with the same name, using new
technologies but I need time,
much work and GROW UP. ….
Somebody help?

Just Kinky
Mixed media on paper,
70x50cm, 2024

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 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’.

Since 2019, Lewis has participated in 100+ exhibitions across the UK 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 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 participated in two more virtual arts-science residences with Mayes Creative. work
from the residency was included in a publication that now resides within the Royal
Astronomy Society Archive. Lewis joined Mayes Creative once again for their January 2024
residency in the Cot Valley, Cornwall, UK. Lewis has formed strong relations with the
Brazilian art organisation Artlymix and the Georgian-based gallery Collect Art. As of
present, Lewis has featured in 16+ exhibitions with Artlymix in Sao Paulo, Brazil and 12+ of
Collect Art's publications & Digital exhibitions as of July 2024 to name a few of his
achievements.

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 Gravitational Waves

T​ he detection of ripples in space-time created by objects of high mass offers a new way to
view the cosmos from when it was a young universe comparable to when the first optical
telescope was invented. Everything in the universe produces vibrations within space-time.
However, most objects including Earth, are undetectable due to how weak they are from
smaller masses. However, titanic collisions between high-mass objects like colliding Neutron
Stars & Black Holes generate these gravitational waves in strengths which we can detect
here on Earth despite the fact they occurred halfway across the universe billions of years
ago.
Breaking down the distance between these colossal gravitational machines and the viewer,
'Gravitational Waves' has been created with the use of gravity on a much smaller scale.
Created using a careful set up of light, water and gravity and then through various digital
editing, the work attempts to open a window up close and personal with some of the true
titans of the cosmos and the cataclysmic collisions created when they stray too close to
each other in a dance of death.
‘Gravitational Waves I’ - Giclee Print on Paper, 59.4x84.1cm, 2023

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‘Gravitational Waves II’ - Giclee Print on Paper, 59.4x84.1cm, 2023

‘Gravitational Waves III’ - Giclee Print on Paper, 59.4x84.1cm, 2023

How do you balance the integration of scientific information with artistic expression in your work, and
what challenges do you face in this interdisciplinary approach?
It depends on the work and subject matter. Quite often it’s about trying to visualise something from large
amounts of data and information which can be quite overwhelming. However, if making the subject visual, it
appears as though we can attempt to understand it with a little more ease. The combination of scientific
information with an artwork and then trying to communicate that through an ‘Informative Encounter’ was the
basis of my Master’s thesis and something which I continue to actively work with and push the boundaries with in
my practice.
- New Knowledge
- New Viewpoints / Impossible Viewpoints
- Comprehension
- Visualising Data
- Collapsing Distances
- Answering Questions
- Open Up Conversations
- Condensing Information
- A Catalyst for information
- Understanding or attempting to Understand
The ten characteristics stated are the result of investigations conducted during my masters degree in attempting
to understand ‘The Informative Encounter’ as a methodology of working. Similarities between all of them can be
made in the sense of them all being used to try and understand or attempt to understand an entity, process or
scientific data. So much so that ‘Understanding or attempting to understand’ is its own characteristic and I
would say the basis of my artistic expression is I’m trying to understand a subject matter just as much as the
audience through my artworks. Every piece of work within my practice conforms to one or more of the
characteristics above. However, sometimes the work itself will not be able to communicate the entirety of the
subject matter. Instead, it could offer snippets to the viewer, enough to open up conversations that may lead
them to further research the subject matter.
What is the most rewarding aspect of being an artist for you?
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 practice I incorporate ideas from nature and science which I’m curious
about and want to explore further and visually conduct investigations into them which then produces my
artworks. As a child, I often liked looking through books with lots of images, they felt like windows to something
else. Now being an artist I can create my own windows but also learn about a subject matter in the process. The
additional bonus being I then get to display that artwork in either and exhibition or publication like this one.
Nature and our place within the universe seem to be recurring themes in your art. What draws you to
explore these subjects, and how do you hope your audience will respond to them?
This aspect of my work can be traced back to myself asking myself constantly ‘what’s our place within this
cosmos?’. Honestly, I don’t mind if the answer 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 (which will probably
never be answered). When it comes to audience, this is a question I like to leave open, what do they feel their
place is in our cosmos?
Moving to Leeds to study Fine Art and completing your Postgraduate Degree there must have influenced
your artistic journey. Can you share how your time in Leeds has shaped your artistic vision?
100%. My studies on my Bachelors and Masters Degrees in Leeds have shaped my practice to become what it is
today. The way I like to think of it is my Bachelors laid the foundations of my practice by guiding me to different
subject matters which fascinated me and creating work based on those interests. My Masters build a
superstructure on top of those foundations by focusing on how the subject matter should be communicated and
spending time to develop the theory of an ‘Informative Encounter’ methodology of working.
Your exhibitions have taken place across the UK and internationally. Have you noticed any differences
in how viewers from different regions or cultures interpret and engage with your art?
Yes. People from all walks of life have now encountered my work and it’s interesting to see the different
responses I’ve gotten from the variety of work and development of trying to stimulate the ‘Informative Encounter’
with the audience. Above all else, the most important aspect for me is that the work so far has opened up
conversations between the audience out of general curiosity in the subject matter and wanting to learn more.
The combination of fine art and science is unique in your work. How do you strike a balance between
artistic expression and scientific accuracy, especially when dealing with complex scientific concepts?
The artwork itself doesn’t necessarily have to be visually accurate as long as it remains true to aspects of the
scientific information that spawned the work. The balance and line between the two subjects shifts for each
work with some being more artistic expression than scientific accuracy whilst others are vice versa. The finding
of this balance is found through meticulous experimentation and thinking about how the idea in question could
most effectively be communicated through an ‘Informative Encounter’.

27
As an artist, you often challenge perceptions of scale and size, exploring the vastness of the universe
and the minuteness of molecular structures. What emotions or thoughts do you aim to evoke in your
audience?
When exploring either of these ends of the spectrum, my work aims to communicate curiosity and wonder with
awe. Because artworks are a reflection of the artist’s emotions these three I would say are the ones I experience
when I read/research the subject matter. As mentioned previously with the technique of an ‘Informative
Encounter’ in my work, the artworks want to stimulate these sorts of emotions when interacting with a viewer.
Do you create to understand or do you express what you have already learned? Or is it some
combination of both?
It’s a combination of them both. Most of my work aims to achieve some kind of ‘Informative Encounter’ with the
audience. A gain in scientific information through the use of a visual medium. Of course, I’ve already learned
about the subject matter whilst making the artwork but there have been a few subjects I’ve understood more
through creating the work.
What does it mean to be original or unique (referring to art)?
Tricky. Nothing in art is original, it’s always been influenced by something else. Think of it more like a tree
constantly growing. I’m just another branch growing off the influence of previous works and artists. To be unique,
again tricky. Sounds simple but I would say just be yourself and stay true to what you want to create and your
ideas.
Is the end result more important than the process? Or the process?
Equal within my practice. To stimulate the informative encounter I mentioned earlier, the artwork needs to
translate the scientific information visually so that the audience can access that information. Then, of course,
there’s the end product which serves as the catalyst for the informative encounter.
Does art have a purpose?
Indeed. However, an artwork’s purpose can be decided by the artist or viewer. The list is endless in terms of what
art has been made for over the centuries.
How have their ideas shaped your work?
Many, I could easily go over the word count here. The pivotal artists that shaped my practice would be Antony
Gormley’s drawing works and Katie Paterson’s conceptual approach but their ideas resonated so much with my
work. Science and an endless list of Scientific thinkers are a huge influence on my work of course. With science
endeavors evolving and becoming more complex all the time, so too does my work evolve and attempt to
translate complex ideas.
What do you do to keep yourself motivated and interested in your work?
Sounds ironic but take breaks. Whether that be a day, a week, or sometimes a month. Nobody can work on art
24/7 effectively. When I come back, I’m fully motivated again. The other main factor would be continuing to
explore ideas and theories within science which I’m naturally curious about and then trying to visualize them
within an artwork.

‘Gravitational Waves IV’

Giclee Print on Paper,

59.4x84.1cm, 2023

28
 Saecred Solitude

Nicole Dobrila Chabala, born 12 February 2003 in Macedonia is a 21-year-old artist from
Zambia currently based in Hatfield, UK. Chabala spent her life around the world, living and
schooling in places such as Syria, Kosovo, Zambia etc. she finished her high school in
Uganda at Galaxy International School of Uganda where she then moved to the UK to study
fine art at the University of Hertfordshire. During that time she showed her work at shows
along with her classmates through group shows both in the school gallery and external
galleries such as Courtyard Arts and Free Range, all of which she took on curatorial roles.
She graduated upper second class with a bachelors in Fine Art in September of 2024 and is
now establishing her creative career.
‘’My foundation in my Christian faith and
experience as a black Zambian woman of
the African Diaspora greatly premises and
stands as a foundation for her work. My
current works engage with conceptions of
the “invisible”, from influences that alter
and determine human behaviour and self-
actualisation, gravity to trauma, to even
groups of people who may be unseen and
treated as such.
My intention is to bring the unseen and
unseeable to people’s attention, to create
vessels and “portals''. Where the two
seemingly polarised worlds are able to
meet, communicating emotions, thoughts
and intellect beyond the verbal medium,
granting new perspectives and creating
starting points for people to have
conversations about these things amongst
themselves and with others.’’

Untitled - Digital media, 118.9x84.1cm, 2024

29
Your background is incredibly diverse, having lived in places like Syria, Kosovo, and Uganda. How
have these global experiences influenced your perspective on identity and the “invisible” themes you
explore?
Having the background and experiences I’ve had, I’ve adopted a wide scope and view on the world and
people as a whole, the similarities and differences in behavior, beliefs, patterns etc. it’s given me the space to
find my place in the world which I’m still navigating and allowed me to also see how the currents of this world
render certain aspects of life as invisible or non existent with varied premises.
You mention your Christian faith as a foundation in your work. Could you share how this faith shapes
the way you approach the unseen or hidden elements in human experience?
Inevitability with Christianity there’s an element of the intangible and invisible, the spirit world that is very real
and premises this physical one but can’t be seen. It’s influenced the perspective through which I see the
cultures and behaviors and every aspect of life I interact with on an everyday basis, bringing up questions like
“how much of our actions and preferences are actually our own?” Etc.
As a black Zambian woman within the African Diaspora, how do you navigate or bring forth diasporic
experiences in your artwork?
My culture had been a big part of my work, from African art to the clothing just the overall culture. I never
realized how rich African culture was until I came here because I was used to it, it’s a beautiful thing and also
quite spiritual which is something I look into not out of belief but curiosity and study. Overall, I feel it just adds
flavor to my life and art.
You’ve worked on the concept of “invisibility” from angles like human behavior, trauma, and gravity.
What initially drew you to explore this theme, and how do you see it evolving in future projects?
Funny enough it was a project in university where we had to choose a word and make a project from it. I chose
invisible. I had started by looking at micro-organisms, then some mental conditions like prosopagnosia (not
being able to see your reflection), then some quantum physics etc. I’m no where near done with this project
and I’m not quite sure where it will lead me but it’s quite exciting.
How do your “vessels” and “portals” function in your artwork? Could you describe one piece where
this concept stands out to you?
The purpose of my pieces is to raise questions and leave this sort of uneasy linger. It’s less about illustrating
and/or demonstrating when it comes to communication. The whole premise about not being entirely control is
what’s elemental here even with the creation of my work. The “hanger’s soul” series in this show is one that
stand out. If I was to visualize something “other”and it’s attempt to communicate that would be one the
depictions. They were made from images of hangers and their shadows and I found it interesting that such
normal objects could create an eerie atmosphere.
Your work aims to bridge "polarized worlds" to communicate beyond language. Could you share how
you visually interpret and create such bridges in your compositions?
I wanted to make something that bothered people or overstimulated them and weirded them out. I’ve
realizedthat the weirder something is or off putting the stronger that pull to communicate with it is. Even if you
walk away, it’ll still linger and that’s what I want.
Having taken on curatorial roles in group exhibitions, how has curating shaped your perspective as an
artist and the way you present your own pieces?
Taking on curatorial roles had shown me the professional aspect of the art world and the need to figure out a
balance of practicality and ambition as well as a level of professionalism with the work. I used to just create
and forget about it thinking the people taking care of the show will figure it out but now I understand that all
of that has to be in taken into consideration while making so I’d say it’s matured my craft quite a bit.
Could you describe a specific group of “invisible” people you’ve focused on in your work, and the
emotions you aimed to convey through their representation?
People like me basically, black, African women, artists, Christians. From nationality to beauty standards to
intellect to morals etc. we’re challenged on every level. W. E. B DuBois coined a term “the veil” referring to
how as people of colour our lives are lived through and invisible veil where we’re restricted from certain
freedoms and experiences and that hit the nail of the head for me. I guess I’m just talking about myself and the
feelings within me, and I know that the groups in which I fit in share the same emotions.

30
 Hangers’ souls

Digital media,
118.9x84.1cm, 2024

A composition premised by a process of repetition, manipulation, alteration, inversion etc.

 Hangers’ souls-2

Digital media,
118.9x84.1cm, 2024

A composition premised by a process of repetition, manipulation, alteration, inversion etc.

 Untitled

Digital media,
118.9x84.1cm, 2023

A composition premised by a process of repetition, manipulation, alteration, inversion etc.

In creating "starting points for conversations," what kind of dialogues do you hope your audiences
have after experiencing your work?
The acknowledgment of the invisible firstly, why the invisible is invisible especially if it’s within our control, how
to bring light to the invisible groups of people in this world. a self reflection where people are able to ask
themselves if who they are is entirely in their control and how their environments, beliefs even bloodlines have
influenced their identity, is that a good or bad thing? Etc. A wide array of conversations could be sparked
honestly.
Now that you’re based in the UK and building your career, how do you envision your work evolving, and
are there new themes or mediums you’re excited to explore?
I definitely see myself going bigger and bolder, with goals, sizes of my work, everything, maturing in my visual
language and becoming more articulate with it as well. In terms of the themes and mediums, I really don’t
know, and I find that quite exciting. I am quite multi disciplinary already, but I guess diving deeper in that and
mixing and matching the mediums. I’m open to anything (apart from performing arts I haven’t reached there
yet).

Untitled

Digital media,
84.1x118.9cm, 2024

A composition premised by a process of repetition, manipulation, alteration, inversion etc.

34
 Weizhi Cao

Weizhi Cao is a distinguished digital artist known for his innovative use of artificial
intelligence in creative content. His work blends AI-generated visuals with traditional art
forms, creating a unique visual language that pushes the boundaries of art and technology.
Recognized internationally, his pieces have been showcased in exhibitions and have
received multiple nominations and awards at prestigious film festivals. Beyond traditional
media, Weizhi Cao has also built a strong following on Chinese social platforms. He remains
dedicated to exploring AI’s applications in digital art, striving for breakthroughs that
integrate art and advanced technology.

35 万象 ALL BEINGS - Digital Art, 75x100cm, 2024

Your work merges AI technology with traditional art forms. What inspired you to combine these
elements, and how do you see AI as a transformative tool in the art world?
My creative inspiration stems from an exploration of the fusion between human emotions and futuristic
technology. AI is not only a technical tool; it also enables the integration of technology with traditional art,
imparting a unique perspective to each piece—one that combines a sense of futurism with emotional depth.
Can you describe your process of creating AI-generated visuals? How do you decide when to lean on
AI and when to incorporate traditional artistic techniques?
Before beginning a piece, I establish a general artistic framework and envision the thematic direction. I then
use specific keywords and parameter settings to generate initial visuals through AI, allowing unique shapes
and forms to emerge. In subsequent adjustments, I add layers of detail and emotional expression to enhance
the work’s depth and resonance.
In your artist statement, you describe your work as capturing the "symphony of life in nature." Could
you share how you approach portraying such organic themes with the help of digital tools and AI?
Human perception allows us to capture the essence of life in nature, while AI-generated elements enable me
to explore its intricate details on both micro and macro levels. I then refine these elements in the final stages
of creation, adding layers of emotion and vitality to bring a deeper resonance to the work.
How do you ensure that each animal in your compositions conveys a unique expression and symbolic
meaning? What role does AI play in achieving this depth?
When creating each animal, I begin by observing its form and character to establish its symbolic meaning and
artistic framework. AI serves as a tool to realize this vision, allowing me to explore rich forms and textures. In
the final adjustments, I carefully refine these elements, ensuring each animal is visually unique and full of inner
meaning.
Your art has resonated with a wide audience
on Chinese social platforms. How does the
digital landscape in China influence your
approach to creating and sharing art?
The digital landscape in China provides a vast
platform for creation and display, and feedback
from social media allows me to quickly
understand the audience's emotional responses,
enabling me to focus more on emotional
expression and interactivity in my work.
Given your experience with exhibitions and
prestigious film festivals, how has the
recognition you’ve received influenced your
work or goals as an artist?
Receiving recognition at international exhibitions
and film festivals has not only validated my
artistic exploration but also inspired me to pursue
higher artistic standards in my work. In the future,
I will continue to challenge new forms and
themes, deepening the emotional depth of my
pieces to create a more profound resonance
both visually and spiritually.

Samurai
Digital Art,
100x75cm, 2024

36
 As AI and digital art gain
popularity, what are some
ethical considerations or
challenges you've encountered
in using AI creatively?
With the growing prevalence of
AI and digital art, issues of
copyright and originality in
creation have become
increasingly important. AI-
generated art inevitably blurs the
boundary between human and
machine, so I focus on preserving
the originality and artistic depth
of my work with the support of
technology, ensuring that each
piece is not merely a product of
algorithms but an expression of
genuine emotion and thought.
Your work aims to bridge art
and advanced technology.
What are some of the
breakthroughs you’re hoping
to achieve, and how do you
see your art evolving in the
future?
I hope to achieve a deeper level
of emotional interaction and
resonance with the audience by
merging art with cutting-edge
technology. In my future
creations, I aim to push beyond
traditional artistic boundaries,
finding a dynamic balance
between the digital and the real.
Samurai
Digital Art, 100x75cm, 2024

Your recent piece captures both stillness and vitality in the natural world. What message or emotion
do you hope viewers take away from your portrayal of these dualities?
I hope that viewers, while appreciating this piece, not only see the natural power and vitality it embodies but
also feel the harmonious coexistence of stillness and energy in the natural world.
Finally, for aspiring digital artists interested in using AI, what advice would you give them about
integrating technology into their creative processes while maintaining artistic authenticity?
For aspiring digital artists interested in using AI, I advise maintaining a critical perspective on technology
throughout the creative process. Treat AI as a tool rather than a replacement, ensuring that your personal style
and emotions are reflected in your work. Additionally, continuously experiment with and explore new
technologies while integrating traditional artistic techniques to enhance the depth and uniqueness of your
pieces. Most importantly, always nurture your passion for creation and the pursuit of self-expression, as this is
essential for achieving true artistic authenticity.

37
 Samurai
Digital Art,
100x75cm, 2024
 COLLECT ART

39
notes
DIGITAL DREAMS | SPECIAL EDITION | NOVEMBER 2024 | TBILISI, GEORGIA | COLLECT ART