Inspirational

art magazine
93

Adrian P Smith Anton Abela

Shane Allison Matthew Morpheus
Satadru Sovan Banduri
Dareen Anwar Sonjaye Maurya
Inspirational magazine is copyrighted and therefore
all rights are reserved for both the magazine and the
featured artists.

Cover: Fire Star Selfie Painting by Shane Allison

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contents:
Inspirational 93 January 2025

Adrian P Smith interview 4

Anton Abela interview 33
Shane Allison feature 62
Matthew Morpheus interview 78
Satadru Sovan Banduri feature 101
Dareen Anwar interview 125
Sonjaye Maurya interview 143

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Adrian P
Smith
interview

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Adrian P Smith interview
What was your route towards becoming a visual
artist?
APS: My professional background is in Design –
specifically Fashion. Following graduation from
Edinburgh College of Art and the Royal College of Art
in the late Eighties, I moved to Italy. Over a 25-30
year period I worked largely for high-end luxury-
goods brands such as Gucci, Prada, Cerruti, Cavalli...
among others of differing levels and product types in
both Menswear and Womenswear. As a designer, I
was tasked with interpreting a brand's heritage,
legacy and Dna to create collections that stayed
abreast of trends in contemporary culture and
aesthetics, while remaining relevant to the brand's
perceived image and expectations. This meant that
although I deployed my own aesthetics and concerns
in developing designs, I always had to tailor them to
another's vision. My textile work grew out of a
creative necessity to express my own aesthetics and
concerns – my personal vision- without external
parameters or commercial concerns. As such, it
became an expression of my personal creativity and
concerns running alongside my professional work. As
a choice of expressive medium, I'm unsure whether it
grew out of my professional sphere (much of my
work involved the development of exclusive, bespoke
fabrics) or whether the natural draw toward fibre and
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Adrian P Smith interview
textiles was always there.

On returning to the UK, I shifted the focus of my

activity toward Textile Art and It now represents my
main creative output. For certain aspects I've found
choosing Textile Art as a medium for artistic
expression has its own difficulties. Rooted in the
domestic decorative Arts, Textile art has always been
sidelined by establishment Art world gatekeepers,
galleries, curators and critics and there is still a
certain wilful ignorance applied today in obstinately
elevating Drawing and Painting and traditional
Sculpture above textile art as a credible Fine Art
medium of expression. Things are improving – largely
due to the change in misogynist attitudes toward
women Artists – who represent the majority of Artists
working in Textile Art mediums. Contemporary
sculpture has also moved away from traditional
materials to embrace Mixed Media and this has
positively impacted attitudes regarding the
importance of medium in the expression of Ideas.
That said, it continues to be an uphill struggle for
those working in Textile mediums.

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Adrian P Smith interview
What is it about textiles in particular, that so excites
you?
APS: I've drawn and painted obsessively since early
childhood and it was always assumed I would go to
Art School to train as a painter. I initially chose the
faculty of drawing and painting as it seemed to play to
my strengths but soon discovered that I didn't find
these mediums to be a sufficiently personal vehicle to
express my own creative voice and individuality. My
choice to change mid-course to Fashion was
considered shocking at the time and I didn't entirely
understand it myself. It was an instinctual choice
inspired by handling textile materials during a
foundation year introduction to Fashion Design and
the intimate sensation that had stayed with me. I also
had a particular fascination with the way people
presented themselves and how their external image
spoke unknowingly of internal qualities. Looking back,
although my creativity would have perhaps been
better served by choosing the Tapestry department
(which embraced far less traditional mixed-media
mediums) the decision to enter Fashion design
determined the course of my professional and artistic
life for decades to come. Positively.

Entering into the specifics of why I'm so attracted to

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Adrian P Smith interview
Textile Art, It's the opportunity to deploy form,
texture, lustre and movement in an embracing way
that I feel is visually and psychologically seductive.
The textile medium has a shifting and changing
quality which speaks to my view that things are never
entirely as they appear to be at first glance. I'm also
drawn to the paradox of playing on our natural instinct
to experience materials through touch - overtly
stimulating in the audience the desire to touch an
artwork- but at the same time being fully aware that
in an exhibition environment, we actively frustrate
that desire. I feel this sets up a particular friction,
energy and reverberation between the audience and
the artwork that isn't quite the same in other
mediums.

Can you tell us about some of your creative

projects?
APS: I tend to work in series. The first coordinated
series I worked on was 'SALIGIA - Seven deadly Sins'
This choice of inspiration enabled me to experiment
and explore different aesthetic moods and materials
while maintaining an over-arching message and
cohesion to the project. It was deliberately developed
to be as visually seductive as I could achieve with the
hope that it would stimulate spectators to re-evaluate
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the whole concept of Sin. The project was creatively
very rewarding and spurred me on to continue with
the concept of visual seduction at the core of what I
do. Since then I have explored other inspirations.

'Death becomes Her' was visually inspired by

Germany's jewelled Saints and I re-worked the impact
of those artefacts into a series of three panels which
ramped up the seductive quality of shot jewelled
fabric tones, floral elements, and embroidery with a
skull motif at the centre. My intention was to
stimulate reflection on the nature of vanity and
hoarding of wealth and notoriety as a misguided route
to immortality 'Environment' was a more obvious
inspiration and message. The pieces seek to provoke
reflection on the immense environmental challenges
we face and our own personal role and attitudes to
the wholesale destruction we are bringing about as a
species. I developed four panels with the intention of
continuing the series, but found the theme of
environment had already saturated the collective
imagination and although I had a lot to say on the
subject, I felt a bigger series wouldn't be any more
incisive at the time. I may return to them at some
point in the future, although I believe I would
approach it with a more ambitious scale – perhaps as
installation pieces. Unfinished business.
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Adrian P Smith interview
The largest project I've been working on is 'Orkney –
A Selective Memory'. My return to the UK, and
Scotland in particular inspired me to re-evaluate my
childhood spent in the Orkney Isles, both with an
unavoidable nostalgic edge and with changes wrought
by hindsight. Although the series articulates my love
of the Orcadian Landscape, culture and Norse
folklore, I'm aware there's an element of rose-tinted
glasses to the project. I've largely chosen to highlight
elements that carry positive feelings for me and that
in itself is -I'd hope- a comment on our tendency to
re-write our memories in a more positive, nostalgic,
even flattering light. Although my childhood in this
bucolic setting was far from idyllic, I choose to focus
on positivity. I've always had little trust in
psychoanalysis and more trust in the mind's ability
for self-preservation through editing and re-working
memories and experiences in a way that sustain and
support us through current difficulties. Although I
work in series, I tend to work periodically on several
pieces at the same time. My choice of techniques is
extremely work-intensive and often fatigue sets in, so
I find it helpful to put aside something when it
becomes too repetitive and tiresome.

A recent series is 'Wilful Optimism'. Following the

massive cultural shift caused by the pandemic I
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perceived a shift in media strategy where its doom-
mongering tendencies seem to have been amplified
considerably. It seems increasingly difficult to find
positivity, empathy and constructive attitudes and this
series employs vibrant, intense colour and texture as
an exhortation to rise above pervasive negativity and
division. I am currently working on the third piece in
the series.

My most recent work has been portraiture. This

connects to my fascination in how people present
themselves that originally inspired my choice to work
in Fashion. Thread portraits created through
embroidery are nothing new these days but I use a
technique of layered transparent organza to create
depth and tone – much like watercolour layering. The
final layer is thread-embroidered to create detail but
the shifting transparency remains, hopefully giving
the portraits an enigmatic quality that suggests their
faceted personalities.

A considerable amount of time this year has been

absorbed by my work developing the Social Media
Presence of EDGE Textile Artists Scotland – a group
I'm a member of. By raising the group's profile and
bringing it in step with the contemporary digital age, I
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hope to provide increased visibility for the talented
Artists in the group and for Textile Art more widely.

Is your work planned ahead in detail, or are there

elements that can be spontaneous?
APS: I'm not a spontaneous Artist. The techniques I
employ are highly controlled, but at the same time I
don't spend a lot of effort on development processes
like sketching. I know many Artists find that
sketchbooks are the best vehicle for experimentation
and development but personally, I always start from
what is a very clear and vivid mental picture of the
inspiration and the Image I want to achieve visually. I
work directly on the canvas and although the pieces
may involve small changes and course-corrections
(often forced or inspired by physical challenges of the
medium) I always find my pieces never stray far from
my initial mental picture. I often ask myself if the
exhaustive sketch work of variations and experiment
necessary for my design work could be positively
applied also to developing my textile art, but my
instinct tells me it's not part of my natural process. I
feel that unless I have a clear idea from the start, I'm
unlikely to find it through doodling and sketching.

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Adrian P Smith interview
What kind of direction do you think your work will
take in the future?
APS: Scale. I think it's inevitable - particularly for
Textile Art, although in all truth many of the
techniques I use are more naturally suited to an
intimate dimension. I've noticed however that the
recent change in attitudes of curators and Art world
gatekeepers toward Textile Art has been focused
almost entirely on work on a large scale. Chiharu
Shiota and El Anatsui for example impress by virtue
of scale. Their work challenges the connotations of
Textile Art as being domestic and intimate and
demonstrates that as a medium it can inhabit and fill
an environment, changing that environment and our
mood and reaction to it. I feel that I need to make my
work more immersive, and scale is the most effective
tool for that. It's a challenge as so much of my work
has always been tied to seductive minutia but It's an
unavoidable challenge as I feel I need to detach my
work from the wall.

How would you like others to view and interpret your

work, if at all?
APS: Reflection through seduction. My work comes
from a particular inspiration and I try to create a
mood that draws the spectator in and in that moment
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of intimacy encourages them to reflect on their own
personal reaction to the inspiration. I'm not interested
in simplistic political message-peddling as its own
justification – I hopefully produce seductive avatars
that encourage people to reflect on their own
attitudes.

Is there any visual artist, living or dead, that you

particularly admire, and for what reason?
APS: That's a tough one. I have quite varied tastes
and find some element of seduction in different types
of vision - but specifically for Textile Art, Magdalena
Abakanowicz. Apart from aesthetic considerations I
admire how she was working at a time when Textile
Art was largely ignored and ridiculed by the
establishment and yet she produced work of such
commitment, presence and strength that it won out
eventually. She has had an immense impact on Textile
Artists and if the truth be told, I don't believe anyone
has ever improved on her creative success in working
with the medium.

The most influential Textile Artist for me personally

was Itchiku Kobota. I saw an exhibition of his
Kimonos over 35 years ago and his treatment of
materials, colour, technique and texture had a
profound impact on my own work and aesthetics –
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although I only realised this about 5 years ago.

Are you working on anything specifically at the

moment?
APS: I'm currently working on four distinct pieces! –
A portrait, a 'Wilful Optimism' piece, a sculptural
totem piece for an upcoming exhibition and
continuing work on my Orkney series.

Do you have any upcoming exhibitions, shows or

events that you’d like to mention – on or offline?
APS: As a member of EDGE Textile Artists Scotland I
exhibit regularly with them. Following a successful
exhibition 'Surfaces and Undercurrents' in Edinburgh,
In September 24, the show will be repeated in April
2025 in Glasgow at the Cass Art exhibition space. I'll
be showing my portrait work there. I'll also be
exhibiting work at EDGE's upcoming exhibition in
Peebles in late Spring in conjunction with the John
Buchan Centenary and with EDGE's 25th Anniversary.
The pieces will respond to inspiration from Buchan's
life and the anniversary is marked by an open
exhibition. For the Open part, I'm undecided between
exhibiting portraits or something from the 'Wilful
Optimism' series. As I feel my Orkney Series is
nearing completion I'm currently exploring
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opportunities for a venue to hold a solo show –
hopefully in Orkney.

And where can you be found online?

APS: I have a website – www.tideandcroft.com
(currently under reconstruction) but I'm most active
on Instagram @adriantextiles
My profile can also be seen on EDGE's website
https://edge-textileartists-scotland.com/edge-artists/
adrian-smith/

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Adrian P Smith interview
Artwork
Page 5 Wake—Ferrylouper (part of the Orkney—A
Selective Memory series) [transparent organza
applique, draped onto canvas support, 21cm x 49cm
(unframed)] 2022
Page 6 Wake—Ferrylouper (part of the Orkney—A
Selective Memory series) [transparent organza
applique, draped onto canvas support, 21cm x 49cm
(unframed)] 2022
Page 7 Skreevar—Storm (part of the Orkney—A
Selective Memory series) [raw edge and fringed
organza couch-stitched onto canvas support, 31.5cm
x 31.5cm (unframed], 2022
Page 8 Skreevar—Storm (part of the Orkney—A
Selective Memory series) [raw edge and fringed
organza couch-stitched onto canvas support, 31.5cm
x 31.5cm (unframed], 2022
Page 9 Skreevar—Storm (detail) (part of the
Orkney—A Selective Memory series) [raw edge and
fringed organza couch-stitched onto canvas support,
31.5cm x 31.5cm (unframed], 2022
Page 10 Haar (part of the Orkney—A Selective
Memory series) [fringed and gathered transparent
organza couched onto pieced cotton and silk
background on canvas support, 21cm x 50.5cm
(unframed)] 2021
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Page 11 Haar (part of the Orkney—A Selective
Memory series) [fringed and gathered transparent
organza couched onto pieced cotton and silk
background on canvas support, 21cm x 50.5cm
(unframed)] 2021
Page 12 Haar (part of the Orkney—A Selective
Memory series) (detail) [fringed and gathered
transparent organza couched onto pieced cotton and
silk background on canvas support, 21cm x 50.5cm
(unframed)] 2021
Page 13 Limited Environmental Impact (part of the
Environmental Series) [fringed silk batik feathers and
moth motifs, cordura nylon and silk taffeta and steel
wire couch-stitched onto foam and canvas support
with resin, 47cm x 47cm (unframed)] 2018
Page 14 Limited Environmental Impact (part of the
Environmental Series) (detail) [fringed silk batik
feathers and moth motifs, cordura nylon and silk
taffeta and steel wire couch-stitched onto foam and
canvas support with resin, 47cm x 47cm (unframed)]
2018
Page 15 Death Becomes Her—Bordeaux (part of the
Death Becomes Her series) [pieced silk taffeta and jet
-embroidery on foam and canvas support with heat-
sealed floral background in shot silk and polyester
taffeta and organza, 61cm x 91cm] 2022
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Adrian P Smith interview
Page 16 Death Becomes Her—Bordeaux (part of the
Death Becomes Her series) (detail) [pieced silk taffeta
and jet-embroidery on foam and canvas support with
heat-sealed floral background in shot silk and
polyester taffeta and organza, 61cm x 91cm] 2022
Page 17 Lance—Strata (part of the Portrait series)
[thread embroidery with metal accessories on layered
organza over perspex sheets with shantung
background on canvas support, 45cm x 60cm
(framed)], 2024

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 Anton
Abela
interview

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Anton Abela interview
What was your route towards becoming a visual
artist?
AA: I think this was a natural process, as more than a
route, I do believe that all paths have led back
towards becoming a visual artist.

I do have a vague memory of the painful headaches

and my perception of reality back to when I was a
child. On the other hand, I do remember clearly that I
started doodling distorted monsters before writing
properly. I do remember climbing on a fig-tree at the
far end of our garden, sit on one of its thick branches
and either draw, get immersed in fantastical
descriptions of distant lands or get lost in book
illustrations. Drawing and then getting immersed in
books, became a way to distract me from the pain,
day-visions and night terrors, and detach me from
reality. My formative years were shaped around the
headaches, vision loss and auras, not being able to
partake in most physical activities for a long period of
time at school, being labelled as odd and described
as constantly distracted. It seems that growing up
you accept the prognosis of having a very active
imagination and you forget the horrors perceived and
experienced in the past. Then, all of a sudden, the re-
emergence of suppressed memories of the day-
visions and night terrors, seem to come back with a
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vengeance and tear reality apart.

What is it about working in differing mediums, that

so excites you?
AA: What excites me about working in different
mediums… the diverse array of outcomes and
subliminal messages one can create. Even if one
does not succeed at first, there is always a lesson to
learn, and ways to improve.

When it comes to two-dimensional works: the texture

of dry media over wet media; the effects of broken
lines and missing blocks of colour; the sound a dry
medium does when one goes over a rough paper
already blocked in with dried wet medium; the
roughness of chalk or charcoal over thick acrylic; the
smooth lines and details one can create with pencil
colours over markers or watercolour; the way the
base colour sometimes shows and adds a new
dimension to the work. I love coffee, and it is not
surprising that sometimes this is used as a
background or as a base colour…

Sourcing and selecting the appropriate surface to

depict what you have in mind: whether this is
upcycled paper, canvas, processed wood, rough
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wood, and so forth...

In instances of three-dimensional works: the

satisfaction of seeing an image (or multiple images)
emerge, layer after layer; the feeling of clay against
your skin when forming a subject; the smell of the
clay, paint, and varnish… The choice of salvaged
material spans from scraps of upcycled wood, string,
fabric, cables, sand, jewellery findings, and bottle
caps, amongst others.

Writing all this, personally I think it is a combination

of the culmination of the senses with/and making
mental associations to the pieces being created; in
order to create new stimuli to generate more ideas.

Where does the inspiration come from for your

work?
AA: More often than not, my work tends to delve into
the realms of the real, imagined, unconventional and
the unknown. Inspiration comes mostly from the
human form, nature, dreams, horror, literature and
my own personal experiences.

My major inspiration and therefore one of my main

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subjects is the figurative form, and I do feel confident
in drawing and painting the male figure, and as a
subject matter this can explore different emotions
and themes. As a subject I feel that the male nude,
can have present dual characteristics, to name a few:
introversion – spontaneity; perfection – deformities;
strength – weakness; passive – aggressive; warm –
cold; cheerful – deranged; radiant – dark; paternal –
indifferent; intimate – exhibitionist. It is a subject that
has a myriad of themes that can be explored through
art (strong male form in warm/vulnerable situations,
burly men with teddy bears, or even elves imbued
with strong emotions).

Of late I have tapped into depicting more and more

the visions and dreams I experience, and therefore,
the subject matter is more directed towards “being
inspired by horror”. This is usually masked in works
that feature the vulnerable and exposed male body.
This inspiration is helping in the evolution of the male
nude as a muse, to a focus that amalgamates the
themes of horror, transformation through chronic pain
and the male nude together. The combination of the
male nude with elements of horror which can instil
fear, can easily provoke an attraction or an unsettling
feeling. To some extent the works created would
allow for viewers’ introspection, reaction and
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discussions. Of late, I have started to become even
more aware that the migraine experience with
distorted creatures and blurred visions, and the
broken perception that includes auras, orbs and
illusory split figures were being unconsciously
depicted in most of the artworks I have been creating
ever since I was a child.

Sometimes I try to find alternate ways to eliminate

local colour and use alternatives. This is inspired from
optical illusions and mind-games. One inspiration
came from looking at Traditional Negative Prints and
the Byzantine Style of Icon Painting (painting with
light).

During the Pandemic, I got somehow absorbed with

some scientific concepts, one of which was Thermal
Imaging Systems (used to measure surface skin
temperature); and as I still had to travel to work, had
more time to observe (somewhat less hustle and
bustle and passing through less-travelled side-
streets) and was inspired by the colours of the
spectrum and most importantly the predominant
colours of the Maltese Islands.

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I live on the Mediterranean Island of Malta, so grew
up surrounded by the ochres and red-ochres of the
stone, the bright colours of the facades and fields,
and the blue tones of the sea. Thus, it is not
surprising that at times my artworks range from
different media and techniques using bright/dark
colours, so synonymous with the Maltese islands.

I also get influenced by handmade Maltese Tiles and

the dying traditions, and my inspiration also comes in
developing my artistic and creative processes to be
focused towards breathing a new life to discarded
and salvaged items: looking to the past and nature to
create something innovative.
This is all what I describe as “art from the other side”.

Is your work planned ahead in detail, or are there

elements that can be spontaneous?
AA: When it comes to landscapes, streetscapes and
seascapes, the work is planned well in advance (from
sketch to preliminary study on the surface with all the
researched details). Through the process, I add
spontaneous hidden details within the work for the
viewer to find (small emblems, ghostly figures
peering, monograms, translucent creatures, etc).
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I do love sketching in transit on a bus, as it is more of
a free-form work, using only elements from dreams
and visions. The ride with all the bumps and brakes
adds interest with the mistakes done, difference in
weight of the line, the emphasis and the shade or
hatching used.

Spontaneity is evident more in the handmade

artworks. Even though most design elements are
planned well in advance so as to have a unified
balanced piece; certain aspects such as texture,
colour, flowing lines are more spontaneous and
organic.

What kind of direction do you think your work will

take in the future?
AA: Drawing and painting the male body has always
been a fascination for me and a subject that I feel
confident about. On a personal level this has always
been an extension of my inner self and my pure
emotions. The idea is to capture a scene, a moment
frozen in time, and skilfully present the viewer with a
frighteningly disturbing yet beautiful image, therefore
the combination of the male nude with elements of
horror.

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With each passing day I do feel like I am developing
my skills further in the execution of the Male Nude
and Horror, and most likely, future work will be in
creating more thought-provoking artworks that can:
serve as a stimulant for communication; change
society’s perception and acceptance of the male nude
in art; understand how visual cues, irrespective how
horrific these are, can help us relate to each other;
and how any subject in art, can be universal and can
ameliorate our well-being.

I believe one can create haunting artworks with the

right balance of elements (the dark and the beautiful)
to make the viewer look closer, get doubtful and
uncertain, and provoke an attraction yet unsettling
feeling towards the work.

How would you like others to view and interpret your

work, if at all?
AA: Art is powerful tool to communicate ideas and
tackle issues that sometimes seem to be hard to
communicate with just words. Personal experiences,
inspiration from the natural world and the human
form, dreams and literature, and experimentation
have always provided me with insights, thoughts and
visions that somehow manifest in the artistic
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creations themselves.

I always see my art not just as a mere mirror of the

world, but a portal that opens up the unknown, gets
more mysterious with each brushstroke, and which is
an extension of the human psyche. It is what I usually
describe as an art from the other side: which may be
the other side of the mind, another perception of
reality, the other side of a faded photograph, the
voice(s) within, a distant parallel universe, or the
other side of the soul.

Art is in this way the medium that not only

documents reality but transforms the imagined into
real: it gives a voice to silent whispers and what
cannot be heard; a shape to what can only be
fleetingly perceived from the corners of ones’ eyes; a
body to what many do not want to see; a setting that
sometimes is all too familiar but most fail to
acknowledge.

Is there any visual artist, living or dead, that you

particularly admire, and for what reason?
AA: My oh My… this is going to be tricky. There is
always a reason to admire artists: it could be their
way of sharing how they see the world in their works,
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the medium they use, their message behind the
artworks, the subject matter, or how they present
their self. I am pretty sure there are more and I may
have missed someone, but the artists I admire (not in
a particular preference), most of whom have become
my friends throughout these past years, are:

Jiří Trnka, Antonio Canova, Edward Hopper, Andrew

Wyeth, Jackson Pollock, Steven Jones, Paul Cadmus,
Gustave Doré, Arthur Rackham; Myrkky Photography,
Mothmeister, Ron Amato, Paul Freeman, Michael
Stokes, Bombelkie Brothers, Ray Aquilina, Etienne
Bugeja, Andreana Boldarini; Joseph Bugeja, Priscilla
Ainhoa Griscti, Antoine Xuereb, Chris Zarb, Christina
Acar, Kris Farrugia; Rosa Maria, Astra Zero, Stefan
Koidi, Alex Blackdriver, Lee J. McKnight, Ivor George
Sexton, RD Riccoboni, Gregory Little, Joel Armstrong,
Steve Hails, Leo Art, Adriano Lepri, Jo Ji, Kenney
Mencher, Omar Chaves Viteri, Benjamin Lester,
Аляксандр Чарненка, Marc DeBauch, Germa
Marquez, Vilela Valentin, Javier Trelis Sempere, Jorge
Bandarra, Philip Gladstone, Alex Gordenkov, Roland F.
Aïgo, Brenden Sanborn, Giovanni Muccitelli, Wim
Beullens, George Strasburger, Georg Meyer-Wiel,
Oleksandr Balbyshev, Zoranoske Vidakouchi, Sanjako
Vidakouchi, Neil Lavey, Riccardo Martinelli, Nickie
Charles, Alessio Slonimsky, Ted Randler, Dehem
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David, Daniel Acosta, Manolo Yanes (Masculum Ars),
Cesar Casta, Fred Delos, Micheal Swank, Paul
Richmond, Alson Castro, Igor Sychev, Nelson Failing,
Woo Dun, Leo Vincent Gagne, Ashe Levesque, Salem
Beiruti, David Cantero, Benjamin Gonzalez, Chris Von
Steiner, Huang Kevin, Balbir Krishan, Antoine Dutot
(4nt0n3), Mavekkart, James Duncan, Justin Hall,
Ryan Kroboth, William Simpson, Nikola Djukic, Zan
Christensen, Thom Collins, Fabian Ngu, Dervin
Batarlo, Olivier Flandrois, Damian Rucci, Emily
Schurink-Simons, John Marchena.

Are you working on anything specifically at the

moment?
AA: Like the artists I admire, I have a number of
projects and pieces going on at the same time – apart
from the ones that have been pending and awaiting to
be finished.

As I am in transit on a regular basis, my sketchbook

is getting filled with dark and horrific A5 sketches. I
am also working on more Handmade Maltese Tile
pattern inspired pieces; mixed-media floral roundels;
whimsical skeletons in playful scenarios; elves in
slumber; and of course, more male nudes.

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Anton Abela interview
Do you have any upcoming exhibitions, shows or
events that you’d like to mention – on or offline?
AA: Not really as am looking for specific venues for
three concepts that I have in mind:

First is a retrospective exhibition with works spanning

from the mid-90s to the present day;
A more specific space is needed for the second
exhibition concerning the Male Nude and Horror
artworks.

In the mean time I would like to launch and exhibit the

bright and bold Maltese Tiles inspired works with the
Birds and Butterflies, all executed in salvaged and
sustainable material.

And where can you be found online?

Facebook: @AntonAbelaArt
Instagram: @antonabela_art
Bluesky: @antonabela-art.bsky.social
Etsy: @AntonAbelaArt

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Anton Abela interview
Artwork
Page 34 There’s a song, you’re trembling to…
[watercolour pencils and alcohol markers, on 90gsm
upcycled paper, 29.4cm x 20.6cm] 2024
Page 35 Dandy Dreams [alcohol markers,
watercolour pencils, acrylic, paint marker and coffee,
on 220 gsm paper] 2020
Page 36 Night turns into Day [alcohol markers,
watercolour pencils and paint marker, 220gsm vellum
paper, 12.5cm x 18cm] 2024
Page 37 Ungaikyō (Haunted Mirror) [chalk,
charcoal, acrylic and glow in the dark sealer, on
canvas board, 60cm x 50cm] 2024
Page 38 The Glossolalic Strain [graphite, on 120gsm
paper, 20.3cm x 14.2cm] 2024
Page 39 Tut: reminder of Mortality [acrylic, paint
markers, polychromos, flat-back rhinestone on air-
drying clay; mounted on acrylic coated round wood,
35cm x 2.2cm] 2016
Page 40 Corazón de Cristo [acrylic, silver modelling
paste medium and gesso primer, on canvas, 80cm x
30cm] 2024
Page 41 Tanning the Rump [paint markers, on
240gsm marbled paper, 23cm x 12.4cm] 2021

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Anton Abela interview
Page 42 The Essence of the Self Always Shows
[graphite and alcohol marker, on 240gsm Bristol
board, 16.8cm x 9.9cm] 2023
Page 43 Guided towards a new Beginning [acrylic,
flat-back rhinestone cabochon on air-drying clay
mounted, on balsawood; mounted on acrylic, on
upcycled wood] 2024
Page 44 Petrified Spells of Strength [acrylic, paint
markers, on air-drying clay; acrylic and glass
cabochon, on wood bark; mounted on acrylic, sand,
crystals and shells, on wooden chopping board,
24.9cm x 24.9cm x 4cm] 2024
Page 45 The Façade: “Bag End” [oil, on canvas,
60cm x 40cm] 2022
Page 46 L-Imdina: the Radiant Citadel [oil, on canvas,
20cm x 30cm] 2021

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Shane
Allison
feature

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Shane Allison feature
Artist Statement

A friend recently told me that the riding theme in my

work is dicks, food, or dicks and food, but my
collages and paintings tend to turn and move in an
assortment of directions depending on any plan or
idea. I don't often have a set idea when it comes to
my collages, but when it does, it usually always
comes out exactly the way I envision it, which is so
magical to me. I'm a big fan of texture and line in my
work, so it's always fun to explore where that takes
me. Collage is the perfect medium in which to
experiment with those very things.

I believe the minute you rip or cut something from

the source, it has the ability to become whatever you
want by distorting it with other images. Collage
makes since and doesn't with me. I enjoy working in
that by using anything from fashion magazines,
phone books, to vintage Bibles and road maps.

Lately, humor has been a most interested topic in my

work, especially combined with the sexual. It's not
always easy to do in collage. The pieces have to
create a perfect match that's in-sync. Sometimes I'll
put something together and not even be aware that
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Shane Allison feature
I'm doing it in the work.

I also enjoy being influenced by other artists, but not

too much. That can be a bad rabbit hole to go down. I
see it in the work of these Basquiat wannabes.

Some might ask how I would describe my work, and I

would say it's visceral, weird, erotic, and funny just to
list a few labels.

Art has no rules so it can move and change like the

wind, so you have to be willing to move and change
with it. Trust the process. Always trust the process.

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Shane Allison feature
Artwork
Page 63 Justin [collage]
Page 64 Casa Chemical [collage]
Page 65 Energy Conservation [decollage]
Page 66 chap 2 [decollage]
Page 67 Even by [collage]
Page 68 Foody Tasty Cheesy [decollage]
Page 69 Centrino Processor [collage]
Page 70 Chicken Change [collage]
Page 71 Free For Students [collage]
Page 72 For Evening [collage]
Page 73 Flower Face [collage]
Page 74 Fire Star Selfie [painting]

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Matthew
Morpheus
interview

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Matthew Morpheus interview
What was your route towards becoming a visual
artist?
MM: My passion for art started when I was a child. I
have always loved drawing and experimenting with
objects around me, which has become a way for me
to express my thoughts and emotions, and as a result
my passion for art has become a permanent part of
my life.

I have no formal education in the visual arts, and this

has its pros and cons. I have met many academically
educated artists who have left the craft without ever
finding their path and their creative voice.

At first I created black and white graphics, which over

time grew into something more. The addition of
colour greatly enriched my work and brought me my
first international awards.

Experimenting with digital mediums has allowed me

to combine traditional methods with modern
innovations, expanding my creative possibilities and
reaching a wider audience. Integrating technology into
my artistic practice was another important stage in
my development as an artist.
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Matthew Morpheus interview
Ultimately, my journey to becoming a visual artist has
been a continuous process of self-learning,
experimentation and self-expression. It's about
staying curious, embracing new challenges and
constantly looking for new ways to depict the world
around me.

What is it about being a multi-disciplinary artist that

so excites you?
MM: Working with different techniques and materials
attracts me above all for its freedom. Being able to
engage in multiple art forms allows me to express
myself in different ways and explore different aspects
of creativity. Each discipline brings its own challenges
and opportunities, encouraging me to constantly learn
and grow.

The combination of different mediums and techniques

also inspires me to innovate. For example, using
spray paint on canvas or gel pens for graphics can
result in unique and unexpected works. Fully digital
collage tools also give me more freedom in the
creative process.

I have plans to combine traditional techniques with

digital art and integrate sculptures into multimedia
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projects. This helps my art to remain dynamic and
evolving, ensuring that I never experience creative
stagnation.

Being a multidisciplinary artist is a continuous

process of discovery and self-expression, full of
endless possibilities. It allows me to explore my
creativity further and share my vision of the world in
a multitude of ways.

Where does the inspiration come from for your

work?
MM: Inspiration for my work comes from many
sources, but music holds a special place. Music can
instantly transport me to another world, evoking
images and emotions that are then reflected in my
work.

Listening to different genres immerses me in their

atmospheres and rhythms, which helps me to
discover new visual ideas. Sometimes the melody or
lyrics of a song can provoke the creation of a series
of works, each of which conveys the mood and
emotions evoked by the music.

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Matthew Morpheus interview
Music also helps me to focus and immerse myself in
the process of creating. It serves as a backdrop that
helps me to disconnect from the outside world and
fully surrender to the creative process.

Thus, music is not only a source of inspiration for me,

but also an integral part of my creative journey,
helping me to express the depth of my feelings and
ideas through art.

Is your work planned ahead in detail, or are there

elements that can be spontaneous?
MM: If I work in the creation of collages such as
“New World Order” and “New Gods”, a complex
process that requires deep reflection on the current
state of society and its many challenges.

Choosing the elements for these compositions is both

an intuitive and conscious act based on research,
personal experience and cultural observations. I begin
with extensive research on the topics I want to
explore. This includes reading articles, books, and
news reports, as well as observing the world around
me. I pay special attention to social and political
trends and social change in order to gather a variety
of material for my work.
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Matthew Morpheus interview
Each element I select must have significant symbolic
weight. I look for images and objects that resonate
with the chosen themes, be it technology, power
dynamics, or the nature of human relationships.
These symbols help to create a narrative and act as
catalysts to encourage viewers to engage more
deeply with the artwork.

A key technique in my collages is the use of

juxtaposition. By juxtaposing contrasting elements
side by side, I aim to emphasise the complexities and
contradictions inherent in contemporary society. This
visual tension encourages viewers to question and
reflect on the interrelationships between these
elements.

But when I work with graphics or colours, intuitive

and spontaneous moments really play a key role.
These methods allow me to immerse myself in the
creative process, allowing ideas to flow freely and
without restriction.

Intuition guides me when choosing colour palettes,

shapes and textures. Each brush stroke or line on
paper is part of a journey that evolves in real time.
Spontaneity in art allows me to discover new paths
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Matthew Morpheus interview
and create works that would not be possible with a
strictly planned approach.

In such moments, I feel the greatest connection with

my inner world and my environment. It is a process
that allows me to express emotions and experiences
in the most sincere and direct way.

What kind of direction do you think your work will

take in the future?
MM: I see my future in art as continuing to
experiment and explore new boundaries of creativity.
In the coming years, I plan to deepen my research
into digital art and integrating it with traditional
methods. This combination allows me to create
unique works that combine the best of both worlds.

I also want to work more with interactive installations

that engage the viewer and offer new ways to interact
with art. I think the future of art lies in creating
installations where the viewer's engagement is not
only visual, but also auditory and tactile.

In general, I see the future of my work as an endless

journey through the art world, full of innovation,
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Matthew Morpheus interview
research and constant growth).

How would you like others to view and interpret your

work, if at all?
MM: My aim is not to impose a particular opinion, but
to encourage people to think and to take a fresh look.
I would like people to take my works as a reason for
reflection and find their own interpretations in them.
I hope that my works can evoke emotions and
thoughts in viewers that were previously hidden. If
my work can make someone wonder, think or
reconsider their point of view on an issue, then I have
achieved my goal.

Ultimately, I aim for my work to reflect social attitudes

and cultural trends, allowing viewers to see the world
from a new angle and be inspired to think and act.

Is there any visual artist, living or dead, that you

particularly admire, and for what reason?
MM: I don't have a preference for any one famous
artist. My soul is more drawn to undiscovered talents.
However, the style of Banksy's work really fascinates
me. Perhaps it's because we both strive to convey the
social mood of society.
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Matthew Morpheus interview
Are you working on anything specifically at the
moment?
MM: As a member of the Abandoned Artists Group, I
am currently actively working on a project that
explores the intersection of digital and physical
reality. It is an installation that combines information
art and traditional artistic methods, creating an
interactive experience for viewers.

The project aims to challenge perceptions of space

and reality, inviting viewers to become part of the
artwork. I expect the work to be completed by next
summer and will be presented for the first time at the
Edinburgh Festival Fringe.

Do you have any upcoming exhibitions, shows or

events that you’d like to mention – on or offline?
MM: In terms of upcoming events, I'm pleased to
announce a couple of exhibitions this month. One is
in Edinburgh and two online exhibitions in galleries in
the US. I also frequently collaborate with ArtBoxy and
exhibit in various galleries in Europe. You can find out
more by visiting Instagram or my personal website.

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Matthew Morpheus interview
And where can you be found online?
MM: You can contact me, check out my work or
follow my new projects on the following platforms:
Website: https://mrmatthewmorpheus.crevado.com
Social media:
Instagram: @matthew_morpheus
I am always open to new ideas and feedback. Thank
you very much!

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Matthew Morpheus interview
Artwork
Page 79 New Gods [collage, 21cm x 29.7cm] 2022
Page 80 New World Order [collage, 21cm x 29.7cm]
2022
Page 81 Political Circus [collage, 21cm x 29.7cm]
2022
Page 82 China Times [collage, 21cm x 29cm] 2022
Page 83 Patriot Games [collage, 21cm x29.7cm]
2022
Page 84 Vocation [collage, 21cm x 29cm] 2022
Page 85 Secret Life of Mona Lisa [collage, 21cm x
29.7cm] 2022
Page 86 Rainbow symphony [gelly roll pen on paper,
56cm х 76сm] 2013
Page 87 Wheel of the Fortune [gelly roll pen on
paper, 56cm х 76сm] 2018
Page 88 The way of a pilgrim [gelly roll pen on paper,
21cm x 29.7cm] 2013
Page 89 Stargazer [gelly roll pen on paper, 21cm x
29.7cm] 2008
Page 90 Eden [aerosol spray paint on paper, 152cm
х 200сm] 2013

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 Satadru
Sovan Banduri
feature

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Satadru Sovan Banduri feature
Satadru Sovan Banduri: A Multifaceted Visionary
Bridging Art, Ecology, and Identity
Satadru Sovan Banduri is a trailblazing Indian artist
whose multi-disciplinary practice encompasses
canvas art, digital installations, performance art, and
NFTs. A Fulbright Scholar from the Digital Arts and
New Media program at the University of California,
Santa Cruz, Banduri’s creative journey has positioned
him as a pioneering figure in contemporary art. He is
the founder of Hexxydexxybox, an international
performance art platform and a driving force in the
global Behavioral Art movement.

Banduri’s prolific career spans 11 solo exhibitions,

participation in 10 international art fairs, five
prestigious biennales, and over 65 performances
across 25 countries. His art has graced iconic
institutions such as New York’s Lincoln Center, the
Museum of Art and History (MOMA) in Santa Cruz,
and renowned galleries in South Korea, Malaysia,
South Africa, and Europe.

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Satadru Sovan Banduri feature
Innovation and Recognition
Banduri’s recent exhibition, TECHNE DISRUPTORS, at
the High Line Nine Gallery in New York, marked a
historic moment in the Global South. This
groundbreaking showcase of NFTs and tech-
integrated art brought South Asian narratives into the
global spotlight. Through his art, Banduri bridges
technology and tradition, addressing urgent themes
of ecological imbalance, gender fluidity, and societal
upheaval.

A Journey through Ruin and Reflection

Banduri’s canvases invite viewers into fragmented
landscapes teeming with displaced wildlife—tigers,
whales, and birds—searching for sanctuary in a
chaotic world. These surreal compositions capture
the devastating impacts of deforestation, industrial
encroachment, and climate change.

In one striking piece, a rhinoceros stands atop a neon

circuit board, its posture both defiant and vulnerable.
In another, a peacock spreads its iridescent feathers
against the backdrop of a barren desert, a poignant
commentary on the loss of biodiversity. These works
are not merely visual feasts but urgent meditations on
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Satadru Sovan Banduri feature
humanity’s encroachment upon nature’s fragile
equilibrium.

Exploring Gender and Identity

Beyond ecological themes, Banduri’s art celebrates
the spectrum of gender and identity. By depicting
same-sex interactions in animals and embedding
elements of his own identity into his works, Banduri
challenges societal conventions and affirms
inclusivity. His use of animals as metaphors for
human experiences allows viewers to reflect on their
own biases and embrace fluidity.

For Banduri, art is a personal and political act.

Through vibrant narratives and symbolic imagery, he
transcends binaries, seamlessly blending personal
experiences with universal themes.

The Paradox of Beauty and Chaos

Banduri’s art masterfully balances visual allure with
existential unease. His use of electrifying colours—
vivid oranges, greens, and blues—captures the
viewer’s attention, while surreal juxtapositions convey
fragility and disarray.

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Satadru Sovan Banduri feature
A deer delicately balanced atop a skyscraper or a
whale navigating neon-lit urban waters encapsulates
this paradox. These surrealist elements serve as
reminders of the delicate tension between beauty and
destruction, stability and collapse.

Performance Art: Living the Narrative (Behavioral

Art)
In his unique approach to performance art, Satadru
Sovan Banduri describes his practice as “Behavioral
Art”, a form where he becomes a living embodiment
of his themes. Drawing inspiration from tectonic
shifts, geological patterns, and the profound
transformations of the Earth, he uses his nude body
as a canvas and medium. His performances evoke
the plight of displaced species and marginalised
identities, merging ecological and socio-political
narratives into an arresting sensory experience.

Banduri’s performances are immersive, forging a

deep emotional connection between the artist and the
audience. This bond encourages viewers to confront
uncomfortable truths about global warming, urban
displacement, and the erosion of natural ecosystems.
Through his work, he explores potential solutions for
urban challenges and envisions a harmonious
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Satadru Sovan Banduri feature
coexistence between humanity and the environment.

His art often incorporates tactile and visual elements,

such as digital montages, UV prints, and
soundscapes, creating multisensory environments
that highlight his themes. The use of “unhumanise
fruits”—a term that symbolises distorted,
unsustainable outcomes of human interference—
serves as a metaphor for the imbalance and chaos
brought on by neglecting ecological harmony.

Exploration in Behavioral Art:

Themes: Climate change, marginalisation, and the
human impact on ecosystems.
Mediums: Nude body art, digital montages, UV
prints on transparent materials, soundscapes, and
video.
Purpose: To challenge viewers to re-examine their
role in ecological and social justice while
proposing creative, inclusive urban solutions.

Banduri’s performances are not just artistic displays;

they are thought-provoking dialogues with his
audience, urging a collective reflection on our shared
future.
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Satadru Sovan Banduri feature
A Call to Action
At the heart of Banduri’s oeuvre lies a passionate plea
for change. His recurring motif of animals seeking
“new skies” symbolises the broader displacement
caused by ecological degradation and societal
inequities. Banduri’s art is both a mirror and a
megaphone—reflecting the fractured state of our
world while amplifying calls for:
Reflection: Acknowledging humanity’s ecological
footprint.
Inclusivity: Embracing diversity and challenging
societal norms.
Action: Taking decisive steps to preserve the
planet’s ecosystems.

Through his visionary works, Satadru Sovan Banduri

transcends artistic boundaries, creating pieces that
resonate on intellectual, emotional, and spiritual
levels. His art is not merely to be observed but to be
felt, questioned, and acted upon—offering a roadmap
toward a future where harmony between humanity
and nature is not just imagined but realised.
Act with urgency to preserve the fragile balance of
life on Earth.

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Satadru Sovan Banduri feature
Satadru Sovan Banduri’s work is a clarion call, a
mirror reflecting the chaos of the present, and a
roadmap to a harmonious future. With each stroke of
vibrant colour, each surreal composition, and each
evocative performance, he invites us to envision a
world where humanity and nature coexist in
equilibrium. His art is not just to be seen—it is to be
felt, questioned, and acted upon.

Sovan’s art transcends the aesthetic, offering a

roadmap toward a world where nature and humanity
coexist in equilibrium. His work is a testament to the
transformative power of art, serving as both a mirror
of current realities and a beacon for a harmonious
tomorrow.

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Satadru Sovan Banduri feature
Artwork
Page 102 Marin is Flying to Sky [96in x 64in]
Page 103 Mountain Cry [96in x 64in]
Page 104 Bio-ism [64in x 68in]
Page 105 Fish Traveling to Unknown Sky [64in x
68in]
Page 106 Disapring
Page 107 Fling to Cosmos [52in x 56in]
Page 108 Flying [52in x58in]
Page 109 We
Page 110 Satadru Sovan Banduri
Page 111 Satadru Sovan Banduri
Page 112 Satadru Sovan Banduri
Page 113 Satadru Sovan Banduri
Page 114 Satadru Sovan Banduri
Page 115 Land n Devotion [acrylic with gouache on
canvas, 56in x 50in] 2023

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 Dareen
Anwar
interview

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Dareen Anwar interview
What was your route towards becoming a visual
artist?
DA: it started in childhood, I used to wait for drawing
classes at school with passion. At home, I used to
draw on anything and everything.

At that time, I didn’t know that I had an artist inside

me, nor did my family, but they let me draw as long
as I didn’t do anything wrong or hurt anyone.

I remember the first certificate I got was in high

school because the art teacher liked my drawing and
the idea of it, which was about Egypt in the eyes of its
children.

But the real journey began in college, and by the way,

I studied agricultural sciences, not arts.

I joined the arts team and was very impressed with

my older colleagues, the paintings they drew, and the
exhibitions and competitions they participated in. I
actually started working on this and developing
myself and consulting people with more experience
and taking advice from them.

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Dareen Anwar interview
And suddenly! I found the result of my hard work, I
participated in exhibitions and won awards, first place
and fifth place in the same year!

From here I knew that I am a clever person and that I

really have a talent for drawing. In addition, my family
was very supportive of me and played an important
role in this journey.

I continued to participate in competitions, and win

prizes, the last of which was MacArt Award 2023 in
California, I won first place with the highest
percentage of votes.

All this is with the aim of making my paintings reach

the largest possible number of people.

What is it about drawing in particular, that so

excites you?
DA: I feel like he is my world! I think a lot by nature,
all day long and all the time, even when I sleep.
Except for a certain time, I draw!

Seriously, during this time my mind stops thinking. It

becomes incredibly calm and enjoyable, to the point
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Dareen Anwar interview
that I can sit for 4 to 7 hours without realizing it.
That’s why my favorite time is the time I spend in my
own world.

Where does the inspiration come from for your

work?
DA: Actually, in more than one way, for example,
depending on how I feel now and want to express it
with a drawing.

Or, for example, through visual feedback, I saw

something that I liked, so I formed an idea and drew
it.

Or a topic was mentioned and an image was formed

in my imagination that could be drawn.

Is your work planned ahead in detail, or are there

elements that can be spontaneous?
DA: Sometimes I have crazy ideas, so I have to plan
very well to produce the painting in the way I
imagined it.

And other times it’s like, “Come on, let me draw this
now.” Before I get lazy!
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What kind of direction do you think your work will
take in the future?
DA: I think that one day my paintings will be known
and people will be able to see them better than now.
It will be displayed in museums or exhibitions under
my name.

How would you like others to view and interpret your

work, if at all?
DA: I believe that each person sees the paintings
what he feels and believes, meaning it is not limited
to the artist’s vision only!

But what is special about my paintings is that any

feeling I put in them is immediately conveyed to the
person who sees it. This has been said to me a lot,
and I wish it would still be there.

Is there any visual artist, living or dead, that you

particularly admire, and for what reason?
DA: Recently yes, the world artist Van Gogh. This is
because for a while I was looking for more than one
artist to draw.

It caught my attention that he always used yellow,

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Dareen Anwar interview
red, and blue in his paintings. I wanted to know the
reason and I searched for the meaning of these
colors.

I learned that yellow, for example, represents the

warmth of the sun, blue represents strength, and so
on.

I mean, he was drawing what he wanted to feel.

Are you working on anything specifically at the

moment?
DA: Yes, I am working on a very crazy idea for a new
drawing and I am implementing it now.

Do you have any upcoming exhibitions, shows or

events that you’d like to mention, on or offline?
DA: The Library of Alexandria, one of the largest
libraries in the world, organizes an exhibition every
year. Recently, they opened applications for this
exhibition, and I applied, but I am waiting for the
results. Wish me good luck.

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Dareen Anwar interview
And where can you be found online?
Facebook: https://www.facebook.com/profile.php?
id=100090393969751&mibextid=2JQ9oc
TikTok: https://vm.tiktok.com/ZM6fkRhaE
YouTube: https://youtube.com/@palettedefleulrs426?
si=Vhlk1kDjXcrs3ant

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Dareen Anwar interview
Artwork
Page 126 Sisters [charcoal on paper, 50cm x 35cm]
2021
Page 127 What’s Inside Us [charcoal and soft pastel
on paper, and artificial flowers, 100cm x 75cm] 2024
Page 128 Sun Girl [wood and soft pastel colors,
artificial flowers, 100cm x 75cm] 2023
Page 129 Funny [charcoal on paper, 100cm x 75cm]
2022
Page 130 Unstoppable tears [charcoal on paper,
50cm x 35cm] 2020
Page 131 Feeling a Little Naughty [charcoal on
paper, 30cm x 25cm] 2024
Page 132 Still Beautiful [charcoal on paper, 35cm x
50cm] 2024
Page 133 Asking God for Hope [soft pastel colors on
paper, 30cm x 25cm] 2024
Page 134 Land of Pride [soft pastel colors, 100cm x
95cm] 2024
Page 135 Some Joy [wood and soft pastel colors,
50cm x 35cm] 2019

142
 Sonjaye
Maurya
interview

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Sonjaye Maurya interview
What was your route towards becoming a visual
artist?
SM: Painting has been my passion right from
childhood. I used to paint all day. And rather I used to
spend all my time painting than studying. This urge
was so strong that when all the students prepared for
their board exams, I used to prepare for painting
competitions. Every Sunday I used to participate in
some competition. Prepare for my Elementary and
Intermediate exams, conducted by Maharashtra State
Board for Technical Education which I topped in and
scored highest in many subjects. At the age of 14 and
15 I was awarded with Child Artist Award by
President and Prime Minister of India.

But due to social mindset at that time and family

condition, I was not allowed to study fine arts. But the
artist in me was always alive. So, after a gap of 35
years, I decided to rekindle my old flame and to purse
my passion. And thus started a new journey as an
artist. I call it, My Second Inning.

My wife and son have been major instrument behind

this decision, who always encouraged me to purse
my passion.

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Sonjaye Maurya interview
What is it about being a visual that so excites you?
SM: Painting is a great medium. It has vastness.
And it has immense depth. There is so much to
explore and experiment. It can provide wings to your
imagination. You can think beyond the existing. Can
dream, visualise, innovate and give birth to new
things. You can explain the unexplained or
picturise or translate what is difficult to express with
words or any other medium.

It tells us about past, we can study from it and

progress in future. Drawing is the basic of all streams
of works. It’s also a reflection and a representative of
the society. It’s a tool that can bring political and
social change. It shoulders a greater responsibility. It
is used as a message or medium to address points,
issues to the mases. It’s a tool. And if that is not
happening art is not happening. It is just not a thing
just to decorate the walls.

And lastly, Painting is like a sweet dish with your

regular meal, that adds life to your living, make it
interesting and worthwhile.

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Sonjaye Maurya interview
Can you tell us about some of your creative
projects?
SM: In my current works, the theme remains the
same, but varying the style of
presentation, like abstract forms rather than
figurative.

As I look at my media as a tool to revolutionise social

causes, I am painting more on such related issues.
Like recently I raised my voice against rape and
murder of a medical college student.

Is your work planned ahead in detail, or are there

elements that can be spontaneous?
SM: When an idea germinates, it needs to be taken
care of, watered etc. Any work requires lots of brain
storming, planning, visualising, layout, composition,
application, treatment etc. As far as the presentation
part is concerned, I do it playfully. Giving various
treatments, stylisation, texture etc.

What kind of direction do you think your work will

take in the future?
SM: My works are mostly conceptual and thematic.
They have a message. It revolves around people and
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Sonjaye Maurya interview
society. It penetrates the issue. Makes people think
about it and compel them to do something or take a
step or action.

And if my work is successful in doing that, I feel I

have achieved my goal. My subjects include life,
people, girl, woman, problems, evils etc.

So would like to work in the same direction. May be

with time and experience, my works may have more
deeper meanings and thoughts translated more
powerfully.

How would you like others to view and interpret your

work, if at all?
SM: If it makes them move, compels them to do
something about the issues raised in them, I’ll think I
am successful.

Do you have any upcoming exhibitions or events

that you’d like to mention – on or offline?
SM: I have dedicated myself to appreciate and
promote artists. I do it by finding opportunities for
them, providing them platform by organizing various
art activities, promoting and getting them recognition
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Sonjaye Maurya interview
by getting them published, nominating them for
awards, etc. There is continued effort to find and
cultivate dynamic, young contemporary artists who
have the potential to contribute substantially to the
understanding of art given the right environment and
direction.

My vision is to promote excellence and innovation in

all aspects of its work and explore the unique
contribution that the art can make to our
understanding of contemporary.

I am also a member of editorial board for some

international magazines, where I regularly keep
publishing artists from across the world.

Am also judge and jury member for some art

competitions.

I keep organising competitions, exhibitions, art talks,

workshops, recognition programs etc. on a regular
basis.

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Sonjaye Maurya interview
And where can you be found on and offline?
Facebook: @sonjaye.maurya @creativeaffairs
@sonjaye.maurya.art.world
https://m.youtube.com/channel/UC1wSBfMh-
UjkRW4JbvKqdiA

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Sonjaye Maurya interview
Artwork
Page 144 In Yog Waiting Introspection
Page 145 Mindset
Page 146 Snowland
Page 147 Outburst
Page 148 Breaking Barriers
Page 149 Chandra Bindu Passionate Death
Aakarshan
Page 150 Flowing Emotions
Page 151 Love and Connections
Page 152 Rakt Bimb Bleeding Love
Page 153 Gayatri Mantra
Page 154 Soulmates Bandhan Amalgamation Eternal
Bond
Page 155 Stream of Unconsciousness, Nature’s
Window
Page 156 Ruins of My Dreams, Mental Block, Void of
Soul

163
from the editor with thanks
Thank you so much for purchasing issue 93, the
January 2025 issue. Your purchase is always very
much appreciated, more than you can imagine.
Inspirational is all about generating support for
working contemporary visual artists across a whole
host of practices, disciplines, and time zones.
Inspirational would like to thank all of the artists and
individuals that made this issue what it is: Adrian P
Smith; Anton Abela; Shane Allison; Matthew
Morpheus; Satadru Sovan Banduri; Dareen Anwar;
Sonjaye Maurya.
All were generous in giving their time and their work
for this issue of Inspirational.
Inspirational would also like to thank all of the official
sponsors of Inspirational magazine: GAP (Global Art
Project); 10dence Gallery; Confessional, an unsafe
space; Raw Art Foundation; Lavaru Art Center; Kuhl
Tuli Productions as well as all of the champions,
supporters, and subscribers of Inspirational
magazine from around the planet. They are a
constant, and they are the lifeblood of Inspirational.

164
from the editor with thanks
All Inspirational issues can be viewed and purchased
from the following link: https://payhip.com/
johnhopper/collection/inspirational
Subscription to Inspirational magazine: 1, 3, 6, 12
monthly plans are available from the following link:
https://payhip.com/b/MNp6
Inspirational is always open to submissions from
visual artists in any discipline; as well as from art
organisations, platforms, groups. So please feel free
to contact me, the editor of Inspirational, directly at:
[email protected]
Inspirational has a dedicated site, which can be found
at: https://inspirational-magazine.blogspot.com – as
well as a facebook page where everything
Inspirational can be found: @djhinspirational, as well
as an Instagram space: @inspirationalartmagazine

Inspirational issue 94 will be released early February

2025.

165
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Inspirational: sponsors

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