COLLECT

ART
Special Edition
VOL 63

March, 2025

THE
ABSTRACT
DIALOGUE
on the cover ‘Tribute to Feininger‘ by Raphaël Demarteau
 Introduction
Art, in its purest form, is a language—an unspoken dialogue that transcends words,
bridging the seen and the unseen, the known and the unknown. In this special
edition of our magazine, The Abstract Dialogue, we immerse ourselves in the
boundless world of abstraction, where colors, forms, and textures become the voice
of the ineffable. This volume celebrates international artists whose works push the
limits of perception, urging us to engage in a deeper, more intuitive conversation
with their creations.

Abstraction is more than a style; it is an approach to seeing the world differently. It

defies conventional representation and, instead, opens a space for the viewer to
interpret, to feel, and to experience without constraints. This edition brings together
painters, mixed-media artists, digital creators, and draftsmen who redefine
contemporary abstraction. Through their visual narratives, they challenge
perceptions, disrupt expectations, and create immersive dialogues that exist beyond
the realm of literal meaning.

Within these pages, you will find a curated collection of works that span a spectrum
of materials and methods. Each piece is an invitation—some whisper, some shout,
but all demand attention. The featured artists employ paint, charcoal, digital tools,
collage, and unconventional media to construct compositions that resist easy
categorization. Their work reflects not just aesthetic exploration but philosophical,
emotional, and even political inquiries that echo through each stroke and layer.

This edition is more than a showcase; it is a conversation. Alongside the striking

visuals, we present insightful artist statements and intimate, personalized interviews.
Each artist shares their journey—how they arrived at abstraction, what compels
them to create, and how they interpret the silence between the forms. Through these
narratives, we gain an understanding of their inspirations, challenges, and
aspirations, enriching our appreciation of their art.

At a time when the world often demands clarity, abstraction offers something
different—a space for ambiguity, for reflection, for personal interpretation. It is in
these undefined spaces that art truly thrives, allowing the audience to bring their
own stories, emotions, and meanings to the work. The Abstract Dialogue is not just
about what the artist sees but what the viewer perceives, making each interaction a
unique, evolving exchange.

We invite you to engage, to question, and to lose yourself in the mesmerizing world
of abstraction. As you turn the pages, allow the works to speak to you in ways that
words cannot. Let The Abstract Dialogue be the conversation that lingers long after
the magazine is closed.

03
Table of Contents
Introduction 03

Rubica von Streng 05

Olivia Kelsall 10

Phillippe 15

Mark Sajatovich 20

Fatma Durmush 25

Raphaël Demarteau 29

Viktor Barkhatov 35

Lewis Andrews 39

Kaifeng Gu 44

Medeyonmi Akran 48

Danting Li 54

Detail from ‘I am in a cloud’ by Fatma Durmush

Rubica von Streng

Buckled Unfolding Forgotten Disappearance

Oil on canvas, 100x80cm, 2022 Oil on canvas, 58x55cm, 2023

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

05
“There’s nothing to gloss over!”

In an interview with Frank Lassak, a cultural writer based in Berlin, Rubica von Streng talked about the triptych
„Warriors of the Future“, which belongs to her „PortLand“ cycle of works. Here’s an excerpt.

Frank Lassak: An important part of your work series “Limits of PortLand” is the triptych “Warriors of the
Future”. Will we only be able to survive as warriors in the time to come?

Rubica von Streng: We will probably have a better chance with a combative attitude.

FL: So the triptych is to be understood as a kind of battle cry?

RvS: More as a statement. I don’t want to send people to war, I want to encourage them to deal with the
threats of the future. We have a lot of good and beautiful things to lose. We have to fight to preserve them,
also for coming generations.

FL: This glimpse into the future of humanity is unsettling, almost dystopian.

RvS: There’s nothing to gloss over! The three paintings were made at the beginning of the first lockdown
during the coronavirus pandemic. Nobody knew at the time how the situation would develop; the outlook
was bleak. My first impulse was: I want to survive. And that meant fighting – fighting the virus. In more
general terms and with a view to the future: we are fighting against many dangers that are threatening our
civilization.

FL: Is that why you painted three pictures about it?

RvS: The three paintings show different situations of the struggle for survival: the first is about the protection
of the individual and their equipment, while the second image focuses on the pause before the fight and the
isolation of the individual. In the third picture, hope finally emerges: the isolation is over. Nevertheless, the
battle is not over yet; the next confrontation is already looming behind a wall.

FL: Survival on Earth: a constant struggle. The prospect of a Planet B to save us: pure illusion.

RvS: Anyone who builds castles in the air or deliberately ignores the ongoing destruction of the environment
must finally realize that we have to radically change our actions so that we do not need a Planet B in order to
continue to exist. The doctrine of unlimited growth is no longer up to date. On the contrary: it is extremely
dangerous. If we do not abolish it, humanity will perish and nature will suffer irreparable damage. At the
moment, there are many signs for this.

06 Warriors of the future I, II, III - Oil on canvas, 170x90cm each, 2021
 Olivia Kelsall

Olivia is a painter, animator and installation artist based in West Sussex, England, who creates
lively abstract art. She has experience creating new and original artwork for exhibitions and events,
as well as managing exhibitions and working in galleries. She possesses exceptional skills in
painting, drawing, and creating animations through procreate, which shine through in her work.
Olivia completed a master’s degree in fine art in September 2024. Other recent achievements
include having work in 'Encountering Nature' at Fox Yard Studio in Suffolk and having one of her
animations in 'Art on Loop' in The Holy Art Gallery in Athens, Greece.

The Ivory Towers - Mixed media on paper, 56x76cm, 2024

10
Olivia’s artwork explores the varying relationships between the natural world and fine art. Her
paintings are a combination of biomorphic shapes and small fine-line elements, arranged into
abstract, colourful works. Her main medium is watercolour paints, with paint pens for the details.
Each painting explores the themes movement and life. During research and exploration of the
natural world, she finds new areas of interest and themes which lead to the next body of work.
Her work also helps her to navigate her ADHD diagnosis, and she explores the themes of the mind
and relaxation as well.

Candyfloss
Mixed media on paper,
21x30cm, 2024

Your work explores the relationship between the natural world and fine art. What first drew you to
this theme, and how has it evolved over time?
I think I have always been drawn to theme of nature, even as a young child. I spent most holidays hiking with my
family and camping outdoors, and I think my appreciation and love for the natural world has evolved from there. It
has evolved over time to an interest in mycelium, the colours and shapes of mushrooms.

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Your paintings feature biomorphic shapes and fine-line details. How do these elements contribute to
the themes of movement and life in your work?
Biomorphic shapes contribute heavily to the theme of movement and ‘flow’ in my work. The way the shapes contort
and fit within each other is emphasised by fine line work and is crucial for my painting process.
Watercolour is your primary medium—what do you find most compelling about working with it, and
how does it influence your creative process?
Watercolours have always been my go-to medium. It can be quite tricky to work with, especially in an abstract
sense, but I have always loved the levels of transparency I can achieve. Adjusting the amount of water on your
brush can change a shape and line entirely. This influences my creative process making me ‘go with the flow’ of the
shapes and patterns I create.
Your animations have been featured internationally. How does your approach to animation differ
from your painting practice?
The process of animation is very different to painting. I focus a lot more on small parts of shapes which I think need
movement, and I always try to create ‘loops’ where the shapes disappear. It is a time-consuming process, especially
when drawing each layer by hand.

Rivers of Cadmium
Mixed media on paper,
42x59cm, 2024

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How does art function as a tool for mindfulness and relaxation in your life?
Painting shapes helps me to concentrate and calm my mind. I have always doodled, and it got me into trouble in
school! Having a creative outlet feels very important to help me navigate my brain, and to help me sort my
thoughts.
How do different exhibition spaces influence the way you present your work?
Different exhibition spaces always give a different feel to your work. I may choose different frames or different sized
work based on the space, but it mostly depends on which works the gallery would like to have in their exhibit! I feel
very lucky to have exhibited in various spaces so early in my career.
Can you describe a specific moment or place in nature that deeply inspired a piece?
I don’t think I have a specific moment that inspires individual works. I think I am more inspired overall by growth
and the power the natural world has. Our planet has limited resources, and it is so important that we look after
them and understand that we have limited time here.
The Potter’s Angelfish - Mixed media on paper, 56x65cm, 2024

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Your experience extends beyond creating art to
managing exhibitions. How has curatorial work
shaped your perspective as an artist?
Curatorial work makes you more aware of what exactly
is required in managing a successful exhibition. It has
shaped my perspective in that I understand the work
and dedication that teams put into creating space and
opportunity for artists.

Citrus Dreams
Mixed media on paper,
56x76cm, 2024

Kelp Forest
Mixed media on paper,
42x59cm, 2024
Supernova
Mixed media on paper,
The Ocean’s Rage What role does spontaneity versus structure
56x65cm, 2024
Mixed media on paper, play in your creative process?
30x42cm, 2024
My works are incredibly spontaneous, which is
interesting as I struggle with spontaneity as a person!
Nothing I make is ever planned out beforehand, which I
think is why my paintings feel so natural and flow the
way they do. It feels therapeutic as its outside of the way
I normally think.
If you could collaborate with another artist, past
or present, who would it be and why?
This is a very hard question as there are so many
incredible artists out there! I think I would most love to
work with sound artists or other visual immersive artists
on a joint installation.

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 Phillippe
‘’I like to channel deep emotions into art, using texture, color, and form to express the unspoken. Living
with PTSD, my work is a raw reflection of inner struggles and resilience. My pieces explore the mind's
complexity. Each work is a conversation, a moment of catharsis, a bridge between the seen and the felt.
Art is not just an escape; it's survival, a way to process and transform the past into meaning.’’

between the seen and the felt. Art is not just an escape; it's survival, a way to process and transform the past into meaning .
My textured sculptures confront pain and silence, transforming suffering into something tangible. Each work is a conversation, a moment of catharsis, a bridge

Acrylic, 60x40cm, 2024

Hidden inside

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How does the act of creating art help you process and transform past experiences?
Creating art helps me process and transform past experiences by giving them a tangible form. It allows me to
release emotions that words cannot express, turning pain into something visual and meaningful. Art becomes a
way to reclaim control over my story.
Texture, color, and form play a key role in expressing deep emotions in your pieces. How do you
choose and manipulate these elements to convey what words cannot?
I use texture, color, and form to express deep emotions by letting instinct guide my choices. Bold contrasts and
rough textures often reflect my inner struggles, while softer tones represent moments of healing. My work speaks
where words fail.
You describe your work as a bridge between the seen and the felt. How do you hope viewers engage
with and interpret the emotions embedded in your art?
I want viewers to feel the raw emotion in my art and connect with it on a personal level. My pieces act as a bridge
between the visible and the unspoken, inviting interpretation. If someone sees their own story in my work, then I've
succeeded.
What role does experimentation play in your creative process, and how do you push the boundaries
of your medium?
Experimentation is essential to my creative process because it pushes me beyond my limits. I embrace mistakes,
layering different techniques to discover unexpected results. This approach keeps my art alive and evolving.
How does your personal background or life experience shape your artistic vision?
My personal experiences, especially my PTSD, shape my artistic vision profoundly. Each piece reflects my journey--
moments of struggle, survival, and resilience Art is my way of translating pain into something that others can see
and feel.
Do you believe art has a social or political responsibility? If so, how does your work engage with
larger societal themes?
I believe art has the power to challenge perspectives and bring awareness to hidden struggles. While my work is
personal, it touches on universal themes like trauma and healing. If it sparks! conversation or comfort, then it
serves a greater purpose.
What challenges do you face as an artist, and how do you navigate them?
One of my biggest challenges as an artist is battling self-doubt and emotional exhaustion. Some days creating feels
impossible, but 1 remind myself that even small progress matters. I navigate this by allowing breaks and returning
when I'm ready.
How do you see the relationship between art and audience? Do you create with a specific viewer in
mind?
Art is a dialogue between the artist and the viewer, even when words are not spoken. I don't create with a single
person in mind, but I hope my work resonates with those who have felt similar pain. Connection through art is
what makes it powerful.
Can you share a piece of your work that is particularly meaningful to you and explain why?
One piece that is especially meaningful to me reflects a turning point in my healing. It captures both darkness and
light, symbolizing the internal battle 1 face daily. This work reminds me that even in pain, beauty and strength exist.

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 A day - Acrylic, 110x90cm, 2024
This vibrant artwork captures the struggle of anxiety through a dynamic interplay of colors The chaotic brushstrokes in bold hues
represent the overwhelming nature of anxiety, while the central white shape symbolizes a fragile barrier controlling its escape. The
contrast between the tumultuous background and the bright, hopeful colors suggests a constant battle between inner turmoil and the
desire for freedom. The piece invites viewers to reflect on the complexities of mental health, illustrating how anxiety can both confine
and coexist with the brightness of life.
 Hempisphere - acrylic, 130x90cm, 2024
experimenting with mixed media and immersive experiences. My goal is to create pieces that not only express my
I am excited to explore deeper emotional expression and new techniques in my art. I want to push boundaries by

A vivid and emotional portrayal of the human mind, this piece represents the two hemispheres of the brain in a state of tension. Swirling neon hues-vibrant blues, fiery
oranges, and deep purples- symbolize thought, emotion, and energy while the encroaching blackness reflects the weight of anxiety bleeding into the body. The blurred edges
and layered strokes suggest the struggle between clarity and chaos, light and darkness This is not just a painting; it's a raw, internal landscape-an intimate look at how anxiety
weaves itself into existence, yet leaves room for moments of brilliance and resilience.
What future directions or projects are you excited to explore in your artistic practice?

journey but also invite others to reflect on their own.

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 Hidden
Acrylic, 130x90cm, 2023
This painting vividly expresses anxiety's presence in daily life. The red square symbolizes constant anxiety, raw and unshakable,
while black spreads outward, distorting the surrounding vibrant colors. The contrast between darkness and bright hues represents
how anxiety seeps into and disrupts even positive moments. The brushstrokes create movement, emphasizing the overwhelming,
consuming nature of the emotion .
MARK
SAJATOVICH
Mark Sajatovich is an artist and educator whose creative
journey is guided by the belief that art is a powerful reminder
that contemplation and communication remain the
cornerstones upon which our future will be built. At the heart
of Sajatovich's artistic philosophy lies a deep appreciation for
abstract art's unique capacity to challenge, provoke, and
inspire. He views abstract art as a conduit for self-exploration
and that this dynamic mirror encourages viewers to delve
into their beliefs and forge a deeper connection with the
world. With paintings that capture his observations on how
the world is redrawing itself, his work interprets the evolution
of society through his creative use of color and lines. His
work combines the motion of abstract expressionism with
the strength of geometric abstraction to forge a style of
contemporary art that is guided by a profound belief in his
canvas as a conduit for self-exploration as well as artistic
expression.
Born in Canada, Sajatovich trained as a historian and
worked at museums across the country as a writer and
exhibit designer. His journey through art has been
marked by a lifelong dedication to its study which
culminated with a rediscovery of the rich tapestry of
Canadian folk and Indigenous art which, along with the
works of Kandinsky, Albers and Kline, led him back to
the canvas. During the years of the pandemic, as
opportunities for online art expanded, he welcomed
perspectives from juries that selected his works for
exhibitions, books, magazines and catalogues. Today,
Sajatovich views his new work as an invitation to
viewers to examine all of his abstracts with fresh eyes.
As de Kooning said, "What you do when you paint, you
take a brush full of paint, get paint on the picture, and
you have faith."

Obstacle - Acrylic on canvas, 122x60.5cm, 2025 20 Trials of Pythagorus - Acrylic on canvas, 76x60.5cm, 2025
Your work is rooted in abstract art’s ability to
challenge, provoke, and inspire. What initially
drew you to abstraction as your primary mode
of expression?
I spent a lot of time working on landscapes inspired by
the Group of Seven. Eventually, I branched out and
discovered artists including Kandinsky, Kline and the
New York abstract expressionists. Their philosophy of
abstract art connected with me. It was like I had been
given permission to go beyond landscapes and
portraits. The liberation from representational forms
allows me the freedom to interpret subject matter
without constraints. The fluidity, unpredictability, and
emotional intensity of abstraction resonated with me
and I was inspired by the idea that an abstract painting
could evoke emotions and thoughts where language fell
short. It felt as if abstract expressionism was an
alternate universal language through which artists
could communicateexperiences.

Your paintings interpret the evolution of society

through color and line. How do you choose your
color palettes and compositions to reflect
societal change?
My choice of color palettes and compositions is an
intuitive process. Over the years, I’ve associated certain
colours with the dynamics of society but since the
pandemic, I’ve deliberately looked at alternative blends
and tones that represent the cultural shifts and
collective emotions. In many pieces, this approach has
helped capture the energy of contemporary issues
through balancing hues and geometric forms. For
example, during the early days of the Covid pandemic,
I used stark contrasts and broken lines to illustrate
uncertainty and unrest. In the following years, I’d
softened the harsh contrasts a bit but recently, it’s
more common for me to change the palette of each
painting several times as the piece matures and it
becomes more of a visual diarythat chronicles the
evolution of the political landscape.

Rooftops - Acrylic on canvas, 60.5x46cm, 2024 21 Square 1 - Acrylic on canvas, 76x61cm, 2024
You describe your canvas as a conduit for self- Other pieces like Cailleach Bheur have the echoes of
exploration. How does your personal journey past events,or mythologies more subtly interwoven
influence the way you approach each piece? throughout them. Several of my pieces, including The
Every artist has their life woven into the fabric of their Geometry of Pyramids use geometric patterns to allude
artistic process. For me, every color choice is a to architectural styles and knowledge of ancient
reflection of my experiences. Painting is a meditative civilizations. In these cases, more dynamic
practice that navigates through external issues and brushstrokes often represent the tumultuous events
helps make sense of the world. For an artist, the canvas that influenced history. The blend of personal and
is a mirror that captures each moment. Every piece I historical narratives adds depth and a dialogue
create is an interpretation of my journey, complete between past and present.
with the mistakes, the lessons and the challenges. You mention influences from Canadian folk and
How does your background as a historian and Indigenous art, as well as artists like Kandinsky,
exhibit designer inform your artistic practice? Albers, and Kline. How do these diverse
Do elements of storytelling or historical themes inspirations manifest in your abstract style?
find their way into your work? I think it’s important for artists to frequently evaluate
Yes, albeit in abstract forms. Some pieces are how they interpret subject matter. Artists should
specifically inspired by historical events that have a remain open to being inspired by elements of historical
particular relevance, like Bastille Day or Celsius Sky. or cultural heritage or the use of contrasting hues and
forms which convey psychological and societal
sentiments. I’ve always interpreted Picasso’s quote,
“Good artists borrow, great artists steal,” as a
testament to the idea that a confluence of styles
creates a rich and layered visual language that speaks
to the complexities of modern life and the human
experience.
How do you balance chaos and control within
your compositions?
The combination of motion and geometric abstraction
highlights the tension between representation and
abstraction, the seen and the felt. It’s in this space that
many of my pieces operate. These forms don’t settle
neatly into place; instead, they shift and dissolve,
challenging the viewer’s sense of spatial orientation.
This visual instability gives the painting its power and
suggests a psychological space where different states
of mind can coexist. My compositions often start with
spontaneous gestures, setting a tone of
unpredictability. As the work progresses, I introduce
geometric shapes and lines to impose a sense of order.
The balance between freeform expression and
precision creates harmony where neither dominates.

Cemetery Sunshine - Acrylic on canvas, 101.5x76cm, 2024 22

How did this period shape your
perspective on the art world and your
own creative evolution?
I believe that the isolation of the pandemic
presented an unexpected opportunity for
many artists to reach a global audience
through digital platforms. Reevaluating and
participating in online exhibitions allowed
us to transcend geographical boundaries
and engage with viewers from around the
world. This access to new audiences
broadened my perspective on the art world
and also encouraged me to experiment
with new mediums and techniques suited
for digital display. The feedback enriched
my creative process and eventually built a
sense of connection in a time of isolation.
Ultimately, this experience highlighted the
resilience of the art world and reinforced
the idea that art can continue to inspire in
the face of unprecedented challenges.
What conversations do you hope your
work sparks in viewers?
My favorite artists are successful at
generating conversations centered on the
human experience in 2025 and how history
is relevant to our future. I aim to create
pieces that inspire viewers to reflect on their
own stories and the broader narratives that
shape the future. On some level, each piece
is an invitation to explore the meanings
beneath the surface and encourage a
dialogue on the state of society. Personally,
my favorite pieces resist the boundaries of
traditional abstraction. I hope that my
works encourage viewers to value the act of
looking at art as much as it is about
dissecting the content of the work. My work
is an invitation to contemplate and engage
with the world in a more meaningful way.

23 Life On Mars - Acrylic on canvas, 122x60.5cm, 2025

Abstract art often invites multiple interpretations. Do you prefer to guide viewers toward specific
meanings, or do you embrace ambiguity in their responses?
I often embrace ambiguity in the responses to my work, as abstract art is inherently subjective and open to
interpretation. The goal of abstract paintings should be to situate themselves within a tradition that demands more
from its viewers than passive observation. I hope that my work encourages viewers to see my pieces not as finished
objects but as sites of exploration that generate new meanings and provoke contemplation and communication.
While my pieces are built on a foundation of personal meaning and symbolic references, I encourage viewers to
bring their own perspectives and experiences to the interpretation. This openness allows each individual to form a
unique connection with the artwork, making the experience more intimate. By not prescribing a specific narrative, I
invite a multitude of readings, fostering a richer dialogue between the art and its audience.
You quote de Kooning on the act of painting requiring faith. How does intuition play a role in your
creative process, and do you ever find yourself surprised by where a painting leads you?
There’s always an element that surprises me. Painting an abstract involves hundreds of choices throughout the
production of the work and I think that fate and chance are themes illustrated throughout the work of the most
influential abstract expressionists. Among my own work, my favorite pieces capture the moment of suspension,
where the outcome is unknown, and anything is possible. De Kooning also said, “Art should not have to be a
certain way.”
Flames - Acrylic on canvas, 91x60.5cm, 2025

TowardsThe Sun - Acrylic on canvas, 76x61cm, 2024

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 FATMA
DURMUSH
Fatma Durmush is an expressionist artist with a degree and an MA in Art from the University of
East London, allowing her to develop a strong conceptual approach to her work. Her art has been
exhibited in numerous galleries and institutions across the United Kingdom, including the Tate and
the National Art Gallery. She has also been shortlisted for the Royal Academy Summer Exhibition
three times and has participated in various exhibitions.
She began her creative journey as an author, expressing herself through writing. However, it was
through art that her voice truly flourished, bringing joy to more people than she had as a writer—
an achievement that defines success in its own right.
The deed is done and I am not done for. Look the whole process of art is not to con people. I have become
Mixed media , 2023

a processed Junkie.
I see two

25
Can you describe the journey that led you to become an artist? Were there any defining moments
that shaped your creative path?
I am so happy that for your everyone has a day of triumph happiness of growth. I do art to make me feel better
and it makes sense because it will tell stories makes scenes with less sound. I feel that Britain after brevity is less
obliged to find us they go into groups huddle and I sense they are seeking to understand us we strongly seek
equality equal pay eventually we are told not good enough.
How does your personal background or identity influence your artistic expression?
I did art because I was locked in slumber for three years drawing like a prisoner on walls. Because of parental
argument my father did not believe artist can make money. He was right. But also wrong. Because at the end of
the day no one is perfectly right.
Can you walk us through your creative process? How do you develop an idea from inspiration to
completion?
I use mixed media like charcoal oil pastels acrylic glue collage I cut failed images and redo them.

I am a pretty woman
Mixed media, A5, 2024
It is a pretty woman but I beg to differ and try to make this image more pretty.

26
 I am in a cloud
Mixed media, A5, 2025
I am very cloudy today. it is about the deeds we do not do and make art the apple of the artistic life. I try to
get over the hill and find myself thinking art is not useful so why do I think it is?
 What role does experimentation play in your art? Have you ever taken a creative risk that led to an
unexpected breakthrough?
Yes, and it is about my use of artwork and how it makes me see the light and makes me an artist because after
Brexit there appears to be nothing but suspicion and above board people huddled together asking is it worth our
while to make her a friend. My connections are all above board, they are total drop outs and they speak the
untruth all the time. Because this is the world I live in and behave well in and have friendships that disappear like
the gossamer I believe only in the written word and the pen and the things that are on paper there is nothing
wrong with being a ethnic minority and yet I am made to believe I am mad if I raise my voice if I speak if there is
inaccuracies in my English.
To make sense of this, I joined the Outsider artist and they made me feel welcome because they too were
experiencing all the traumas of their age. But since they became respected, they have become very antisocial and
cagey. I am sorry to be aloof from the movement because they have become virtuous persons who made it. There I
said it because I am non white, some understand their position, some don't. This is not your country, you can't ask
for lifts from busy people, there is nothing in the world more demoralising than to seek help and only get to
become an artist,. You see in the old days people were either drowned or they sunk in today's England, it is such a
thing to become a wage warmer or a drop out I became both and the movement I belong to is on the edge too. The
artist is born and bred to have a different life, but why? Because the artist speaks the truism of the century. I am
not yet that artist I seek the truth and find inside myself the parallism of the penalties that say this is your fate, you
had to stay in a room until you agreed to earn a wage, now you have to become an artist until there is not one
spark of you left.
The deed is done and I am not done for. Look the whole process of art is not to con
people. I have become a processed Junkie.
Mixed media , 2023
I see two

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RAPHAËL
DEMARTEAU

Follow the lines

Acrylic on board,
25x25x22cm, 2025

29
Born in Oupeye in 1980 to an Italian mother and a Belgian father, Raphaël Demarteau discovered
the world of painting through extensive travel: in 1998, he flew to Victoria (Canada), where he
acquired a taste for realistic drawing and a wide range of painting techniques.
After a few years of exhibitions in Belgium, the love of travel never left him, and he set off again to
discover the world, in Mexico and several Asian countries, where he returned with an impressive
series of drawings and various projects.
In 2003, he won the Lambert Darchis award and completed a Master's degree in new techniques
at the Rome University of Fine Arts. This rich experience completed his training as a painter at
Saint-Luc Liège. From his travels, the artist creates contrasts, culture clashes and multiplies media
and techniques. He builds his prints and stamps by engraving. He cuts and prints, erases and uses
the traces that remain to create new spaces.

Tribute to Feininger
Acrylic on board,
20x25x10cm, 2024

Views from the different angles.

Through these open-ended installations, I've tried to create works with a character that's sometimes defined,
sometimes raw: multi-faceted flat surfaces contrast with the worked materials of the superimposed backgrounds,
like the strata found in nature.
These geometrically assembled structures intrigue and arouse interest in discovering what lies on the other side.
Their open spaces make the viewer want to turn them around or even inside out. In the various cut-outs, rounded
shapes are reminiscent of those found in nature, set against the sharp, guiding lines of unusual architecture. The
emphasis is on 365° views,utopian compositions and colorful touches.

31
Your career as an artist has been profoundly influenced by travel. How have the cultures and
landscapes you've encountered shaped your artistic style?
Travelling since the age of 17 (long journeys: a year in Canada in Victoria, 6 months in Mexico-Guatemala, 2
months in Argentina and about a year in total in several Asian countries, not forgetting Europe) I developed a sense
of observation of culture clashes. The atmosphere, the ambiences, the welcome, the lights, the contrasts of all kinds
have enabled me to acquire a critical mind towards my work and to develop projects freely in all their
diversity.encounters with great artists have also kept me dreaming and pushed me to go ever further in the creative
process.
What led you to explore printmaking and etching as key elements of your work?
The year I spent in Canada enabled me to refine my drawing technique by doing long-range realistic work from
photos every day. My years as a painter at Saint-Luc Liège enabled me to let go of the frozen photographic side and
explore mixed techniques freely and with much greater impact in space, taking into account all the different
aspects of my work.
Interaction with the other sections and emulation between the different artists and modes of operation gave me
access to multiple universes and greater variety in my creations. It was during these years that I had the chance to
further develop printing techniques, particularly in the engraving workshop.
Winning the Lambert Darchis prize and studying at the University of Fine Arts in Rome must have
been important milestones: how did these experiences refine your artistic vision?
It's clear that this prize was a fantastic opportunity for me: being in Rome, just a few hundred meters from the Villa
Borghese, for 3 months was a revelation for me, both in terms of the people I met and what I learned at the Rome
University Of Fine Arts. Thanks to Professor Tardia's interesting approach, I developed two techniques (one of which
is printing) that I use every day.
You engage in a process of cutting, printing, erasing and reusing traces to create new spaces. What
attracts you to this method of transformation and reinvention?
The states of NATURE have always appealed to me. The natural state of transformation of a decaying stump, life
taking shape again, layers superimposed ... how can we represent the notion of time passing? It's a question that
requires us to “stir the layers”. My research on matter is multiple and diversified, but isn't this the way to feel most
alive: by giving life to matter, by suggesting a movement, an impression, a feeling.Hence my fascination with artists
like Fabienne Verdier, Anselm Kiefer or Oscar Murillo.What attracts me to this process of transforming matter is to
use it conceptually: here as an artist I decide to evolve my work alone with my way of cutting and assembling
shapes to give them new life.
The process leading up to this assembly is fairly crude: anything goes to get to the pre-3D stage, where shapes and
cut-outs are assembled, thought through and interlocked to combine them. I turn them over, cut them and fold
them. I throw them away and reuse them elsewhere. I like the idea that they're not fixed, not glued, but always
removable.
The 3rd phase is to replace calmer forms (with large flat tints), with other bold accents (with intense colors). For me,
the 4th phase must be offered to the viewer: I haven't presented it in my project, but I'm announcing it now: a
combination of the different modules is still possible. The spectator can then move the small, medium and large
modules as he wishes to recreate new spaces (by opening, closing and even turning them upside down) and thus
create altered perspectives.

32
Your work often plays with contrasts and cultural clashes. Can you describe a piece in which this
theme is most evident?
For example:In “Installation 10-11”, the cut-out surfaces are all contrasts: long and slender, accents of warm and
cold colors criss-cross and reveal themselves depending on the angle from which the viewer stands. The
interlocking shapes suggest the spaces I discovered in Le Corbusier and Hundertwasser, too, and take us on a
“journey” to spaces other than those we're familiar with.

Wild - Acrylic on board, 50x40x25cm, 2025, Views from the different angles
How do you balance technical precision and spontaneity in your creative process, especially when
you're working on multiple media?
It's always a question of adaptation: it's like trying to draw precisely on a country bus in Laos, you're liable to get
nervous. The technique on each face has to be recreated differently, depending on the surface and roughness.
Your art bridges different traditions and histories. Do you see your work as a dialogue between the
past and the present, and if so, in what way?
As I explained above, some of the forms are like platforms from which you want to leap to discover other points of
view. On a trip to Vietnam and Sri Lanka, I remember going with my children to two playgrounds that in themselves
took us back 100 years. The views I encountered at the Rock Garden in Chandigarh, India, were an incredible shock
to me. This evolution of my work represents so much at once that it's important to take the time to observe, to
allow yourself access and to want to discover what lies behind.

33
 Are there any destinations or cultural influences that you are particularly keen to explore?
Future work Of course! I don't think I'm going to stop there (as we say back home): I think I still have a lot to learn
from ancestral practices, from traditions that are still exchanged and lived from the heart and guts. What I
remember most are certainly thousands of smiles and natural beauties, but above all the forms of awakening and
powerful encounters that have sprinkled my travels.
What role does memory play in your artistic process?
This question again calls on the senses: I recall a moment of extreme gentleness by the ocean, when the low-angled
light suggested a dance of shadows from a tree in blossom. The clash of cultures encountered in different
countries, where we realize how lucky we are to be able to choose what we eat 3 times a day. The thousands of
colors of saris criss-crossing the indian human tide.
Projects that I've continued on my travels, leaving their mark in my notebooks. Probably stronger than simple
photographs left in a cell phone. These traces of projects that I take out, view and reuse to give them new forms.
Looking ahead, do you have any new projects or themes that you're eager to explore?
Too many at once, probably several times a day and night as far as projects are concerned: you just have to let go
and, for example, escape by car. Of course, it all depends on what I'm “allowed” to put forward. What remains in
the shadows is nothing. Colors only appear with light: artistic works too. They “exist” for others than for the creator
only if light is shone on them. In the same spirit of encounters, I'd like to continue developing projects that
challenge the human condition and build bridges and links between cultures.
On top - Acrylic on board, 45x25x30cm, 2025

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VIKTOR BARKHATOV
Viktor Barkhatov was born in the USSR in 1990. His father, an engineer with a passion for
photography, introduced him to the medium, shaping his early artistic vision. Despite the physical
distance between them, photography remains their shared language, a connection that endures
over time. Viktor’s work explores themes of nature, time, and human presence within vast
landscapes. He primarily works with photography but often integrates digital techniques, blending
realism with abstraction. His images seek to evoke a sense of wonder and contemplation, inviting
viewers to see the world through a poetic and textured lens.
‘’I was captivated by the flight of insects as I took these photos in the summer. They moved through the air as if they were
dancing, tracing mesmerizing patterns. In their chaotic yet harmonious motion, I saw something beyond mere movement - I
saw a fleeting form of natural abstraction. It felt as though they were creating their own kind of alchemy, transforming the
ordinary into the extraordinary. To capture this feeling, I mirrored the images, turning them into abstract compositions. This
transformation allows the viewer to step beyond realism and into a space where nature and imagination merge, revealing
hidden symmetries and unexpected beauty.’’

35 Insect Alchemy 1, 2024

Insect Alchemy 2, 2024 Insect Alchemy 3, 2024
What initially drew you to photographing insects in motion, and how did that experience shape your
perspective on abstraction?
I always thought of photographing insects only as macro photography. But five years ago, I shot my first series
about newly born mosquitoes flying in the air, and I was fascinated by their movements. Since then, I have often
returned to the idea that photographing nature can be not just about documenting reality but also can be about
capturing the unreality within our reality.
You describe their movement as a kind of dance—do you see parallels between this and other
natural patterns in your work?
Yes, I have always been drawn to natural rhythms - waves, clouds, light passing through leaves. In the movement of
insects, I see the same unpredictability as in the play of the wind or the chaotic flight of birds. Sometimes, these
motifs carry over into my other works.
How does mirroring your images alter their meaning for you, and what do you hope viewers take
away from these transformed compositions?
Mirrored compositions allow me to go beyond the usual perception of form and movement. They create a
symmetry that resembles both natural structures and something artificial. I’m curious how the viewer reacts to
these transformations - do they see new meaning in familiar details?

Insect Alchemy 4, 2024 37

Your father’s passion for photography influenced you early on. How does that connection manifest
in your creative process today?
Finding my own path as the child of a photographer hasn’t been easy. There’s always a desire to find something of
my own, to stand apart in some way. I think this rebellion against simply following in his footsteps is what drives
me to explore new forms and concepts.
How do you decide when to push an image beyond its literal form?
It all depends on the goal of the image or series. Some ideas can only work within documentary photography, while
for others, realism is not essential.
Nature, time, and human presence - what fascinates you about these elements?
Like many others, I am fascinated by the fleeting nature of time. Photography is a perfect medium for capturing
this feeling - the moment that was reality just a second ago already belongs to the past in a photo. In a way, all
photography is about time.
Can you walk us through your digital process?
I think it all depends on what we consider the essence of the original image. Every photographer has their own idea
of how far they can go in manipulating a photograph. For me, that boundary is quite distant - if I feel it aligns with
the concept, I have no hesitation in transforming the original image beyond recognition.
Many of your images evoke a sense of contemplation and wonder. Is there a particular emotion or
reaction you aim to elicit from your audience?
I believe that even the slightest sense of wonder is incredibly valuable. If a viewer looks at my work and thinks, “oh?
That’s interesting,” that would be a great reward for me.
What are some of the biggest challenges you face when trying to balance photography as a
documentary tool versus an expressive medium?
Sometimes, it’s difficult to find the courage to do something I haven’t done before. Sometimes, it can be especially
hard not to worry about how people will react or whether someone might not consider my work photography at
all. I think the biggest challenge is overcoming these internal fears and pushing myself to be bolder.
If you could photograph any environment or subject without limitations, what would it be, and why?
Without limitations? I would love to photograph the oldest tree on the planet when it was just a tiny seedling. Of
course, this is impossible in terms of physics and the laws of the universe, but such a photograph would be for me
the ultimate reflection on time and our place here on this planet.

Insect Alchemy 5, 2024 38 Insect Alchemy 6, 2024

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
interested 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 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.

How did your interest in exploring complex thoughts, ideas, and facts within nature and science
develop? What initially drew you to this subject matter?
I had always had an interest in the natural world. Initially, my very early works were simple depictions of nature
when I began to think towards the end of the first year of my bachelors ‘Well why is that (whatever I was interested
in at the time) the way it is?’ This change in my way of thinking opened up countless possibilities for my work and as
a result, I began to employ more scientific information and then deliver that through the work.
Can you elaborate on the specific aspects of nature and science that inspire your artwork? How do
you convey the sense of being overshadowed or overpowered by vast distances, size, or quantities?
Most of my work mainly focuses on the life cycles of the cosmos, however, it has also focused on subject matter like
the Immune System and Cellular Respiration. About four years ago now, I began to, as well as communicate
scientific information, weave into my work stimulants and prompts which could in turn generate emotions relating
to the sublime within my work. Mostly focusing on the mathematical sublime, theorised by Immanuel Kant, where
a number within nature becomes so large that it seems almost infinite.

68
In your exploration of extreme power, creation, and rebirth on molecular or universal scales, what
artistic techniques or mediums do you find most effective in capturing these concepts?
Currently, my work acts as a conduit between art and science. My practice revolves around this need to generate
an ‘Informative Encounter’ between the work and viewer where scientific information is translated into visual form
to open up conversations amongst viewers or prompt further research. The theory and implementation of an
‘Informative Encounter’ is a method of practice which I first noticed within my work from my recent Masters degree
at Leeds Arts University.
How does your artwork prompt viewers to question their relationships, place, and role within the
universe, environment, and natural spaces? What reactions or responses do you hope to evoke
through your art?
Generally, the work wants you to look at your surroundings and yourselves through a fresh approach. One
example of this would be my ‘Cosmos’ drawings which utilised Carbon in the form of Indian Ink. Carbon as an
element is essential for all life on our planet and can also be traced back to the cores of supergiant stars before
they died. Therefore, these drawings become a bridge between yourselves, the life around you and the supernovas
of ancient stars when Carbon was released into the cosmos billions of years ago.
Could you share more about your educational background and how it has influenced your artistic
development? How did your studies at Leeds Arts University shape your artistic practice?
This can be answered in two parts. My Bachalors degree established the direction I should take my natural
interests in nature, which is when the scientific information started to be incorporated with my work and delving
deeper into the complexities rather than appearance alone. The Master’s degree established how it should be
communicated through the work via an ‘Informative Encounter’ mentioned previously and a conceptual-driven
practice. The latter is being built upon consistently at present within my work with a wealth of science still to
explore.
Can you tell us about your experience participating in exhibitions both nationally and
internationally? Is there a particular exhibition or event that stands out as significant in your artistic
journey?
Generally, all of them I have gained some sort of learning experience ranging from don’t use that type of frame to
maybe the whole work needing to change. Some are more personal milestones like my first international group
show ‘Sonora’ in Sao Paulo, Brazil in 2021. The most recent standout would be Ones To Watch 2023 at Sunny Bank
Mills Gallery Farsley, Leeds as this is the second time I was selected for this very well-known yearly rolling exhibition
of West Yorkshire after also being included in the 2021 edition of the exhibition.
The Mayes Creative Watching the Sun: Virtual Residency and subsequent virtual arts-science
residences played a role in your artistic career. How did these experiences impact your creative
process and the development of your work?
I had a great partnership with Mayes Creative and participated in three of their residencies; ‘Watching the Sun’,
‘Starlight’ & ‘Ancient Materials’. The first two offered new directions to take my practice and to bounce ideas
between artists exploring similar subject matter stimulating collaborations. The latter, ‘Ancient Materials’ played a
pivotal role in my Masters thesis where several artists opened dialogues with me about working with science in art
and answering questions I had put to them which became crucial in trying to understand the early stages of what
would evolve into my theories on the ‘Informative Encounter’.

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 Nova
The ‘Nova’ series of drawings offers the viewer a glimpse into the final moments of a supergiant star’s life
cycle. Some offer viewpoints of the supergiant alive and continuing the nuclear fusion process powering the
star whilst others offer the viewpoint of the moments just after the supernova event. Following on a similar
approach to the earlier ‘Cosmos’ drawings, the ‘Nova’ series incorporates drawing materials which on an
atomic level, first originated from these supergiant stars as well as increasing the scale of the drawing. The
contrasted blacks and whites attempt to capture and visualise the vast amounts of energy generated by
these events and encapsulate them within each drawing.

These drawings are created using the remnants of dead stars. They serve as a monument to these fallen
giants with carbon being the richest element within the drawings. The drawings break down distance and
time to echo the moments where death and the seeds of life meet. Bridging the vast distances between us
and these galactic furnaces to reaffirm that we are not just part of the cosmos but are actively part of it. The
carbon atoms in these drawings, the carbon atoms in your body, the carbon in our machines, and the
carbon in all other living beings can be traced back to stars that lived light years above your heads.

Nova I - Indian ink on watercolour paper, 42x59.4cm, 2021

70
Nova II - Indian ink on watercolour paper, 42x59.4cm, 2021 Nova III - Indian ink on watercolour paper, 42x59.4cm, 2021

Nova IV - Indian ink on watercolour paper, 42x59.4cm, 2021

Nova V - Indian ink on watercolour paper, 42x59.4cm, 2021 Nova VI - Indian ink on watercolour paper, 42x59.4cm, 2021

Nova VII - Indian ink on watercolour paper, 42x59.4cm, 2021

KAIFENG GU
Kaifeng Gu is a London-based photographer and visual artist currently studying Photography at
the London College of Communication (LCC). His work explores the intersections of personal
identity, psychological states, and social structures, employing photography, moving image, and
mixed-media experimentation to construct multilayered visual narratives.
His artistic practice delves into themes of nihilism, memory, corporeality, and emotional
perception, seeking expression at the threshold between reality and imagination. Beyond the
image itself, she engages with the physicality of materials, incorporating text, collage, and
installation to push the boundaries of photographic representation and viewer interaction.

44 End, 2024
 End, 2024

“END”employs photography and painting in order to narrate ideas around memory, the everyday, the self and psychogeography. When it comes to myself,
my life, and the world,I am always confused. I feel like the mind and the reality is too chaotic. And we need time to talk to ourselves. Try to find the real me,
real thing we want do. Maybe I could find what I want chasing for through practices like this. At that moment, the camera replaced my eyes, taking me to
observe the world and myself in another sight. What I recorded, is the map of decode me.I also use these mediums as a self-exploration and photography
and process as therapeutic exercises. Throughout the process, I have gained a deeper understanding of who I am. We still have time to learn everything
there is to know, even though we aren't entirely certain that their claims are true. Every single thing that we have done or will be doing is nothing more
than an attempt.
‘’My work explores the intersections of nihilism, avoidance, and the fragmented self, using photography as a
primary medium while integrating painting, text, and mixed-media elements. Through layered compositions and
experimental processes, I examine the tension between reality and perception, presence and absence. Deeply
influenced by existential philosophy and psychological states, my practice is rooted in an interest in avoidance
personality traits and the ways in which individuals construct internal narratives to navigate an external world.
Photography, with its inherent connection to memory and truth, becomes a tool to challenge rather than reinforce
reality, often distorted, erased, or reconstructed to reflect the ephemeral nature of identity. My work seeks to evoke
a sense of disorientation and emotional resonance, encouraging viewers to question the narratives they impose
upon images and the ways in which personal and collective histories are shaped by perception. Moving forward, I
intend to expand this exploration through immersive installations, incorporating moving images and text-based
elements to further engage the audience in the fluidity of experience and selfhood.’’

Your work explores the intersections of nihilism, memory, and identity. How did these themes
become central to your artistic practice?
It’s a kind of instinct. To be honest when I was doing the project I barely read anything about nihilism. It all depands
on my feeling and instinct. I feel confident with these themes.
You integrate photography with mixed-media elements like text, collage, and installation. How do
these mediums enhance your exploration of psychological states and perception?
These elements that are familiar to me help me build an environment, or field, of my own. For me, it's like a
stimulus.
Your practice engages with the idea of avoidance personality traits. How does this concept manifest
in your visual storytelling and artistic process?
To be honest, I cant say I had manifest it. All the things I had created is based on my personal experience, and I
think this kind of thing expresses itself unconsciously, for example, my creations are almost always calm, yet seem
to contain strong emotions. I think this is also a characteristic of avpd.
.Photography is often associated with capturing reality, yet your work challenges and distorts it.
What role does photography play in reshaping or questioning truth?
I think photography is a double-edged sword, and what it does depends on how you use it.
You mention an interest in the ephemeral nature of identity. How does your work reflect the fluidity
and fragmentation of the self?
In the‘end？’，I combine photographs and paintings. For me, the images are created physically, while the paintings
are based entirely on my psyche and reflect what is called reality and imagination. By creating these works, I can
switch from these two states. I exist in two different states. The works present a blur that reflects my confusion and
disorientation.
Your compositions evoke disorientation and emotional resonance. What artistic techniques do you
use to create this sense of tension and uncertainty?
I use photoshop to put my pictures on the layer of my painting and do the adjustment to make it have that sense.
And also the painting was mean to draw in a sense of dream so it would be like that.

46
Existential philosophy influences your practice. Are there specific thinkers or texts that have shaped
your artistic perspective?
To be honest, I barely know philosophy at the very first practice. I just start to get know them because of a recent
project. Speak of that, I would say Julia Kristeva,Lacan,camus…… especially the power of horror by Julia Kristeva.
But I wouldn’t say that they had shaped me, but we were attracted to each other.Because we all share similar
feelings
Your work blurs the boundary between reality and imagination. How do you navigate this space in
your creative process?
Technically, just as I mentioned in the question 5. But I work on a very strong sense. Its like me telling myself where
to go, what to do with a unherdable voice. Through the process, I observe the situation and do adjustment.
Moving forward, you intend to explore immersive installations. How do you see this shift expanding
the way viewers engage with your work?
Photography is something more flat, when I can do some interactive works, I think through the interaction, the
audience can feel and empathies and understand more about this state and emotion.
What do you hope audiences take away from your work? Do you want them to experience a specific
emotion or engage in self-reflection?
I don't really think about what the audience will get out of it, it's more of a process of healing and exploring myself.
Of course, if someone is going through something similar to me, I hope they can know that they are not alone, and
that they don't have to panic when faced with these confusing, chaotic feelings. Like me, just try to do something
for yourself. Re-understand yourself in the process.

End, 2024 End, 2024

47
 MEDEYONMI AKRAN

She is a partially visually impaired, passionate visual artist, photographer, writer, and advocate for inclusion. She
uses her art and photography to share stories that promote gender, racial, and disability inclusion. Her work
captures the complexities of identity and access, transforming lived experiences into compelling visual narratives.
She remains committed to creating art that challenges perceptions and contributes to a more inclusive world,
especially for individuals with visual impairments. Through her craft, she strives to transform obstacles into
opportunities and tell stories that inspire change.

Eye Combo 4

48
How does your visual impairment influence your artistic process and the way you perceive and
create visual art?
The eyes behave like a camera. When focusing is understood, the images turn out right. The visual impairment that
has left me with one seeing eye helps me to appreciate the work of a camera and the opportunity it grants me to
create my thoughts and emotions.
Your work focuses on gender, racial, and disability inclusion. How do you approach translating these
themes into visual narratives?
I spend a lot of time meditating on the story I want to portray. Once the idea settles nicely in my mind, I then create
it. Meditation may take me a while, days, weeks but it helps me go straight to the point when I want to create.
As both an artist and an advocate, how do you balance storytelling and activism in your work?
I believe that when a story is properly told, activism is done. Creating images that address a situation and telling
the right story opens up the minds of viewers to the emotions of the creator, thereby enabling them to understand
the intentions behind the work and encourage them to take action where necessary.
Photography plays a key role in your practice—how do you use it to challenge perceptions about
identity and access?
Photography is a tool I am blessed to have. I use it to create images that tell the story I want to convey.

Women Supporting Women

49
What are some common misconceptions about disability in the art world, and how do you hope your
work reshapes these narratives?
Alot of times, when a disability is seen or perceived in an individual, the person is sidelined. Sometimes it may not
be an intentional act but done unconsciously. This happens everywhere, not only in the art world, however, I am
intentional in pushing my work internationally. I want my work to be seen, telling the stories it should and getting
people to take action required of them. I believe the disability in art narrative would be changed.
You mention transforming obstacles into opportunities—can you share a moment in your artistic
journey where you turned a challenge into creative inspiration?
Learning to use photoshop for post production was initially difficult because I was not advised to stare at screens
for a long time so I had to practice fewer times than I wanted to but today I am happy with the work I can do with
it. I used it to perfect the story on the Fragility Series for example.
Do you have any artistic techniques or tools that help you navigate the creative process with a visual
impairment?
My studio is a dynamic and adaptive space where creativity meets accessibility. It is equipped with both traditional
artistic tools and assistive technology, like screen readers, magnifiers and accessibility testing software.

Culture-Igbo Bride, Culture-River’s Bride,

50
DANTING LI
Danting Li, also known as Liz, is a graphic designer based in the San Francisco Bay Area with a
Master’s degree and over nine years of experience in design. Specializing in graphic design,
branding, UI/UX, typography, motion graphics, video editing, and front-end coding, she combines
creativity with technical expertise to craft impactful visual experiences. As a graphic designer at
ZAM, Liz contributed to branded campaigns for renowned gaming companies such as PUBG
Mobile, Tencent, and Alchemy Stars. Her work reflects a passion for storytelling and innovation,
with the goal of creating designs that resonate and inspire. Liz is currently a graphic designer and
co-founder at SparksGlo, where she leads the full design process for logos, brands, and websites
across static, CMS, and e-commerce platforms for multiple brands.

Her Pain The Bleeding Hearts

Digital Art, 2025 Digital Art, 2025
Her Pain is my way of showing what so many women go through but "The Bleeding Hearts" is my way of showing what many women
rarely talk about. The woman in the poster has her eyes shut tight, silently endure. The uterus, shaped like a heart, holds waves of blood
tears streaming down—red like the pain she feels inside. I want you —pain rising and crashing inside. My hands form another heart
to see, feel, and acknowledge the reality of menstrual pain— around it, caught between care and suffering. Blood flows down,
something too often ignored. making the pain visible.

51
What initially drew you to graphic design, and
how has your style evolved over the years?
I pursued a course in digital graphic design and was
drawn to the creative freedom it offers—allowing me to
conceptualize and execute designs with just a laptop,
unrestricted by location, climate, or external conditions.
Over the years, my design approach has shifted from
intricate, multi-layered compositions with bold color
schemes to a more intentional, minimalist aesthetic that
prioritizes clarity, balance, and visual impact.
Your work spans branding, UI/UX, typography,
and motion graphics—how do you balance motion graphics for cohesive visual communication. In
creativity and functionality across these UI/UX design, I translate brand identity into digital
disciplines? experiences through wireframing, prototyping, and
Design disciplines are interconnected. testing, often incorporating motion to enhance user
inherently
Branding involves logo design, typography selection, and engagement. I thrive in this multidisciplinary approach,
sometimes custom type creation, all of which extend into continuously refining my expertise.
How does storytelling influence your design
process, and can you share an example of a
project where this was particularly important?
Storytelling guides my design process through
empathy, problem definition, and ideation, ensuring a
deeper connection with the audience. In my Venus
Jewelry project, I crafted a brand identity embodying
self-love and awareness—designing a star seamlessly
merging with diamond-cut facets and a halo outline to
reflect elegance and strength. This visual narrative
extended to the e-commerce website, where I applied
the brand’s signature colors and a minimalist yet
sophisticated aesthetic for a seamless user experience.
What are the unique challenges of designing for
the gaming industry?
The biggest challenge is maintaining creativity while
keeping up with the industry's fast pace. In a highly
competitive environment, I collaborated with design
managers, directors, illustrators, writers, and product
managers to define design strategies and solutions.
Often working with limited resources and branding
assets, I developed versatile templates for game
highlights, subscriber updates, community events, co-
branding, and VIP programs.

Neon Dreamscape - Digital Art, 2025 52 A Road to Nowhere - Digital Art, 2025
As a co-founder at SparksGlo, how has leading With experience in front-end coding, how does
the full design process for various brands your technical knowledge enhance your design
shaped your creative approach? work, particularly in UI/UX?
Leading the full design process at SparksGlo has honed I collaborate closely with developers to implement
my strategic thinking and adaptability. Managing websites, refining designs throughout the testing
brands like Redpoint, Scorpio Luxury, Venus Jewelry, Da phase. When technical constraints arise, I explore
Village, and Nutrigent, I oversee project coordination, alternative design solutions, creating multiple
budget allocation, client feedback integration, and iterations and referencing relevant code to identify the
developer collaboration. Balancing creativity with most efficient and feasible approach. My front-end
feasibility, I navigate constraints by aligning client development knowledge enhances my ability to
expectations with project scope to ensure efficiency navigate limitations and optimize designs for seamless
and high-quality outcomes. execution.
What role does typography play in your designs, What advice would you give to emerging
and how do you approach? graphic designers?
Typography is integral to my design process, shaping Study exceptional designs, remain humble and
brand perception through type selection or custom adaptable, explore diverse styles, and refine your own
creation. I align typefaces with a brand’s identity, story, unique approach—while always believing in your
positioning, and market level to ensure consistency ability to succeed.
and impact. While custom type design enhances Behind Love - Digital Art, 2025

uniqueness, it requires greater time and budget,

making it more suitable for brands aiming for a
distinctive and enduring visual identity.
How do you stay ahead while maintaining a
distinct visual identity?
I stay ahead of design trends by engaging with
platforms like Dribbble, Behance, and Awwwards for
industry insights. I also assess market dynamics
through brand case studies from leading agencies and
gain creative inspiration from exhibitions showcasing
influential works.
What has been your most rewarding project ?
My most rewarding project to date is Venus Jewelry,
where I led the entire design process—from brand
identity to website design—overseeing everything from
concept to implementation, testing, and launch. The
cohesive brand experience and elegant digital
presence helped Venus Jewelry stand out among
similar jewelry brands, driving increased website
traffic, engagement, and social recognition while
embodying its values of self-love, awareness, and
sustainability.

53
 Lit by Love
Digital Art, 2025
What if love could light your path? Step into a world where six radiant colors—pink for affection, blue for trust, red for
passion, yellow for joy, purple for understanding, and green for growth—illuminate girls as they dance. Bathed in love’s
light, they move with grace, strength, and freedom.
The Abstract Dialogue | Special Edition | volume 63 | Collect Art | Tbilisi, Georgia