VOL 65

March, 2025

Seasonal Edition
on the cover ‘We are all connected III’ by Dimana Nakova
Table of Contents
Tate Rockwell Lithgow 05

Mitakshara Chaudhary 10

Dimana Nakova 15

Lewis Andrews 20

Rubica von Streng 25

Petra-Puk Bresser 29

Donna Mindart 33

Delia Zorzoliu 37

Brad Sweeting 42

Heidi Jayne Best 46

Ayman Zahid 51

Precious Ozemoya 54

Detail from ‘Contemplation’ by Mitakshara Chaudhary

 Tate Rockwell
Lithgow

David's Lantern
New mexico sugar pine, steel, acrylic, iron
vinegar stain, varnish
2" x 2" x 10"
2025

05
Based in Albuquerque, New Mexico, Tate Rockwell Lithgow creates sculptures and installations
from wood, metal, and assorted fibers. His work subverts conventional architecture, transforming
physical form into vessels of the psyche. Tate completed an art intensive program at the Los
Angeles County Museum of Art (LACMA) in 2015, then went on to study fine art at San Francisco
State University. He later studied sculpture at the University of New Mexico, where he graduated
with a BFA in 2023. Tate has exhibited his work in New Mexico at John Sommers Gallery, Old Walls
Gallery, public installations, and other venues.

“I am constantly trying to communicate something incommunicable, to explain something inexplicable, to

tell about something I only feel in my bones and which can only be experienced in those bones.”
Franz Kafka

The psyche is an unreliable architect—its structures shift, decay, and rebuild themselves over time. My work uses
this concept as a framework for design, transmuting fractured yet ornate structures of consciousness into physical
form. I draw from historical and contemporary references in architecture, philosophy, and psychology, distorting
and merging them to create new spatial languages. By pulling these institutional traditions out of context, I
question their permanence and authority, revealing them as mere abstractions of human subjectivity. My work is
at once an attempt to materialize the immaterial and the acceptance that to do so is an impossibility. These
sculptures depend on the viewers’ phenomenological experience for completion—viewers project their own worlds
upon them, merging their histories with mine. ‘’

The House of Kip

steel, epoxy, new mexico flora, insulation foam,
acyrlic, sand, lightbulb
8.5” x 8.5” x 14” , 2024

06
Your work challenges conventional architecture, turning structures into vessels of the psyche. What
first inspired you to explore this intersection between form and
consciousness?
The inciting event for me to investigate the relationship between form and consciousness was being introduced to a
psychological trick for mental compartmentalization. The idea is that you imagine–in vivid detail–a container that
seals, and then put whatever you need to compartmentalize inside of the container and seal it. I imagined
architectural structures with doors as my containers. My work is really those brought to life. But it made me start
thinking about how we structure our minds similarly to how we design architectural forms. It all feels very
connected to me.
You work with wood, metal, and fibers. How do these materials inform your artistic process, and do
they carry symbolic significance in your sculptures?
The materiality of my work is always sympathetic to the concept. Essentially, the concept is the conductor,
informing the design and the materials I will use. That’s why my materials vary so much in my work–they are
always in response to the unique needs of each piece.
Your artist statement references Kafka’s notion of trying to communicate the incommunicable. How
does this philosophy manifest in your work?
I think, in general, a lot of art attempts to communicate the incommunicable. In this instance, though, I’m drawn to
how this notion underscores subjective human experience. Since my work is an amalgamation of my whole lived
experience, I know my personal meaning of any piece will not be fully translated. I actually rely on this, and see my
pieces as vessels for the viewer’s own incommunicable interpretation.
You’ve exhibited in a range of spaces, from galleries to public installations. How does the context of
an exhibition space shape your sculptures and their meaning?
The context of spaces I show my work in has a huge impact on how it’s viewed. Since my work dismantles the
relationship between structures and institutions, it can feel a bit strenuous to my work’s meaning when exhibiting
in galleries. Galleries have a systematic context, so a lot of the time my work feels more at home in public or
community spaces.
Your work draws from architecture, philosophy, and psychology. Are there specific historical or
contemporary thinkers that particularly influence your practice?
This is a great question, but I am going to respectfully decline to answer. There are no thinkers I would endorse or
associate myself with, as I find levels of disagreement with certain aspects of even those I am influenced by.
You describe your sculptures as fractured yet ornate structures of consciousness. Can you elaborate
on how you visualize and construct these fragmented forms?
These forms appear in my mind, usually in response to an internal occurrence. It has become a psychological reflex
of mine. From there, I do my best to translate them into the physical world with a drawing. The fabrication process
inherently changes the initial design somewhat. By the time the work is finished, it is a fragmented version of what
it began as.
Much of your work invites viewers to complete the piece through their own experiences. How do
you navigate this interplay between artist intention and audience Interpretation?
It’s definitely about having a level of control. My work is not necessarily abstract–I use shape, symbol, and form in a
way that guides the viewer to a certain point. Collective association helps me with this. But ultimately, my goal is to
never be forceful, and to limit my intentions.

07
Studying in both California and New Mexico, how have these vastly different landscapes and
cultures influenced your artistic approach?
I found studying in California to be stifling–my practice suffered there, especially considering I lived in two major
cities. When you build a major city–and I’m coming from a Western perspective–it’s to assert prowess. I think of the
World’s Fair, which San Francisco actually hosted in 1915. The grandeur is meant to be unrelatable to the common
individual, and the authority of establishment is oppressive in cities like that. It wasn’t until I moved to New Mexico
that I became overtly aware of more instinctive and authentic relationships that can be had between a person and
the landscape that surrounds them. This has influenced my artistic approach pretty profoundly.
Your pieces seem to challenge the permanence of institutions and their authority. Do you see your
work as a form of critique or resistance?
My work is definitely a resistance rather than a critique. To critique something would be to make it the subject of
my work. The opposite is true–my work resists the authority of institutions entirely. Its presence is entirely
unconsidered in my designs.
Looking ahead, are there new materials, techniques, or conceptual directions you’re eager to
explore in your sculptures and installations?
I’m definitely interested in making more large-scale pieces that people can actually go entirely inside of. I’d like for
people to become the work itself by being inside of it. I’m constantly exploring new materials and techniques. Right
now, I’m interested in natural fibers, particularly wool. I’m currently experimenting with wet felting.

Symphony no. 5 in C-Sharp Minor: IV. Adagietto

Steel, tissue paper, latex, acrylic, wax, flame, jewelry chain,
new mexico honey locust
8” x 13.5” x 14”, 2024

08
Lighthouse
I & II
Photos by Zoë Gleitsman

Lighthouse I (the searcher)

New mexico ponderosa, steel, wax, acrylic,
pastel, charred firewood
8” x 8” x 58”, 2023

&

Lighthouse II (the beacon)

New mexico ponderosa, steel, wax, acrylic,
pastel, charred firewood
9'’ x 9'’ x 49”, 2023
 Mitakshara Chaudhary

10
Mitakshara is an architect and a designer from Jammu & Kashmir, India currently based in London.
An emerging ceramic and glass artist currently focusing on the amalgamation and transposition of
art and architecture. She completed her BArch (2016-2021) from Balwant Sheth School of
Architecture, NMIMS in India and moved to London in 2022 to pursue her Master’s degree in
Ceramics and Glass at the Royal College of Art. She works with ceramics and glass as her primary
materials.
Navigating the realms of space, expressions from diverse environments and spaces drive my
inspiration and shapes my artistic practice. The dynamic interplay of what I do and how I do it
involves a constant process of change, conflict, construction, and deconstruction. Looking outside
the digital realm of architecture, the physicality of materials is what I find the most valuable. My
focus is on gaining perspective on the unknown through the materiality of spaces and adhering to
the principle of 'Never take the obvious for granted.' This self-encouragement prompts me to
consider the intricate relationship between physical reality and the subjective perception of the
past, present, and future. In essence, my artistic journey moves toward understanding what we
PERCEIVE, CONCEIVE AND LIVE today.
Contemplation
Blown glass, 15x10cm, 2024
This artwork talks about the reflections of my life and the places I visited to build my practice. As glass blowing is a difficult facility to find, I go to different
places, and cities to learn, adapt, and make work.

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Coming from an architectural background, what led you to transition into ceramics and glass as
your primary artistic mediums?
With time, I started to realise that materials could express my thoughts in ways architecture alone couldn't.Within
the architectural practice, it helped me explore the use of various materials, the idea of touching things and
working around that to express my ideas of space, nature culture and architecture. My biggest change to
materiality was my masters at RCA, where I realised I love making glass. It is a very fluid as well as a stubborn
material, and I loved that. It felt like this material works the best for me and hence I started expressing my thoughts
through cast glass, lampwork, fusing glass and my favourite, glassblowing. The transition has been so smooth,
where I did not even realise when the difference in my approach happened.
Your work explores the intersection of art and architecture. How do you see these disciplines
influencing each other in your practice?
I always knew art and architecture were fused together, you cannot do one without the other. The key factor joining
them together is the imagination and perception of the maker. These two disciplines are separated by the
technicalities of its nature but are deeply intertwined.
Architecture shapes how I think about space, form, and scale, which naturally carries over into my work with
ceramics and glass. I approach my pieces with a sense of spatial awareness, considering how they interact with
their surroundings.
Endings, Beginnings,
Stoneware, borosilicate glass, reichenbach glass, 20x7cm, 2023
The artwork defines the memory left behind. The left-out fragments would be the memory and the mystery to which one wants to draw attention to, where the endings and
beginnings of the element is enough to determine the space.

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You emphasize materiality over the digital realm of architecture. What draws you to the physical
properties of ceramics and glass?
I'm deeply drawn to the physical properties of ceramics and glass because they provide a very tactile experience
that digital architecture does not seem to replicate. Working with these materials allows me to engage with their
textures and transformative qualities. The process of shaping molten glass is both intimate and immediate, and I
find the quickness in that dramatic change very exciting. Ceramics and glass are incredibly versatile, exploring a
range of possibilities in form and texture. I start making something having an idea in my mind, but in the end, it
comes out to be entirely different. It feels like you work out of control, the only space I cannot be in control how
much ever I want to.
Your process involves change, conflict, construction, and deconstruction. How does this philosophy
manifest in your work?
My artistic process involves change, conflict, construction, and deconstruction. I start by building forms with
ceramics and glass, then intentionally break or alter them to introduce conflict and change. This deconstruction
allows me to break free from traditional forms and imagine new perceptions of the same fragment. I then
reconstruct and layer these fragments trying to create something different, often highlighting the imperfections or
indents.
You mention the importance of navigating space and perception. How do your ceramic and glass
works engage with spatial experience?
My ceramic and glass works engage with spatial experience by creating dynamic interactions between the viewer,
the artwork, and the surrounding space. I use techniques like layering, playing with light and shadows to offer
different perspectives as you move around the space and the artwork. The transparency and reflective ability of
glass adds an understanding of depth and movement, giving the viewer to challenge their own perception of
knowledge. By working around spaces, I like to believe that a person’s world is the size of their mind hence it is
infinite. How much you want to wonder depends solely on you.
As someone who has lived in both India and the UK, have these contrasting environments
influenced your artistic approach?
In India, I was influenced by traditional clay techniques, wood firing, and specific methods from Jammu, while the
UK introduced me to various glass techniques. My frequent moves between Jammu, Delhi, and Mumbai
subconsciously influenced my work, specifically based on my personal experiences. I feel this may have led me to
want to create art that reflect this multifaceted identity and the transient nature of my surroundings.
The principle ‘Never take the obvious for granted’ is central to your work. Can you give an example
of how this mind-set has shaped a specific project?
At the Royal College of Art 2023 Degree Show, I explored 'the space left behind and lived through memories' using
negative spaces and fragments to challenge perceptions of form. I wanted everyone to complete the artwork on
their own, confronting 'moments of lucidity'. It reshaped my practice, leading me to explore spatial distortions and
material ambiguity.
Are there historical or contemporary architects, artists, or designers who have influenced you?
My artistic practice is influenced by various thinkers and creatives, including Freud, Zaha Hadid, and Salvador Dali,
whose ideas shape your exploration of space and perception. The mastery of materials by artists like Lino
Tagliapietra and Gustav Klimt also inspire me, while films such as The Matrix and Inception challenge my thoughts
on reality and time.

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Your work explores the perception of the past, present, and future. How do you materialize these
abstract concepts in your pieces?
I explore the perception of past, present, and future through glass and ceramics, using fragments, negative spaces,
and transparency to represent these temporal concepts. At the RCA 2023 Degree Show, I focused on 'the space left
behind and lived through memories' to materialize these abstract ideas.
My work aims to create spaces between these broad concepts, blending them to evoke emotions and provoke
contemplation, leaving me wondering.
What new directions or experiments are you currently exploring in your ceramic and glass work?
I'm excited to explore new directions in my practice, continuing to work with ceramics and glass while focusing on
fragments and negative spaces that challenge spatial perceptions. I'm keen to experiment with fine woodworking
and fabrics, which offer fresh tactile and visual possibilities that complement my existing work. My current vision is
to develop design-oriented, architecturally strong concepts that blur the lines between art and architecture, always
grounding my work with materiality.

Endings, Beginnings,
Stoneware, borosilicate glass, reichenbach glass, 20x10cm, 2023

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 DIMANA
NAKOVA

‘’As a fashion and textile designer, I am interested in exploring two areas of human life, namely all issues,
achievements, and practices related to ecology, and concepts related to philosophical and spiritual teachings, as
well as ideas regarding their application in life. The second to me, includes all sorts of issues concerning men and
their meaning and solutions. For me, fashion and textile art are not just self-expression or business, but a favorite
way to describe the discoveries found on the path of human Spiritual evolution, shown and proven to us by
infinitely higher, intelligent beings such as Christ, Buddha, Bo Yin Ra, The Master Peter Deunov, Moriah and many
more who came to Earth over the millennia.’’

Dimana Nakova holds a Bachelor's Degree in Fashion & Textile Design from UTS, Australia. During her
studies, she interned with some Australian fashion designers and worked as a fashion designer assistant
and a couture dressmaker for some of the most prestigious bridal boutiques in Sydney. In 2003, Dimana
Nakova established her label, IXTYS, and opened a boutique in Sofia, Bulgaria. The atelier produced couture
wedding and ball gowns, and evening and cocktail dresses. IXTYS has done a great number of fashion shows
in Bulgaria and Serbia. Dimana Nakova has collaborated as a fashion journalist and consultant for Bulka
Magazine and PARI Newspaper. Her collections are shown on Bulgarian National Television, NOVA TV, and
CHANEL 3. Since spring 2013, Atelier Ixtys has focused on producing ready-made collections consisting of
going out, cocktails and special occasion dresses. The unique gowns are characterized by exclusive machine
embroidery, designed by the creative director and made specifically for the brand, as well as the handmade
couture finishes. From spring 2023, Dimana Nakova has started a whole new approach to her fashion
collections for IXTYS and has introduced one-of-a-kind textile artworks with each one of them. The textile
paintings are originals, made personally by the Creative Director. Most of the one-of-a-kind artworks have
been chosen by an international jury to be part of highly professional, multinational exhibitions- Hilaku
Voices VIII Textile Art Exhibition, Spain; The VIII International Triennial of Textile, Hungary; 15th International
Textile and Fiber Art Biennial “Scythia”, Ukraine; Bulgarian Triennial of MINI TEXTILE 2023, Bulgaria; FORGET
ME (K)NOT, Perugia, Italy. The textiles serve as a starting point and a concept for the created afterward
gowns. The author's textile technique is a collage of hand, free motion, and digital embroidery, as well as
appliqué and hand beading. The atelier uses only new high-quality, Italian designer excess fabrics, left after
the cutting and the embroidery process of the dresses and German certified recycled threads and backings
and this process makes the textile paintings incredibly sustainable.

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WE ARE ALL CONNECTED II, III, IV

Textile art,
20x20x2.5cm, 2023

06.2024- 15th International Textile and Fibre Art Biennial “Scythia”, Ukraine Spiral, as a main symbol of Evolution, has been chosen to express Man's
relationship with Nature. The Evolution of the human spirit takes place from the inside out and requires constant upgrading. The texture of the spiral
visualizes the individual's moment of awareness, as well as the process of realizing this interdependence with Nature, its phases and stages that go from
denial and rejection to building and perfection. This is accomplished through the use of digitally embroidered words in one work and through the use of
embroidered feathers, chosen as a symbol of the animal world in the other. Feathers are also a sign of Angelic presence that helps and encourages the
process of ennobling the aura of this planet. Colors are the other means of expression that help to paint the theme. Through their gradation from black to
fresh, almost sunny green, we set the direction of the work to be done by us humans. Despite this purposefulness, through the use of bottom ecru thread,
none of the colors remain pure, but a mélange. This comes to express the existing dualism of this Earth, namely that while one builds and saves, the other,
at the same time, still pollutes and kills. It also shows that we have not reached the phase of "0 WASTE" yet and that even the positive, ecological, already
used techniques can still be improved a great deal.The Earth, or Gaia as it is called, is a living being and could only be itself when we take care not to make it
sick and use it in ways that would destroy it. She is our home and we are the main factor on which her and our own survival depends!
Your artistic journey has evolved from couture fashion to textile art. What inspired this transition,
and how has it influenced your design process?
Fashion is not only a creative pursuit but also a serious business. Its fast-paced nature hardly allows a designer to
create textiles outside its context. After adapting to the industry’s demands for more than twenty years, I reached a
creative threshold that could only be surpassed by granting me complete freedom of expression. In textile art, there
is no need to conform to trends, sizes, or functionality—it is just you. As I expected, this freedom has made the
fashion I create more profound, more refined in terms of conceptual clarity, and therefore more sincere—more
me.
Your textile paintings serve as a foundation for your gowns. Can you describe the creative process
behind transforming an artwork into a wearable piece?
The approach to this transformation is dynamic and will undoubtedly evolve and refine over time. However, its
foundation lies in the ability to preserve as much of the art within the textile as possible without compromising the
garment’s functionality. This art, in our case, is conceptual, and it is essential that it remains so, engaging the
wearer, who, in turn, becomes its messenger.
How do you balance luxury fashion with ecological responsibility?
The industry calls brands like mine ‘independent designers,’ a term that reflects the smaller scale of our business.
Designers in this category have always had to be mindful of minimizing material and financial waste—so much so
that in recent years, major global brands have been striving to incorporate as many of these practices as possible
into their own strategies, recognizing their environmental efficiency. Our core principle has always been to remain
highly economical in terms of costs, to continuously seek new opportunities for sustainability, and to never
compromise on the quality of materials or craftsmanship.
You incorporate a unique combination of hand, free motion, and digital embroidery. How do these
techniques contribute to the storytelling within your designs?
Embroidery is deeply rooted in Eastern Europe—it’s almost in our blood. Yet, precisely because it is such an integral
part of our history and so widely used, it calls for new approaches, especially in textile art. Each of these techniques
has its own strengths and limitations, and by combining them, we unlock far greater possibilities for discovering
new visual effects and infusing the expression with a stronger presence of contemporary art.
Your work draws inspiration from philosophical and spiritual teachings. How do these influences
manifest in your textile art and fashion collections?
This is the most complex aspect—to express the Invisible, the Higher, the Perfect through the densest of matter. It is
an eternal process, one that unfolds solely through the creator’s personal refinement on a spiritual level. The
perception of given ideas and concepts depends on the level of consciousness, while their expression is shaped by
talent and technical mastery. The artist is a kind of radio receiver—they do not create anything of their own but
simply have the ability to tune into a frequency beyond the material world and transmit it in their own unique way.
The symbols they work with are, in fact, the very tools of the visual arts—forms, colors, textures, images…
How do you see the intersection of fashion and fine art evolving in the contemporary world?
Overall, the trend is to encourage works that blur the boundaries between craft, design, and fine art. Until recently,
the latter stood at the top of the so-called pyramid, but according to experts, new horizons are emerging precisely
in the innovative yet organic fusion of these three disciplines. When it comes to the relationship between fashion
and art, striking contemporary examples include the Met Gala in New York and, most notably, the first fashion
exhibition at the Louvre, which was recently inaugurated.

17
Your atelier exclusively uses high-quality, Italian designer excess fabrics and recycled materials. Do you
see your approach as a form of artistic activism?
"Artistic activism" are such beautiful words to describe this approach, and I would love for us to reach that level of
quality. Personally, I believe that every individual, regardless of their profession, should contribute to society in a
meaningful way. Today, when it comes to ecology, it is no longer a choice but a duty—an undeniable responsibility.
The planet is in danger, and millions of living beings are suffering, often entirely unjustifiably.
As a designer with experience in both couture and ready-to-wear, how do you approach the challenge of
maintaining artistic integrity in commercial fashion?
I have found my balance in demi-couture—a ready-to-wear approach crafted with couture techniques but on a
more moderate scale, making it more accessible in terms of price. To this, I added a made-to-order element to
ensure sustainability and save time. This way, I avoid the exhausting cycle of mass-producing multiple collections
and sizes, which is typical of ready-to-wear fashion, while preserving enough time and energy for creativity.
Additionally, since the client orders a specific size, there is no need for the extensive fittings required in bespoke
couture.
With a background in fashion journalism, how has writing influenced your perspective on design and the
industry as a whole?
When writing about fashion, you begin to perceive it more through the eyes of an art historian, curator, or critic. It
gives you a clearer sense of your place within the bigger picture—where your strengths lie, but also your
limitations. In a way, it feels both refreshing and guiding, outlining your next steps. You start to see the significance
of the entire process, yet also its superficiality, which pushes you to seek new, deeper dimensions—more
meaningful levels of conceptualization and expression.
A mission to help unite more people, who are driven by passion and respect for the ocean, and a desire to make a positive impact by empowering and supporting vital conservation initiatives
in regards to whales and dolphins. Sadly, whales and dolphins face many threats- entanglement in fishing nets, collisions with ships, noise from busy shipping lanes, seismic surveys and sonar,
loss of icy polar habitats and decline of food sources because of fishing industry, that is affecting the timing and ranges of their migration, distribution and ability to reproduce, rises in sea
levels, freshening of seawater, acidification, chemical pollution and marine debris, rises in sea levels, changes in sea temperature, marine renewable energy technologies such as wind farms.
For orcas, belugas and dolphins, known for their intelligence and social nature, the problem with captivity is huge. They are completely ill-suited for a life in confinement and the limited space,
constrained social interactions, artificial environments, and behavioral restrictions lead to hunger, boredom, stress and premature mortality.

Diptych WHALES - Textile art, 26x26x2.5cm, 2024 18 Diptych WHALES RED - Textile art, 26x26x2.5cm, 2024
What message do you hope viewers and wearers take away from your creations, both as garments
and as works of textile art?
I truly hope this will be a message of Hope, Faith, and Love. And most of all for Peace! We are all connected! I
sincerely thank you for these questions—they gave me the opportunity to share these answers.
LET THE LIGHT IN - Textile art, 30x30x2.5cm, 2024
11. 2024- Hilaku Voices VIII Textile Art Exhibition, SpainTheme: VOICES "Let The Light In" textile artwork focuses on the idea that allowing positive, light
thoughts into the mind can lead to the healing of all physical, emotional and spiritual discomforts. According to many Spiritual Teachings, Masters and
Enlighteners such as Christ, Buddha, Peter Daunov, Bo Yin Ra, Dolores Kennan, Lewis Hay, Dr. Alex Lloyd and Dr. Ben Johnson and their "Healing Code" and
many others, who have built healing systems, we can and must heal ourselves. The power to do so is within us. The beautiful flowers of life will very easily
surface and be noticed by the Mind, the moment we allow the Spiritual Light into us and let it work for our health, well-being and spiritual evolution.

19
 LEWIS ANDREWS

Story of Elapsed Time & Absorption IV - Indian ink on watercolor paper, 59.4x42cm, 2021 20
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.

21
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’.

22
 ‘Breathing Beings’ & ‘Story of Elapsed Time & Absorption’
The ‘Breathing Beings’ & ‘Story of Elapsed Time & Absorption’ drawings offer a visual investigation into the
multiple breathing organisms populating our planet. Stemming from the investigations into carbon-based
life on our planet, these drawings often think of the Earth as a complex breathing machine of nature with
multiple carbon-based components regulating the gases in our atmosphere. Alongside the investigations
into the carbon building blocks of these organisms, the drawings also highlight the delicate nature of our
planet and the need to protect trees and forests.

‘Story of Elapsed Time & Absorption’ encapsulates within the time it takes to produce the drawing the same
time that millions of trees within the northern hemisphere absorb vast amounts of CO2 from the
atmosphere and ‘exhale’ Oxygen. During the Winter months, these forests remain dormant. However,
during the summer they act like a giant machine and clear a large amount (not all though) of the CO2 within
the atmosphere. Our planet turns into one giant organic breathing machine. Created during the summer
months, within the time it takes me to paint the lines within the tree rings, more CO2 has been absorbed
from the atmosphere. The Carbon from the CO2 will be stored within the wood and tree rings during
photosynthesis. It is clear, there is a desperate need to retain our forests to maintain our planetary paradise
and the health of our planet’s lungs.
Nova I - Indian ink on watercolour paper, 42x59.4cm, 2021
Story of Elapsed Time & Absorption I Story of Elapsed Time & Absorption III
Indian ink on watercolor paper, 29.7x21cm, 2021 Indian ink on watercolor paper, 29.7x21cm, 2021

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 Story of Elapsed Time & Absorption V
Indian ink on watercolor paper, 59.4x42cm, 2021
Rubica von Streng
Rubica von Streng graduated from Berlin’s University of Arts UdK as a masterclass student in 2018.
Her works, such as the paintings of the monumental “PortLand” cycle, have found a place in highly
recognized art collections in Germany and aborad. They often deal with the beauty of nature,
biodiversity and the future of civilization.
Abstract portrait and landscape painting enter an exciting liaison in her oeuvre. Her multilayered,
oil paintings on canvas and paper appear watercolor-like and radiate an unexpected lightness,
however heavy and complex the subjects. The artist achieves this balancing act by means of her
self-developed so-called arpeggio painting technique: wafer-thin layers of highly diluted oil paint
are applied one after the other, creating a powerful ensemble of overlapping color spaces and
forms that interact with fragments of varying shapes.
“Rubica von Streng’s works provide viewers with a continuous and moving visual experience,” says
Kerstin Bitar, chief art historian at Museum Rosengart Collection, Lucerne. “In an interplay with
initially recognized motifs, they will constantly discover new figures, plants and landscapes. It is a
continual process. This unfolding of very different visual elements in her pictures is extremely
fascinating. Her PortLand works open up many different perspectives – into the depths, into the
distance, into the future.”

How do you manage a work-life balance as an artist?

My life is a life with art. As an artist, there are no strictly defined boundaries between my private and professional
lives; the two areas are interconnected. I can't just drop my paintbrush every day at 5 p.m., call it a day and drive
home from the studio. It often happens that I work on a painting for twelve or more hours at a time and only allow
myself short breaks in between so that I don't lose my flow. Nevertheless, I try to pay attention to my work-life
balance. Intensive working days, nights and weeks alternate with longer rest periods in which I recharge my
batteries - most often in nature.
Could you describe your ideal working environment.
The studio is the place where I can develop and implement all my creative ideas and inspirations; I need this space
to be productive without interruption. I have set up the studio so that I can spend a long time there, because there
are phases in my creative process that cannot simply be interrupted. It's also important for me to have enough
space to be able to leave work that I've already started for a while without having to pack it up and take it to
storage. That way, I can continue working on them spontaneously when I get the impulse. Also important: I have
reserved an area, i.e. part of the floor space, for color tests to find out whether and how different color tones work
together before I apply them to the canvas. Not forgetting the light. For studio lighting, I only use daylight lamps
that come closest to the color temperature of natural light. The lamps are handy and portable, so I can work with
them very close to the painting to view the layers of paint applied on top of each other in detail and in good light.

25
Please describe your studio or workspace.
For me, it is a place of tranquillity and passion at the same time. I have created it for myself and set everything up
so that I feel comfortable in a good atmosphere and can work creatively. My studio also has to function as a
showroom, because I often have collectors, gallery owners and curators visiting me. I always keep one wall of the
studio free for such meetings so that I can show them my work.
What's the best piece of advice you've received as an artist?
After seeing my early works, a renowned art collector had already told me before I started with my studies:
"Regardless of whether you get accepted to university or not, you have to keep creating art." In moments of doubt,
this helped me to pursue my path. And I received another piece of advice from one of my professors while I was
studying. He said that you are never immune to being copied by others. However, I shouldn't worry about that,
because it was primarily proof that I was very good. In fact, some artists have already tried to copy my painting
technique – albeit with very mediocre results.
Could you describe the best piece of art you've created?
There is no particular painting that I consider to be my best work. But my oeuvre includes some key works that
were created in different phases of my career. These are works that have a special significance for me for various
reasons, for example because I managed to execute an idea perfectly or because they were created at a time when
precisely this one picture had to be created in this very way. One such example is the work "Inside Out" from the
"PortLand" cycle, which can be seen in this issue of Collect Art Magazine.
What's your creative process look like?
The creation of my works usually follows a clear path: the idea for the picture and everything that goes with it first
arises in my head and is continually developed further. The creation itself is a mixture of painting technique and
intuition. During this process, and especially at the end, an ongoing quality control takes place in which I check
whether the resulting work corresponds to my initial idea - or not. Occasionally the result can deviate significantly
from the original idea; something like this can hardly be planned, and I take the freedom not only to allow these
deviations, but to see them as unplanned but exciting additions to my oeuvre.
What is your preferred medium, and why?
Without a doubt: painting. Contrary to the widespread assumption that you can no longer say anything new with
painting, I believe that not all canvases or other media have been painted yet. The world and its face are constantly
evolving; new motifs emerge, old ones disappear; new perspectives replace old ones. And especially today, in view
of the ongoing digitalization and automation of society and its underlying mechanisms, I believe it is important to
use painting to consciously set the tone. This also has to do with the impending loss of the haptic. In a world that is
increasingly cluttered with electronic media, painting is a rock in the surf because it is able to outlast the
ephemeral, the digital. I also think - and this is of course completely subjective - that painting can evoke far more
emotions than other genres of fine art.
What role do you believe art plays in society, and how do you hope your work contributes to that?
The attentive observation of current events is just as important to me as the aesthetic expression of change, for
example. Eternity in transformation. However, I don't want to change the world with my art, but rather depict what
moves and drives me and perhaps other people too. Art is very personal. If I succeed in triggering reflection and
viewers are touched by my works, it can be fulfilling - but even if they are not touched, that's fine with me. As long
as I have something to say, I will not stop creating art. It's a path of freedom that offers mental stimulation and is
very complex. In the beginning there is always nothingness; making the invisible visible is what drives me.

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The works on paper of the “Limits of PortLand” series alternate between anthropomorphic
allusions, landscape-like forms and free gestures. The manifold color gradations from yellow to red
may remind of incarnate. Rolling formations emerge in front of suggested horizon lines. Then
again, autonomously placed, mostly short brushstrokes open up an abstract space.
Technically, the transparent, almost flowing application of paint is noteworthy. Usually, extremely
diluted oil paints were and are used in glaze painting. Rubica von Streng’s delicate arpeggio
painting technique involves applying layer upon layer of translucent paint in order to achieve
brilliance, luminosity and depth in a depicted object or surface. The artist uses transparent colors,
which are applied in a wide variety of silhouettes and liberate rather than define the composition.
Her mostly warm color tones sometimes seem to flow over the painting ground and seek their
own paths and gradients. In reality, however, the process is very much controlled by the artist. The
paper is not only a support for the painting, but also becomes its own subject, creating a
polyphonic composition of ground, colors and shapes.

Currently exhibited at Bode Galerie, Nuremberg.

Awakening - Oil on paper, 43x30cm, 2021 G knot - Oil on paper, 43x30cm, 2021

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 Paradise - Oil on paper, 43x30cm, 2021 Invasion - Oil on paper, 43x30cm, 2021

Transformation Faltering - Oil on paper, 43x30cm, 2021 Option Island - Oil on paper, 43x30cm, 2021
PETRA-PUK BRESSER
Petra-Puk Bresser is a female installation & visual artist. Born in The Hague – the Netherlands.
She has always been into drawing, painting, analog photography and philosophy. During her
childhood she moved almost every two years, turning her into a person who is outgoing and
curious about everything and everyone. During her early twenties she started to travel and live
abroad for ten years. Working as a scuba instructor, she pushed the boundaries which let to a
forced change of carrier; right back to an old love, the arts. She studied at the Fotovakschool
Amsterdam and Royal academy of fine arts, Antwerp.
‘’My work explores the tension between control and chance, using expired Fuji FP100C instant film to embrace
unpredictability. These discontinued polaroids creates unexpected colours and distortions. It’s an invitation to let go
of certainty. I use the FP100C to create transfers onto Arches Platine paper, which enhances the surreal quality of
the images. Shot with a vintage Land Camera 103, these works transform Portugal’s coastline into surreal pieces of
art. Art that mirrors the fragility of our landscapes and the uncertainty of their preservation. Through this process, I
reflect on nature’s impermanence and the delicate balance between preservation and loss.’’

Crashing wave - Photography - transfer (print), 2.84'’x3.74'’, 2024

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Your work balances control and chance through the use of expired Fuji FP100C instant film. What
first drew you to this medium, and how has it shaped your artistic approach?
I was curious about the old Land Camera. When peeling apart the polaroid to reveal the picture, the back was wet
with the developer chemicals. I remember drying it on a page of my notebook and accidentally discovered an even
more interesting feature of the FP100C; the transfer. It opened the door wide open to a more experimental
approach to my photo art. When Fuji discontinued these polaroids, I bought a small fridge and bought as many as
it could hold, trusting the product would remain great. I got lucky.
The unpredictability of expired polaroid film creates distortions and unexpected colors. How do you
embrace these surprises, and do they ever challenge your original artistic intentions?
Sometimes I’m not sure what to think and do with the result. I tend to put it on my whiteboard and let it just be. In
passing I will look at it and after a few days I will sit in front of it and truly look at it, examine it. It can lead to a
completely different new idea. It has made me slow down and add some ‘brewing’ time to my whole artistic
process.

Lagos Portugal #2
Photography - transfer (print),
2.84'’x3.74'’, 2024

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 Lagos Portugal #5
Photography - transfer (print),
2.84'’x3.74'’, 2024
You describe your work as an invitation to let go of certainty. How does this philosophy extend
beyond your art and into your personal or creative process?
It fortified my believe that as a human being you cannot always control everything. My natural preference for ’not
caring a lot about being in control’ is one of the features that has always set me apart from others, labelling me “a
bit weird’. I have found it to be liberating. Arms open wide to life and to new ideas for new projects.
Your FP100C transfers onto Arches Platine paper enhance the surreal quality of your images. What
role do texture and materiality play in your artistic vision?
A very important role. Texture and materiality are part of the end result. Even in the rare cases that I only create a
single picture (photograph). The kind of paper used is a vital part of the message the image sends out.
Much of your recent work transforms Portugal’s coastline into surreal art. What is it about this
landscape that speaks to you, and how does it inform your themes of fragility and impermanence?
On one hand it’s robust with big rocks and big waves. The colours are great, forming a dialogue due to the (almost)
complementary colours. At the same time the robust coast is changing rapidly and the colours are less exuberant.
On one hand because of more stormy conditions and on the other hand because of long spells of drought.
Having moved frequently during your childhood and lived abroad for a decade, how do ideas of
transience and movement influence your artistic practice?
I am not opinionated and keep an open mind. Assumption is the mother of all fuck ups (pardon my French) It’s so
much better and more interesting to ask questions and to doubt and ask more questions and explore. I think it’s a
huge part of my creative muscle; exploring leads to many impressions which lead to new ideas.
Your background includes scuba diving and exploring the underwater world. Has this experience
influenced your artistic perspective, particularly in how you depict nature and its fragility?
Yes it has tremendously. I have changed from scuba to free-diving (or apnea diving) and going back to the places I
used to scuba dive, was heartbreaking. One side of a bay in the Canaries for instance, is dead and the other side
there is still some life. There’s less life in general, really really sad.
You’ve studied at the Fotovakschool Amsterdam and the Royal Academy of Fine Arts in Antwerp.
How did these different institutions shape your creative development?
Amsterdam taught me the techniques of photography. A great lecturer, Roel Stevens, told me I would probably be
more at home at an art academy. So after learning about techniques I found creative freedom in Antwerp. Just the
different disciplines there, were inspiring: sculptures, painters, sound designers etc. It was like a creative feast.
Your work often reflects on nature’s impermanence and environmental concerns. Do you see your
art as a form of activism or a means to spark dialogue about preservation?
Both. Activism has had the lead role the past years. At the moment I feel a personal need to address the beauty
and what fills me with awe. So the tone will change from “look how stupid, disrespectful and destructive we are!” To
a dialogue that sounds more like…”look how awesome, don’t you just love it? Let’s protect what we love.”
Looking ahead, are there any new techniques, themes, or locations you’re eager to explore in your
future work?
Yes, I am at a brainstorm-phase at the moment. I am very eager to start working with medium- and large format
pinhole cameras created by Mia Pinhole. I have two cameras that have been waiting too long for me to pick them
up. I am going to create mixed media art, just brainstorming about the other media(s).

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DONNA MINDART
‘’My work explores cycles- of nature, memory, and perception- through intricate pen drawings. I am fascinated by contrasts, the
interplay between light and dark, seen and unseen, organic and unexpected. As an artist, I find meaning in hidden details,
embedding unexpected elements within my work. In this piece, there are many elements. A washing machine is subtly woven
into the composition, representing cycles of cleansing, repetition and transformation. Just as the seasons shift, the washing
machine reflects the unseen rhythms of daily life. This piece was inspired by the Spring equinox, a moment of perfect balance
between the sun and the moon, winter and spring, stillness and renewal. My Creative process is deeply intuitive, shaped by
personal reflection and the way I see the world.‘’

Flourish in Equinox - Pen on paper, 30x42cm, 2025

Donna Mindart is a multidisciplinary artist who explores memory, place, identity, and perception
through intricate pen drawings. Their work highlights contrasts- light and dark, seen and unseen-
often embedding hidden objects to challenge perception and inspired by cycles in nature and daily
life. Recent themes have been focused on changing seasons and Working on a brief 'Sense of
Place'. Alongside pen work. They experiment with etching, digital art and unconventional surfaces
like bark and metal. Their creative practice is deeply personal, inviting viewers to look closer and
uncover meaning beyond the obvious. Donna Mindarthas exhibited in various shows and
continues to develop thought-provoking works that explore balance and change.

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Your work explores cycles in nature, memory, and perception. What drew you to these themes, and
how have they evolved over time in your artistic practice?
Im drawn to the connection between time, memory and nature, where cycles of growth decay and the renewal
mirror of human experiences. My early work focused more on personal memory, thoughts and mental health, but
over time I have explored how places hold collective histories and shifting perceptions. Experimenting with different
matarials allows me to push these thees further, making them more imersive and layered.
Your intricate pen drawings often include hidden objects. What inspires you to embed these
elements, and what do you hope viewers take away from discovering them?
I include hidden elements to create a sense of discovery and a deeper engaement with my work. The detils often
hold personal or symbolic meaning-much like the washing machine which you can find in most of my work, in
relation to my mind, but i often leave them open to interpretation. I hope viewers feel a connection when they find
them, as if their uncovering a forgotten story or a hidden layerd meaning.
In your recent work, you’ve focused on the changing seasons and the ‘Sense of Place’ brief. How do
you interpret and translate these themes into visual form?
I explore’ sense of place’ through sensory details, textures and shifting light and patterns. Reflecting on how places
evolve overtime, like human life, many places change, so does their purpose. The changing seasons provide a visual
language for transformation, balance, and memory. By layering intricate patterns and organic forms. I aim to
evoke both personal nosaligia and a universal connecton to place.
Your artist statement mentions a washing machine woven into a composition as a symbol of cycles.
Can you elaborate on how everyday objects become metaphors in your work?
The washing machine became a fun factor that I used to express my own mind through my thoughts and feellings.
Quite the playful game when having to find them within my work. The washing machine for me in this piece
represents the cycle, renewal and transformation. Often I would incorporate objects like this to blur the line
between mundane and the symbolic, encouring viewers to see them in a different way.
You experiment with unconventional surfaces like bark and metal. What role does materiality play
in your creative process, and how do these surfaces change the way your work is experienced?
I love a challenge different to my main medium, Matarial work is intergral to my work, as a different surface they
bring there own history, texture, and challenges. Bark for example, adds organic unpredictable quality, while metal
offers permence and a tactile contrast. These surfaces shape how the artwork is percieved, making the experience
more dynamic and immerse.
Your art plays with contrasts—light and dark, seen and unseen. How do you decide which elements
to reveal and which to obscure?
I use contrast to reflect on memory and perception- some things are clear while others remain hidden. Light and
dark help guide the viewers focus, creating sense of mystery and discovery. This allows room for interpretation,
encouraging with both the seen and unseen.
Memory and perception are central to your work. How does your personal experience shape the
way you approach these themes?
My personal experiences influnce the places, texture and imagery i am drawn to. I often to use my work to explore
how memory shifts over time, blending personal and collective narratives. Even when i am not directly referencing
memory, my connection to certain forms and themes is deeply rooted in experience.

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 Torn between worlds

Pen on paper,
60x85cm, 2024

A sense of place, a dipiction to looking for there purpose before the now. Through memories and experiences that may feel chaotic or
without clear purpose.By revisiting places of childhood- Spaces shared with family, familiar landscapes, and historic buildings – the
work reflects on themes of belonging and identity. Each place holds fragments of memory, moments of connection and universal
search for fitting in. Through connection to heritage and memory, the pieces offer a grounding story of resilience and self-discovery.
Together, they invite viewers to reflect on their own place of belonging, the sites of the own stories and the way we all seek a place to
call home.
You also work with etching and digital art alongside pen drawings. How do these different mediums
influence one another within your practice?
Each medium offers something different- pen allows for precision, etching is a new journey for me but i find this
adds depth and permenance, and challenges precision.
Digital art helps me experiment with layering.These approches inform each other, making my process more fluid
and versatile. For example, etching has influenced how i build in layers in pen, while digital tools help refine
composition before i commit to them.
The Spring equinox inspired one of your recent pieces. How do natural cycles, such as the seasons,
guide your creative process?
Spring time is one of my favourite seasons, along with autumn. Natural cycles symbolise time, change,
transformation and balance to my work. The Spring Equinox in particular represents a shift between opposites-
light and dark, dormancy and renewal . This duality aligns with my exploration of contrast, change and passage of
time.
Looking forward, are there any new themes, techniques, or materials you’re excited to explore?
Im currently exploring phantasamal gothic themes, focusing on architexture, symbolism and atmosphere with my
digital art funding from the Arts council which will alllow me to further my experiences, intergrating digital tools
with my tradditional techniques I am also experimenting more with etching and wood burning. Expanding my use
of unconventional surfaces and layering techniques is something I am excited to push further.

36 Lost in battle - Pen on paper, 30x43cm, 2021

DELIA ZORZOLIU
Delia Zorzoliu is a Ultra-Contemporary romanian
painter based in Southampton, Great Britain. She is a
member of the Artists' Union of England, a member
of the Writers' Union of Great Britain and vice-
president of the League of Romanian Writers "Eugen
Ionescu" - Olt branch in Romania. Delia is also a
writer, being the author of children's books and
novels. In 2022 she attending the courses of Blue Sky
Graphic design College in London and afther that
she has illustrated some of her published books,
creating illustrations and covers for other writers as
well as being an illustrator and a graphic designer.
Delia started painting in 2019 after the death of her
grandfather, who was a painter, archaeologist, and
writer. In 2022, the artist attended a drawing course
at City College in Southampton and enrolled at the
University of Derby in the UK to study civil
engineering. From 2021 until now, the artist has
organized four large exhibitions of classical art and digital art at prestigious art galleries in
Romania, after which she received several diplomas of merit and excellence. She has participated
in numerous group exhibitions at art galleries in Great Britain (London, Halifax, Suffolk, Sheffield,
Cheriton, Briglington), and not only that. The artist's creations, both artworks and writings, have
appeared in numerous magazines, art catalogs and websites, Delia giving interviews even on
televisions in Romania. The artist has numerous works in Romanian state collections at prestigious
museum institutions. In the last two years, the artist has focused more on painting with historical
themes. In her works she approaches the Neolithic, idols, objects, but also the symbols of the
ancient civilizations that were on the territory of Romania at that time, especially in the area of ​
Oltenia, her childrenhood place. The artist also likes to paint landscapes, especially plains, but also
different themes depending on her mood. Her favorite medium is mixed media and digital art, but
the artist also paints in acrylic or oil. The colors used in her works are vivid colors that lead to the
impressionist style, color being an asset of the artist in her artworks. The artist unwittingly uses
shades of raw green in almost every artwork just as her grandfather did in his paintings. Delia is
currently preparing several solo exhibitions on various themes, which will take place this summer
in Romania.

37
 Autumn in the field - Acrylic on paper, 12x25cm, 2024

Your artistic journey began in 2019 after the passing of your grandfather, who was also a painter.
How has his legacy influenced your approach to art?
My grandfather's artistic influence on me has been felt since childhood; seeing him paint encouraged me to do the
same. I remember that when I would visit him, he would always give me paper and paints and encourage me to
paint. Looking at my paintings and those of my grandfather now, I realize that they resemble his in various ways.
You work across multiple disciplines, from painting and digital art to writing and illustrating. How do
these creative practices intersect in your work?
Combining all these passions gives me the opportunity to explore as many fields as possible and create beautiful
things. I believe that painting, graphic design, and literature complement each other, helping me to improve my
style and vision towards.
Your recent focus has been on historical themes, particularly Neolithic symbols and ancient
Romanian civilizations. What draws you to these subjects, and how do you translate them into visual
narratives?
My grandfather was also an archaeologist, and this is where my passion for history and archaeology comes from.
Through my creations, I wanted to bring to the attention of the public works that have a strong meaning, namely
the history of peoples in general and the history of the Romanian people in particular. These works combine the
old with the modern, the old being represented by the historical objects themselves, and the modern part being
represented by the vivid and bold colors used in my works.
You have organized multiple exhibitions across Romania and the UK. How has showcasing your work
in different cultural contexts shaped your artistic perspective?
Presenting works in different cultural contexts can have a beneficial influence on the way of creating. Cultural
influences are inevitably felt when the desire to explore intervenes. I believe that cultural contexts can modify the
artistic perspective in different ways, leading to the creation of new works with original ideas.
Your paintings often feature vibrant colors, with a tendency to include shades of raw green, just as
your grandfather did. What role does color play in your storytelling?
In every work I feel the need to add a little bit of green. This comes naturally and is inevitable, but I try to avoid
using this color in some works. This color reminds me of my grandfather and the local landscapes he painted in oil,
outdoors, on his easel in nature.

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Autumn in the forest
Acrylic on paper,
20x15cm, 2024
 Flowers on the balcony

Mixed media on paper,

20x30cm, 2024

A painting with flowers in shades of red that look at you from the balcony of a tall
building and whisper to you to stop for a moment to admire them.
 As a member of both the Artists’ Union
of England and the Writers’ Union of
Great Britain, how do you navigate the
balance between being a visual artist
and a writer?
I am involved in both activities, as a visual
artist and as a writer. Without either of these
activities, I feel like I would be out of balance
with my creative side. I like to oscillate
between these two hobbies, taking inspiration
from each of them.
Your artistic practice spans classical art,
digital art, and illustration. How do you
Cloudy day decide which medium best suits a
Acrylic on panel, particular idea or theme?
30x40cm, 2023
After a general idea for a new project comes
to mind, I first establish a working
You have a background in both fine arts and civil
environment. Recently, I have combined
engineering. How do these seemingly different
classical works with digitally created works in
disciplines influence one another in your creative
my exhibitions to diversify working
process?
techniques.
Inevitably, every activity and everything in nature has an
What themes or messages do you hope
influence on the creative process. This is where most of our
to convey in your upcoming exhibitions?
inspiration as artists and beyond comes from. I believe that
In my future exhibitions, I hope to convey
one profession helps another profession, completing that
strong messages that will sensitize the viewer
something that is missing.
through the prism of various themes related
to history and not only that. I hope that the
Cucuteni culture clay figurines
Acrylic on canvas, public, especially the young public, will remain
00x150cm, 2024 with certain information from these works
and will be pleasantly attracted by both their
composition and the message.
Looking ahead, what new artistic
directions or projects are you most
excited to explore in the coming years?
My perspective on new projects is constantly
changing, as new project ideas are constantly
coming to my mind. If today I want to do a
certain project and tomorrow, I have a better
idea, I choose that one. Therefore, it is
uncertain to say what artistic direction I will
explore in the coming years.

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 BRAD SWEETING

Come to life 3
42 Acrylic and oil stick on unprimed canvas stretched over wood, 96x75cm, 2023
Bradley Sweeting, a rising artist from Stoke-on-Trent, has always been captivated by various forms
of creative expression. In 2019, his artistic journey took a definitive turn toward painting, which
became his primary focus. Self-taught and deeply inspired by the works of Picasso, Rothko,
Basquiat, and ancient Egyptian art. Bradley developed a distinctive style that blends expressive
figurative representation with childlike depictions. His work offers a contemporary lens on social
commentary, exploring complex themes with a deceptively primitive aesthetic. Through layered
and evocative brushstrokes, Bradley delves into subjects such as death, humanity, animals, and
religion, presenting them as archetypes that reflect his unique perspective on various subject
matter. Even though he creates primarily for himself, his work has been well received by buyers
and critics alike; featuring in private collections in the US and UK.

Toro - Acrylic on canvas, 60x90cm, 2023

Your work blends expressive figurative representation with childlike depictions. What draws you to
this juxtaposition, and how do you see it shaping the narratives in your paintings?
I’m drawn to blending expressive figurative representation with childlike depictions because it merges raw emotion
with unfiltered honesty. In my paintings, the figurative elements convey intricate narratives like identity or conflict,
whilst the childlike touches lend a playful, open-ended view. This contrast creates a tension that makes the stories
feel both deep and approachable.

43
You cite Picasso, Rothko, Basquiat, and ancient Egyptian art as influences. How do these inspirations
manifest in your work, and do you consciously reference them while painting?
My work reflects Picasso’s bold lines, Rothko’s emotional depth, Basquiat’s raw energy, and the timeless symbolism
of ancient Egyptian art. I often find that I consciously reference them too much while painting, they seep into my
style naturally through years of studying. This has recently challenged me to the extreme to advance my work as I
felt inspirations made my work not me
Your art often explores themes of death, humanity, animals, and religion. How do you approach
these complex subjects while maintaining a raw and instinctive aesthetic?
I explore a range of themes from death, humanity, animals, and religion by delving into their emotional essence
and cultural archetypes, often utilising research to shape my brushstrokes to add depth and meaning to their
intricacy.
Being self-taught, how has your artistic process evolved over the years? Have there been any pivotal
moments that shifted your approach?
Being self-taught, my artistic process has evolved through trial and error, gradually shifting from chaotic
experimentation to a more instinctive, confident flow as I’ve honed my voice over 6 years. A pivotal moment came
when I abandoned rigid techniques picked up from books, realising that true growth stemmed from trusting my
own hand and vision rather than external rules. I’ve always felt art degrees, with their focus on exams rather than
nurturing the finest artists, fail to equip young creatives for the industry’s unpredictable demands, and my path has
only reinforced that view.

Apep, god of chaos - Acrylic and oil stick on cotton canvas, 24'’18'’, 2023 Gowalk the dog - Mixed media painting, 2023

44
How has audience reception influenced your creative journey, if at all?
The recognition my work has gained in the US and UK has been humbling, though it hasn’t directly shaped my
creative process as I paint for myself, not sales. However feedback does still impact my development and
progression. Still, seeing it connect across these cultures bolsters my ambitions to be an artist.
How do you balance instinct with intentionality in your creative process?
I embrace spontaneity in the early stages of my work, allowing instinct to guide my choices in colour, form, and
texture. As the piece develops, I refine these elements with careful consideration and research to create balance
and cohesion. This interplay between impulse and intention ensures that my paintings remain both expressive and
purposeful.
What role does symbolism play in your work?
Symbolism plays a crucial role in my work, allowing me to convey deeper meanings beyond the visible forms. While
my figures and archetypes are often drawn from personal experiences, I try to infuse them with universal themes
that can be understood to a widespread audience, inviting viewers to find their own interpretations within the
imagery.
What materials or techniques do you find most effective in capturing this intensity?
I rely on bold, gestural marks with oil sticks, layered textures, and a dynamic use of colour and visible brush strokes
on canvas to capture rawness, to create a mood for that moment and message.
Stoke-on-Trent has a rich cultural history. Has your environment played a role in shaping your
artistic vision?
Stoke-on-Trent’s cultural history has undeniably shaped my artistic vision, but I find it frustrating that so much
focus is placed on its old ceramic heritage rather than fostering a forward-thinking creative future. While I deeply
respect and draw inspiration from the people who built this city’s rich artistic legacy, I believe we risk stagnation if
funding continues to prioritise nostalgia over contemporary innovation. Creativity should evolve, and without
investing in today’s artists and new ideas, we
won’t have the visionaries needed to shape the
future. Honouring the past is important, but it
should not come at the expense of those striving
to create something new.
What message or feeling do you hope
viewers take away from your paintings?
I hope my paintings evoke a deep emotional
response, encouraging viewers to connect with
the raw energy and underlying themes within
each piece. My work is constantly evolving as I
experiment with new ideas to push creative
boundaries. In the future, I aim to explore even
greater depth and complexity with my work,
allowing my vision to explore other forms of art,
not just painting.

WCNSF - Mixed media painting, 2023

45
 HEIDI JAYNE BEST

‘’It begins, almost dreamlike, a distant horizon where my story shines like a reflection on a glittering pond. It is here,
on the precipice of my mind and its romantic quest to understand the incomprehensible, where I discover a
concealed narrative lying deep within my subconscious. It is a performative practice, mirror like, where I am
dancing with myself through composition and critical reflection as the image comes into fruition. I am revealing
through the act of painting my conscious thoughts and intentions.
Nature is a constant in my creative journey, the vast expanses of landscape, the physical and emotional responses,
and the inspiration it ignites, my interpretation of this is an ongoing fascination. Environment, creation, self and the
cosmos, informing and shaping my understanding of nature, birth, life, and identity.
My practice is based on private, deeply subjective experiences, it has been both difficult and challenging to
assimilate psychological references that make a connection to biographical personal narrative but do not explicitly
reveal the truth. Experimenting with objects within a tangible space I have begun to explore the applied personal to
me, and not just through the illustrational, but through the growing connection to the more sensorial, surreal, and
mystical elements that lie within. It is a multiverse of different readings where I am making the emphasis on
emotion through the projection of self. It is this entanglement of the projected self that challenges the forms of
representation and personal recollection, between space, time, objects, and others. The images depicted on the
two-dimensional surface of the canvas become a three-dimensional dialogue, strengthening the sense of
embodiment and existing as equivalents to individual experiences. Where a language is formed through an
encounter of space and the body, other and self, the internal and the external.‘’

Heidi Jayne Best is an artist and poet living and working in Derbyshire. Her practice evolves from
personal experience dealing with female identity, sexuality and the presence of the body. Merging
her roots of abstract expressionism with contemporary figurative painting. Her work is
autobiographical in nature, It is a performative practice, mirror like, where she is dancing with
herself through composition and critical reflection as the image comes into fruition, she is
revealing through the action of painting her conscious thoughts and intentions. The dynamics
between the materials and a physical projection where nature and self are revealed and
expressed. These aspects Influence and inspire the work, immersing in the connection between
nature, birth, female selfhood and a deeply corporeal relationship with painting and the creative
act.

46
 Birdsong
Oil on canvas, 151x99.5xm, 2022

This work explores autoiographical themes around feeling constrained by perceptions, the contradictions
of self and the quest for true spiritual and personal freedom
You describe your practice as performative, like "dancing with yourself" through composition. Can
you elaborate on the role of movement and physicality in your creative process?
Painting and its relationship to the body, the intuition of my movement across the surface of the canvas is where I
begin to understand what I am trying to communicate. It begins, almost dreamlike, a distant and hazy horizon
where my story shines like a reflection on a glittering pond. It is here, on the precipice of my mind and its romantic
quest to understand the incomprehensible, where I discover a concealed visual narrative lying deep within my
subconscious. My roots as an artist are deeply rooted within the realms of abstract expressionism, a movement
historically was dominated by male artists, I have always had an ardent desire to challenge this precedent, pushing
against the belief that this was a masculine tradition. Using my body and my corporeal connection to manipulate
the surface of the canvas.
How do landscapes and natural elements shape the way you explore themes of selfhood and birth?
The landscape and natural elements profoundly influence the way I explore themes of selfhood and birth. The
natural world acts as both a mirror and a muse, reflecting the cyclical nature of life and offering a canvas upon
which I can project my inner landscape. The changing seasons, the ebb and flow of tides, and the resilience of flora
and fauna serve as metaphors for my own experiences of growth, transformation, and renewal. When I immerse
myself in nature, I find a powerful connection between the external environment and my internal state. The
vastness of the sky, the solidity of the earth, and the fluidity of water become symbols of the different facets of my
identity. The process of birth, both literal and metaphorical, is echoed in the regeneration of natural elements—
seeds sprouting into plants, caterpillars metamorphosing into butterflies, and rivers carving through rock. These
elements influence my artistic process, guiding the themes and imagery that emerge on the canvas. They help me
navigate the delicate balance between personal introspection and universal resonance, as I strive to create a
dialogue between the personal and the universal, allowing the specifics of your life to illuminate broader themes
that others can relate to.

The bitternes of ripened fruit Through the night dark companion, for the light
Oil on canvas, 125x125cm, 2022 Oil & spray on canvas, 120x120cm, 2023

48
Your work explores female identity, sexuality, and the presence of the body. How do you navigate
the balance between personal experience and broader universal themes in your paintings?
I find that navigating the balance between personal experience and broader universal themes begins with
introspection and intention, deeply reflecting on my own experiences and emotions and identifying how these
personal motifs can be expressed in ways that connect. This may involve abstracting and employing symbolism or
using archetypal imagery that evokes shared human emotions and stories.
Your paintings exist between abstraction and figuration. What draws you to this fusion, and how do
you decide when to push toward one or the other?
As I have already mentioned my roots lie within abstract expressionism, creating large compositions full of fluidity
and movement. My drive to blend these styles stems from a profound desire to capture the complexity of human
experience, the interplay between the tangible and the intangible, the seen and the unseen. Each piece is a journey,
a delicate dance where I seek to balance these elements, allowing the fluidity of abstract forms to merge with the
specificity of figurative elements. Deciding which aspects to emphasize in each work is an intuitive process, deeply
rooted in the emotional and thematic core of the piece. Sometimes, the narrative calls for more abstract forms,
where emotions and experiences are conveyed through color, texture, and movement, evoking a visceral response.
The decision-making process is organic and evolving, influenced by the themes I am exploring, the stories I wish to
tell, and the emotional landscape I am navigating. By allowing abstraction and figuration to coexist, I create a
dynamic interplay that invites the viewer to engage with the work on multiple levels, finding their own meaning and
resonance within the layers of paint and the spaces between.
I used to be a dancer At night sometimes while everyone is in sleep
Oil & spray on canvas, 152x100cm, 2022 Oil & spray on canvas, 2023

49
You mention a "concealed narrative" within your subconscious that emerges through painting. Do
you ever surprise yourself with what is revealed in your work?
I believe with all things spontaneous there is always an element of surprise. I am very intuitive when applying paint
and have a deeply emotionally connection with my creativity. I have always felt deeply connected to nature and
this informs and inspires my practice.
How do you decide what to reveal and what to keep hidden in your visual storytelling?
I do not want the work to be a literal embodiment of the confessional. I am interested in the nuances of revelation
through physical placement of objects and corresponding paintings. The work is based on private, deeply
subjective experiences; it has been both difficult and challenging to assimilate psychological references that make a
connection to biographical personal narrative but do not explicitly reveal the truth. The balance lies in authenticity
—staying true to my personal vision while also inviting the viewer to find their own meaning and connection within
my paintings. The dynamic interplay between the intimate and the collective hopefully resonates as I strive to
create a dialogue between the personal and the universal, allowing the specifics of my life to illuminate broader
themes that others can relate to.
How do you see the relationship between space, time, and the body in your work?
I have begun to explore the applied personal to me, and not just through the illustrational, but through the
growing connection to the more sensorial, surreal, and mystical elements that lie within. Broadening the reading of
the found object that goes beyond materiality. Making these connections I have been able to reveal my secret voice,
the only one I can hear, the crashing sound of waves between my ears, the unexplained sound of moonlight, the
poetic noise of longing and the ache of a life spent seeing beauty in darkness and bearing the weight of the
invisible.
How do you use color, texture, and form to convey the deep emotional layers within your practice?
My process is incredibly physical, the presence of the body existing on the surface of the canvas and with this
physical presence I hope to convey my identity through the expressive nature of the creative act. I see this as a
ritualistic and almost symbolic method of development where I gain a deeper understanding of the narrative of my
existence, consciousness, and psychology, offering a lingering notion of the critical self-reflection that took place. It
is this struggle of bringing together a coherent body of work that aims to further delineate the battle I have in
unifying disparate yet anchored elements of personality, sexuality, and identity.
Are there particular artistic or literary influences that inspire you?
I am influenced and inspired by so many genres, from other artists, poets, and musicians. I admire the work of
Tracey Emin, Jenny Saville, Joan Semmel, and Paula Rego, all these artists work challenge perceptions around the
female form. I am interested in feminist methodologies and hope this is projected through my work. I write poetry
which is autobiographical and this feeds into my storytelling, with some becoming the narrative for a painting.
What do you hope viewers take away from engaging with your work?
It is this entanglement of the projected self that challenges the forms of representation and personal recollection,
between space, time, objects, and others. The images depicted on the two-dimensional surface of the canvas will
become a three-dimensional dialogue, strengthening the sense of embodiment and existing as equivalents to
individual experiences. Where a language is formed through an encounter of space and the body, other and self,
the internal and the external. I hope that the viewer can see an element of themselves within my work and respond
to this emotionally, I hope to connect because whatever darkness people may be experiencing there is always
hope. I am all about empowering and owning our unique voices and becoming our true selves.

50
 AYMAN ZAHID

‘’My work revolves around the realm of eye-catching and surreal landscapes. Each time I immerse myself in the
process of creation, a profound sense of peace washes over me, as if I'm wandering through a dreamscape of my
own making. I employ bold, high-contrast colors that leap off the canvas, drawing the viewer into a world where
the ordinary transforms into the extraordinary. Additionally, I delight in exploring the nuanced spectrum of tints
and shades within a single hue, crafting a unique visual narrative that captivates the senses and evokes emotion.
Whether it’s the way the sunlight dances on a surreal horizon or the shadows play in the depths of a fantastical
forest, my goal is to create immersive experiences that resonate with viewers, drawing them into a world of
imagination and wonder.‘’

Landscape 6 - Digital Art, 2024 Landscape 7 - Digital Art, 2024

From the very start, she was captivated by the world of art, a vibrant realm where her imagination
could flourish. Eager to delve into her own identity within this creative field, she chose to enroll at
Sheffield Hallam University, embarking on a journey in pursuit of a BA (Hons) in Graphic Design.
Now in her second year, she is fully immersed in this enriching experience, each day unfolding
new layers of her artistic self. Digital Art has become her sanctuary, a canvas where she can
translate her innermost emotions that often feel too complex to articulate in words. It is through
this medium that she has discovered the powerful ability to communicate her feelings,
transforming what lies within her into captivating visual narratives.

51
How has studying Graphic Design at Sheffield
Hallam University influenced your creative
approach?
During my time at Sheffield Hallam, I was surrounded
by very talented individuals. I was surprised to observe
the different approaches they took to various briefs.
This experience helped me understand their unique
creative thinking processes. As a result, I began to think
outside the box and started doing experimentation with
different art styles.
What drew you to the digital art, and how does it
allow you to express emotions?
When I began my journey in art, I used to paint on
canvas. However, over time, I developed a strong
interest in digital media. With digital art, I no longer had
to worry about running out of paint; I could experiment
Landscape 4 - Digital Art, 2024
with an unlimited variety of tints and shades. I truly
enjoyed the endless resources that digital art offered.
What inspires the dreamlike worlds you create, You mention a sense of peace while creating. Do
and how do you develop their visual narratives? you see your artistic process as a form of
I find that creating landscapes brings me peace. I enjoy meditation or escapism?
experimenting with color contrasts and incorporating Yes, I think art serves as therapy for me. Whenever I
subtle textures into my work. create art, I forget about all the worries of this world
and visualize myself in another peaceful world.
Landscape 5 - Digital Art, 2024 Color plays a significant role in your work, with
bold contrasts and nuanced tints. How do you
approach color theory to enhance emotion in
your art?
As you know, I enjoy using high contrast colors because
they are more eye-catching and attract audience
attention. I utilize "color harmony" to select these
colors.
What role does storytelling play in your digital
landscapes? Do you envision narratives within
them, or do you prefer to leave interpretation
open to the viewer?
Storytelling for me allows to built more meaningful
connection with users beyond just presenting
information. Art is a very subjective thing. You cannot
put boundaries on it. I prefer leaving inrerpretation
open to the viewer.

52
Your pieces often blur the line between reality and fantasy. Do you aim to challenge the viewer’s
perception, or is it more about personal exploration?
I would say this is more about personal exploration.
Are there particular artists, designers, or movements that have influenced your style and approach
to digital surrealism?
I like pop art because of its use of bright, high-contrast colors. My favorite designers are Andy Warhol and Roy
Lichtenstein.
You speak of creating immersive experiences for
your audience. How do you see digital art evolving
in terms of viewer interaction and engagement?
As time goes on, we are witnessing advancements in
technology, making art more accessible to everyone.
Nowadays, artists are experimenting with virtual art
galleries by renting space. I would love to explore the
possibilities of virtual spaces as well.
Looking ahead, how do you see your artistic voice
developing? Are there new techniques, themes, or
media you’d like to explore in the future?
I enrolled in Graphic Design because illustration is my
strength. However, I want to learn typography to
combine both skills in creating eye-catching resources.

Landscape 10 - Digital Art, 2024

Landscape 3 - Digital Art, 2024 Landscape 9 - Digital Art, 2024

53
PRECIOUS OZEMOYA

54 Harmony in Imperfection - Digital art, 2025

‘’ My work explores the seen and the felt, where form
dissolves, and concept takes shape. I am drawn to the
idea that abstraction can transcend the limitations of
representational art, allowing viewers to engage with
the work in a deeply personal and intuitive way, one
where meaning is not dictated but discovered. Each of
the art pieces that I create is a journey, an expression of
thought and feeling that is not confined by conventional
form, but rather guided by colour, form, texture, and
movement. I think abstraction speaks in a language
beyond words, evoking memories, emotions, and
sensations that may shift with time and perspective.
Also, my artistic practice spans multiple mediums, such
as photography. By embracing creativity, I seek to
capture concepts through my practice.‘’
Flame - Digital art, 2025

Ignition point - Digital art, 2025 Alchemical Fusion - Digital art, 2025

Precious Ozemoya has a master's degree from the University of Bristol. She is a visual artist and
multidisciplinary creative. Precious interest lies in exploring the intersection of arts, culture, and
technology. Her work has been selected for an upcoming 2025 exhibition in Brazil. She has spoken
at high-level events such as the Women Economic Forum, GatherVerse summit and the People-
centred Humanitarian Response in Conflict virtual event organized by the International Committee
of the Red Cross. She is a recipient of the Exceptional Leader of Excellence Award by the Women
Economic Forum and the Most Influential Leaders Award by She Leaps University.

55
Your work spans arts, culture, and technology. transcend language and cultural barriers, making
How do you see these elements intersecting in space for introspection and discovery. By focusing on
your creative practice? form, colour, and movement rather than literal
Art, culture, and technology intersect in my creative representation, I encourage viewers to engage with
practice by shaping how I showcase creativity. their experiences and emotions. This open-ended
Technology serves as both a medium and a tool in my approach keeps my work dynamic, evolving with each
practice, enabling diverse forms of artistic expression. interaction and perspective. In addition, as a visual
By picking inspiration from culture, arts and artist, my artistic practice also spans multiple mediums
technology, I strive to create works that are creative such as photography and digital art, and I explore
and engaging. diverse themes in my practice.
You’ve been selected for an exhibition in Brazil You mention that your work explores
in 2025. Can you share more about the work perception and emotions. How do you translate
you’ll be showcasing? intangible feelings into visual art?
I am happy to be exhibiting in Brazil. For the exhibition, I translate emotions into visual art through colour,
I will showcase fine art photography that draws the texture, and composition, using abstraction to evoke
viewer into the coastal environment. The significance of rather than define specific feelings. By layering forms, I
this artwork lies in the exploration of nature’s resilience create spaces that mirror the complexity of human
and transformation. I am showing the piece to perception. Movement and rhythm in my work capture
encourage viewers to appreciate the overlooked details shifting emotions, allowing viewers to find their
of coastal ecosystems and reflect on nature's delicate resonance within the piece. This approach transforms
balance. intangible experiences into visual art that invites
You’ve spoken at high-level events such as the contemplation and personal interpretation.
Women Economic Forum and GatherVerse summit.
Digital Chaos - Digital art, 2025
How do these experiences shape your artistic This artwork is characterized by soft pink hues intersected with linear elements. The
composition is a glitching digital interface where fragmented lines, dots, and subtle
vision? textures create a sense of motion and controlled chaos.
Speaking at high-level events like the Women's
Economic Forum and GatherVerse Summit has
deepened my understanding of global perspectives on
social issues. These experiences have reinforced my
commitment to creating socially impactful art.
Engaging with diverse audiences has expanded my
artistic vision, inspiring me to explore themes of social
issues and cultural connections. By integrating these
insights, I strive to create work that resonates across
communities and sparks meaningful dialogue.
Your practice emphasizes abstraction as a
means of open-ended interpretation. What
draws you to this approach?
Abstraction allows me to create art that invites multiple
interpretations, fostering a personal connection with
the audience. I am drawn to abstraction's ability to

56
How do you incorporate technology into art? and new media also shape my approach, allowing me
I incorporate technology into my artistic process as to experiment with creativity. This fusion of influences
both a tool and a medium. I use digital techniques, helps me in creating works that are both deeply
generative design, and interactive elements to expand personal and resonates with others.
creative possibilities. By blending traditional methods Have any interpretations of your art particularly
with emerging technologies, I am exploring new ways surprised you?
to visualize and experience art. Technology allows me I truly value the idea that each viewer brings their own
to push the boundaries of perception, creating experiences and emotions when engaging with my
immersive and dynamic works that evolve with work. One interpretation that particularly surprised me
audience engagement. This fusion of disciplines was when a viewer connected my abstract imagery to
enables me to craft experiences that are experiential their journey of overcoming loss. They saw each stroke
and immersive. as a reflection of the transformative nature of renewal,
How does leadership and activism inform your a perspective I had not explicitly considered. This
work? experience reminded me that art is a living dialogue
Leadership and activism shape my work by grounding between the creator and the viewer, continuously
it in positive social impact. Engaging in leadership evolving with every interpretation.
activities allows me to bridge disciplines, fostering What new projects or ideas are you currently
collaborations that support creativity. By integrating exploring in your practice?
the value of positive social impact, my work becomes I am experimenting with incorporating mixed media
more than visual expression, it becomes an avenue for elements into my work, blending digital and traditional
conversations. techniques. Additionally, I am trying to work on ideas
Do you have any specific influences? that promote art with interactive elements with the aim
I draw influences from movements like Abstract of inviting viewers to engage with art in new ways.
Expressionism including getting inspiration from These projects are pushing me to think differently
nature, heritage, travel and social issues. Technology about art, storytelling and audience participation.

Nature’s Mosaic - Digital Art, 2025 57 Shuttered Perspectives - Digital Art, 2025
Spring Issue | Seasonal Edition | volume 65 | Collect Art | Tbilisi, Georgia