COLLECT

ART
floral/ special edition

VOL 30

August
2023
On the Cover: 'Chiaroscuro' by Natalie Toplass
 Floral
Special Edition

Welcome to a blooming celebration of creativity and nature's most cherished

beauties! We are delighted to present to you a special edition of our beloved art
magazine, dedicated entirely to the captivating world of 'Floral' art. Embark on a
journey through a mesmerizing array of published works, curated from the talents
of extraordinary international artists.

In this enchanting collection, you will be transported to a realm where petals

dance with colors, and blooms speak a language of their own. Our pages come
alive with exquisite photographs capturing the delicate essence of flowers in their
purest form, each frozen in time by skilled lens masters.

Discover the soulful brushstrokes of painters who bring florals to life on canvases,
their artistry transforming blooms into breathtaking masterpieces that evoke
emotions and awaken the senses. Allow yourself to be drawn into intricate
drawings, where the lines of each flower tell stories of dedication and passion, as
talented artists' hands skillfully sketch beauty onto paper.

The texture and allure of textiles come alive in the Floral art realm, as gifted
artisans weave tales of petals and leaves, creating stunning tapestries that wrap
you in a world of floral splendor. Embrace the innovative spirit of mixed media
artists, as they blend various materials and techniques to craft an unparalleled
symphony of floral creativity.

Our special edition showcases the diversity of expressions, cultural influences, and
inspirations from artists around the globe. Each creator shares their unique
perspective, allowing you to witness how flowers transcend borders and language
barriers to connect us all through their everlasting allure.

Join us on this unforgettable artistic voyage, where petals bloom eternally, and
floral art blooms in every hue. Prepare to immerse yourself in a kaleidoscope of
colors, emotions, and creativity as we unveil this extraordinary collection of 'Floral'
art.
VOLUME 30

CONTENT 05

11
William Josephs Radford

Dom Holmes

Floral 16 Natalie Toplass

21 Elliot Birt

26 Joanne Pudney

33 Sebastien Theraulaz

37 Namrata Bhatter

41 Nick Tobier

48 Erika Loch

56 Lewis Andrews

61 Yunxuan Shi

66 Ksenia Semirova

70 Indiana Solnick

76 Keith Buswell

81 Cesar Ceballos

88 Jasmine Merry Blackmoore

95 Kelly Maryanski

102 Lisa Lemke

108 Alison Schultz

114 Silvia Cristobal Alonso

Cameraless image of dried flowers made with blue flower tea. 119 Jennifer Reynolds
page 88

126 Ashlee Kennedy

William Josephs Radford

William Josephs Radford is a thought-provoking contemporary photographer and

artist hailing from the raw countryside of rural Andalucía, Spain

Born on August 23, 1998, Radford’s artistic journey has been characterized by a
relentless pursuit of pushing artistic boundaries and challenging conventional
thought processes.

From an early age, Radford displayed a keen artistic talent, often seen with a pencil
in hand at his local village school. His fascination with cameras ignited at the age of
15, setting him on a path toward fine art photography. Eager to refine his skills and
expand his artistic horizons, Radford pursued formal education at the University
of Gloucestershire, where he studied fine art photography.

Throughout his career, Radford has developed a distinctive style characterized by

striking compositions and subject matters that aim to challenge his audience. His
work draws inspiration from the transgressive art movement, seeking to break free
from prior definitions of art and explore controversial themes. With a preference
for the light-painting technique, Radford painstakingly crafts his scenes through
layered light and long exposures, skillfully employing color to further engage with
his subjects.

''I have created photographs of flowers that are far from ordinary. While they may
appear typical at first glance, I utilized a completely unique technique to capture
them. To create these works, I placed the flowers in a dark room and set my
camera to a long exposure. I then illuminated them with a phone screen playing
pornographic content. The result is a series of floral arrangements that reflect the
carnal colors and erotic scenes of the content, creating a striking contrast between
concept and composition.

As someone who is interested in exploring controversial topics, I created this

series, titled “Deflowered” to raise awareness around porn addiction and
encourage greater sensitivity in a society that has become desensitized to
pornography. Through these photographs, I aim to provoke thought and spark
conversation about this taboo subject, using beauty and aesthetics to explore
deeper societal issues.''

05
Your artistic journey began at a young age, creative energy into fine art photography. In
with a natural talent for drawing. How did this new medium, I have found a way to not
your early experiences with drawing only rebel against conventional artistic
influence your transition into fine art boundaries but also to delve deeper into my
photography? emotions and perspectives. Fine art
During my childhood, I found myself photography allows me to capture the world as
constantly at odds with authority, and drawing I see it, breaking away from traditional
became an unexpected outlet for my expectations and exploring new possibilities.
rebellious spirit. In the classroom, I couldn't Could you share with us the pivotal
resist the urge to sketch and doodle, much to moment or inspiration that led you to
the dismay of my teachers who wanted me to pursue photography as your primary
focus on my studies. While I got reprimanded medium of artistic expression?
frequently for not paying attention, the act of My love for photography blossomed gradually,
drawing provided me with a sense of defiance, like a captivating romance. There was no
a way to express myself on my own terms. single pivotal moment; it was a culmination of
Now, as an adult with no teachers to rebel events that drew me closer to this art form.
against, I have channeled that same Photography and I are currently in our
honeymoon phase, and I can only envision our
relationship growing stronger as we explore
new creative heights together.
How did your formal education in fine art
photography shape your artistic
perspective and push you to explore new
boundaries?
During my time at University, my rebellious
streak remained intact, and I often found
myself stoned in the basement of my
sharehouse, fueled by my creative spirit and
an unconventional approach. The basement
became my sanctuary, where I unleashed my
artistic passion while being influenced by an
altered state of mind. Although
unconventional, this approach allowed me to
break away from traditional norms and explore
unique avenues of self-expression.
Surprisingly, my tutors were incredibly
supportive of my artistic endeavors,
recognizing that my unconventional methods
were an integral part of my creative process.
(even when it meant trying to shock or
provoke a reaction).

Safflower: Photography, 20x30 Inches (Limited edition of 10) 06

How do you select the subjects and
themes for your photography?
Selecting subjects and themes for my
photography is a deeply intuitive process
driven by passion and curiosity. I believe that
the most impactful work emerges from ideas
that genuinely excite me, so I often start by
exploring various themes and concepts that
pique my interest. Some ideas may be fleeting
and quickly fade away, while others linger in
my mind, refusing to be ignored. It is these
persistent ideas, the ones that linger and
occupy my thoughts weeks later, that
eventually evolve into full-fledged projects.
These are the concepts that grip me so
intensely that I feel compelled to act on them.
Veronica: Photography: 20x30 Inches (Limited edition of 10)

Baby's Breath: Photography, 20x30 Inches (Limited edition of 10)

The transgressive art movement has been

an influential source of inspiration for your
work. How does this movement inform
your artistic process and help you break
free from traditional definitions of art?
The transgressive art movement has been a
profound source of inspiration for my work,
aligning with my passion to reshape and
redefine the artistic medium. Drawing
inspiration from artists and movements that
have successfully challenged conventions in
the past, I am motivated to push the
boundaries of my own artistry.

07
Light painting is a technique you employ to create your distinctive scenes. Can you delve
into the creative process behind this technique and how it contributes to the narrative and
visual impact of your photographs?
Light painting has become a distinctive signature of mine, and while I do experiment with different
techniques for each project, this particular method holds a special place in my work. It's a slow
and meticulous process, demanding considerable patience, with each photo taking anywhere
from 30 minutes to a couple of hours to create!
Through light painting, I embark on an intimate and intricate journey, drawing me closer to the
subject. It's a process of reflection, carefully observing how the light falls on surfaces, selecting
colors that complement the subject's character, and seeking to evoke specific emotions within the
composition. I engage with the subject on a deeper level, connecting with them, communicating,
dancing, and playing together! This profound interaction wouldn't be possible in a traditional
studio environment, making light painting a truly unique and enriching technique for my artistic
expression.

Red Lily: Photography, 20x30 Inches (Limited edition of 10) Pink Lily: Photography, 20x30 Inches (Limited edition of 10)

08
Color plays a significant role in your work, enhancing the emotional impact of your
subjects. How do you approach the use of color in your photography, and what do you aim
to evoke through your color choices?
Color is a pivotal and intuitive element in my photography, where I navigate between two distinct
approaches. One involves using colors to harmoniously complement and enhance subjects,
resonating with viewers, while the other deliberately forces particular colors to evoke specific
emotional responses. The use of color serves a purpose, aligning with my photography's agenda,
as a powerful tool for storytelling, eliciting emotions, and guiding the audience's interpretation and
emotional experience of the images.
Your photographs often explore controversial themes. How do you navigate the fine line
between provocation and artistic expression, and what impact do you hope to achieve?
Navigating the fine line between provocation and artistic expression is a deeply personal journey
for both the viewer and myself. My objective is to respectfully evoke emotions and stimulate
thought, presenting controversial themes through a neutral lens. By doing so, I hope to raise
awareness and spark meaningful conversations about these topics, allowing the audience to
engage with the concepts in a way that resonates with them individually.

Pot Marigold: Photography, 20x30 Inches (Limited edition of 10) 09 Teasels: Photograph: 20x30 Inches (Limited edition of 10)
As an artist based in rural Andalucía, how do your surroundings influence you?
Growing up in Spain as the child of British ex-pats was an experience that left a lasting impact on
my sense of identity and belonging. Being caught between two cultures, I often felt like an
outsider, never fully integrating into either world. This sense of displacement and not quite fitting
in was a complex and emotional journey, filled with moments of introspection and self-discovery.
While it was challenging to navigate the cultural nuances and social dynamics of both Spain and
Britain, I came to realize that this unique perspective was, in fact, a powerful asset for my artistry.
The constant oscillation between two distinct worlds allowed me to develop a heightened
sensitivity to the complexities of human emotions, relationships, and experiences. It opened my
eyes to different ways of seeing and understanding the world.
Looking ahead, what new artistic territories or concepts are you excited to explore?
As I look ahead to future projects, I am particularly thrilled about my latest endeavor, "Exposed,"
which presents a daring attempt to translate the concept of white paintings into the realm of
photography. This project is a fascinating exploration of themes such as nudity, vulnerability, and
the act of looking, all captured through a series of ten completely white photographs.

White Statice: Photography: 20x30 Inches (Limited edition of 10) 10 Blue Orchid: Photography, 20x30 Inches (Limited edition of 10)
 Dom Holmes

Dom Holmes is an emerging British painter and mixed-media artist currently living
and working in London. Their work has been shown in exhibitions and art fairs
across the UK, the US, and Europe.

Dom’s work is primarily concerned with themes of nature, in particular as a vehicle

for exploring spirituality, identity, and ego. Their work is constantly developing
through different techniques, methods, and inspirations. Their oil painting practice
evolved from a period of self-directed study beginning in 2017 and has led to their
principal focus on traditional fine art methods of painting and print-making, and
subverting lowbrow art forms inspired by their career in tattooing and design.
Dom’s strong ongoing interests lie in minimal colors, depth, and darkness, ego, and
sensuality.

Dom collects images and references from their local environment - from
community planters, neighborhood gardens, open spaces, council-run parks,
roadsides, and windowsills - and elevates them in extreme close-ups against deep,
dark backgrounds to highlight the value and importance of local, seasonal wildlife
and community in times of climate crisis. Pieces are built up with multiple layers of
oil glazes using minimal pigments and tones, culminating in a velvety surface
interrupted with purposeful, smooth brush strokes. The close-cropped
compositions determine the power and strength held by the subjects often
considered soft and delicate. The evolution of the colour schemes and textures is
allowed to emerge naturally through the layering of glazes, and subtle abstractions
evolve organically from the figurative depiction. The final layers determine and
solidify the textures, mood, and depth.

Dom’s approach to their paintings is inspired by a diverse roster of creatives and

movements including Carravagio, Eugene Delacroix, Ernst Haeckel, Hokusai, and
Georgia O’Keefe amongst many others.

11
Your work explores themes of nature as a vehicle for exploring spirituality, identity, and
ego. How did you first become interested in these themes, and how do they manifest in
your artistic practice?
I have always been instinctively drawn toward the botanical subject matter and the endless
creative possibilities it holds. Throughout my tattoo career I found myself working on people who
were seeking out some sort of connection to something bigger than themselves, or an
understanding of their identity, and a huge proportion of my work involved making those
connections through the artwork I would create for them. These experiences filtered over into my
artistic practice, and exploring concepts of human identity and our connection to the natural world
evolved organicall from there.
Your artistic journey involves evolving through different techniques, methods, and
inspirations. Could you share some of the key moments or experiences that have shaped
your development as a painter and mixed-media artist?
Like many artists, I was almost put off pursuing my creativity whilst at school after being told I was
painting ‘wrong’. Thankfully I trusted my instincts and kept going. That moment almost certainly
made me sure that traditional artistic schooling wasn’t for me, but it also inspired me to continue
creating in whatever way felt right to me, whether it was deemed traditionally ‘correct’ or not.

Red Iris - Oil on canvas, 40x30cm, 2023 Red Tulip - Oil on canvas, 40x30cm, 2023

12
How do you integrate elements of lowbrow art into your work, and how does it
complement your exploration of minimal colours, depth, and darkness?
I’ve always had a love for ‘lowbrow’ art; to me, it’s about art that’s accessible, easy to understand
and connect with, and that you can appreciate for what it is wherever you find it. Both tattooing
and design are very much about depicting a subject or a message as an image and finding
inspiration in everyday surroundings. I try to integrate these approaches across every element of
my work, in particular into my paintings.
Your paintings often feature extreme close-ups of local, seasonal wildlife and community
elements. Can you elaborate on the significance of elevating these subjects and
highlighting their value in times of climate crisis?
A lot of my most recent paintings are based on images I collect walking through my local
neighbourhood, a habit which started on my daily walks during the Covid lockdowns. I have
always loved travelling and escaping into nature and experiencing the diversity and excitement of
new and different environments whilst travelling, so when I was confined to my local
neighbourhood for months I started to look more closely at what was right here and to consider
my relationship to it. Collecting and then working on these images makes me feel connected to
my surroundings and grateful for the nature that exists even in my East London neighbourhood,
but it’s also a reminder that climate change is impacting how everything will grow and survive,
wherever we are in the world.

Red Orchid - Oil on canvas, 40x30cm, 2023 13 Red Magnolia - Oil on canvas, 40x30cm, 2023
The use of multiple layers of oil glazes and minimal pigments in your work creates velvety
surfaces with subtle abstractions. How does this technique contribute to the overall mood
and depth of your paintings?
I started experimenting with glazing techniques a few years ago. Glazes allow me to create a
luminosity to enhance the subject in my works without losing the darkness and depth that
surround it. Through using minimal pigments with this technique I can create a feeling of
connection between each element of the painting, and also a sense of the subject appearing and
disappearing into the surroundings.
The artists you mentioned as inspirations, such as Caravaggio, Delacroix, Hokusai, and
O'Keeffe, come from diverse backgrounds and movements. How do their works influence
and inform your artistic vision and choices?
I’ve long been a keen student of art history, and I love to learn about artists who broke with
convention, especially those who opened themselves up to non-traditional techniques and
methods. The artists who inspire me have all utilized experimental colour palettes and/or
compositions, which can really impact the way we look at something and transform our
connection to a piece of art. I try to channel a lot of these elements in my works, especially as a
self-taught painter.
How do you achieve this juxtaposition in your paintings, and what message do you hope
to convey through it?
I feel like the human ego means we often misinterpret and misunderstand the power and
importance of elements of nature. We’re very dismissive of the ecosystem that surrounds us, in
spite of what it survives and overcomes. By depicting these seemingly soft and delicate subjects
in a strong and dominant manner I’m hoping the viewer will rethink how they may see them, not
only in the paintings but in the actual physical environment around them.

Calla Lily (3) - Oil on canvas, 20x20cm, 2023 14 Calla Lily (1) - Oil on canvas, 20x20cm, 2023
Collecting images and references from I try to be as instinctive as possible when it
your local environment seems to be an comes to knowing when a piece is complete
important part of your creative process. and let myself recognize the finished image
Can you describe how your surroundings from the texture and mood of the piece as it
inspire and influence your work? progresses. However, I am quite methodical
Once I started to collect images from my with the process, especially in the early
neighborhood, I realized I was finding myself stages of the paintings. I always start with an
inspired by the simplest thing - an overgrown underpainting to map out the composition and
rose bush or a window box filled with tulips, or structure of the subject, and from that, I’ll add
an overhanging fig tree on the side of the road layers of lighter and darker glazes until the
- these things are all around us all the time surface has a fullness and opacity that is
and most of us don’t really see them. I also almost tactile.
take inspiration from the impact of the city Looking ahead, what are your future
itself; pollution, built-up streets, light pollution, artistic aspirations and goals? Are there
street lights, and concrete all influence not any new themes, techniques, or projects
only the vegetation that can thrive in spite of that you are eager to explore?
the conditions, but also the light, tone, and Right now I’m really focused on my oil
texture, and the compositions that emerge. painting practice and I’m currently working on
The evolution of color schemes and some larger-scale works that examine our ego
textures in your paintings emerges and self-importance within the climate crisis.
naturally through layering glazes. How do We see climate change through the impact it
you balance control and spontaneity in has on humans, rather than the planet itself.
this process, and how do you know when a Nature is bigger than us, it is more powerful
piece is complete? than us, and it will exist and thrive long after
us.

Calla Lily (2) - Oil on canvas, 20x20cm, 2023 15 White Peony - Oil on canvas, 100x100cm, 2022
 Natalie Toplass
''Whilst my work is discernibly representative, I wish the viewer to feel drawn into what becomes for
me a speculative concept of colour and shape. The medium is oil built up in layers over time to
create a vivid and translucent finish, it also benefits by creating a depth and intensity of colour
enhancing the drama and whimsy. I’ve been trying to get to the core of why I have these recurring
themes running through all my work to date and after much ruminating, I think I’ve realised the
nature ingredient is enormously important, which has become increasingly clear through reviewing
previous paintings. The natural world displays incredible diversity and tenacity adjacent to
transience and fragility. You feel wonderment and delight and you remember that you are
connected to all living things, that you are part of something bigger. I’ve become interested recently
in a still life aspect to my work, looking at old toys, bones and neglected and discarded objects and
it’s these objects that have their own provenance, their own stories that I find interesting, and I’ve
also realised that a narrative is fundamental to my painting. United with this is the anticipation of
nature reclaiming man-made elements that were once so treasured and revered is fascinating and
ever-evolving. These elements fascinate me and I try to capture that essence in my work. I want the
viewer to have an experience that is beyond that of the image itself.''

Natalie started painting professionally shortly after moving to Shropshire in 2003,

following her completion of a Fine Arts Degree and a post-grad in Stage and Set design.
Natalie often works from photographs translated onto a large-scale canvas. The focus is
then increased to enable the viewer to be surrounded and drawn into what becomes a
detailed perception of colour, form, movement, and texture. The subjects themselves are
just the starting point to study these elements; the effects of sunlight and shadows are also
having an increasing impact on my work; the subtlety of colours captures a unique
moment. Each subject is so different, offering delicacy and detail but at the same time
strength and vitality. It’s these differences that fascinate Natalie and she tries to capture
that essence in her work. She wants the viewer to have an experience that is beyond that
of the image itself; therefore, the scale of her work is essential. By enlarging the scale, the
nature of the subject is intensified and enables the viewer to become surrounded by the
beauty of the subject. The focus of the painting is intensely studied to identify the
motivation for the study. Her interests range from capturing the delicacy of a petal or
feather while also showing the strength within the subject; this is then emphasized by the
plain background where a minimum distraction is sought. Her work has currently been
shown in Tokyo, Singapore, London, New York, and Australia, as well as locally in
Shropshire. She had an article published in Artists and Illustrator’s magazine in 2007, and
Shropshire Living Magazine in 2021 and has delivered several masterclasses at the
prestigious West Dean College, in Chichester while also a regular Artist in Residence at
Nature in Art in Gloucester.

16
Blush - Oil on canvas, 50''x50'', 2017
Can you tell us about your journey as a The effects of sunlight and shadows play a
professional painter and how your significant role in your work. How do you
background has influenced your artistic capture and convey these elements to
practice? create a unique atmosphere?
Studying stage set design gave me the As I mentioned an element of drama is
confidence to work on a large scale, after important, getting the right light is essential.
painting huge backdrops for theatre anything Mornings and evenings are the best time for
else wasn’t an issue. I can also recognize that taking photographs, the quality of light is
I appreciate an element of drama in my work amazing and both occasions create different
whether that comes from the colors, moods for all of us. In a subtle way, I strive to
composition, or subject matter. convey this.
Could you describe your process of Each subject you choose serves as a
selecting and translating the photographs starting point to study elements such as
onto canvas, and how you maintain the delicacy, detail, strength, and vitality. How
detailed perception of color, form, do you approach capturing and
movement, and texture? representing these qualities in your
The images I choose are in sole response to a paintings, and what attracts you to explore
gut feeling, a ‘must do something’ emotion. the essence of different subjects?
They may sit for a while in my notebooks, but It's back to the ‘gut feeling’ again, it’s that
they usually make an appearance in some mysterious element that enables you to have
form sometime. The process is quite some connection/compulsion with an
traditional, I scale up an image and then object/idea. Once this focus has been
intently study the essential characteristics that revealed, I tend to break it down, in the same
have shown themselves to me. way, every time, closely studying the form,
color, and composition to then reconstruct it in
my own way emphasizing that focus.
How do you decide on the appropriate
scale for each piece, and how does it
contribute to the overall impact and
interaction with the artwork?
I often use a viewfinder and a blank bit of wall-
I move the photographs around while looking
through the viewfinder. I also use a viewfinder
for the image itself often choosing a section
rather than the whole image. All of these tiny
choices have a huge impact on the overall
perception of a painting, I think people would
be surprised by how much minute information
they take in unconsciously and the impact this
has on their thoughts.

Hydrangea - Oil on canvas, 50''x50'', 2017 18

How do you determine the background love it, it is a very insular experience. Talking
choices and what role does it play? to people about art is energizing, there are
I often get asked ‘Do I paint the background always suggestions and ideas plus new artists
first’ The answer is no as I need to see how to discover.
the whole painting looks once completed, only Could you share more about your articles
then can I choose a background. I love color published in Artists and Illustrator's
charts! I use several of these to inspire magazine and Shropshire Living
choices. Magazine?
How has showcasing your work in It’s been great to see my work out there in
different cultural contexts influenced your print! Both are great magazines. What has
artistic development? been interesting is working out the whys and
It’s been great very interesting hearing the hows of my work, you spend time working
likes and preferences of different cultures. It's instinctively for so long that it's quite a surprise
obvious really but it was something I’d never to find out that everything is connected and
considered before, I just assumed that art was there are deep-rooted thought processes that
universal but varying countries have different were there all along.
values and philosophies. Looking ahead, what upcoming projects or
As a regular Artist in Residence at Nature exhibitions are you excited about?
in Art in Gloucester, how do the I have several areas of interest at the moment,
environment and the interaction with I’ve just completed a new collection based
visitors and fellow artists inspire and around ‘Nature will find a way’ A bit still life, a
inform your creative process? bit Dutch golden age, always with a strong
I’ve always loved going to Nature in Art, it’s a nature element, it’s very exciting. I’m also
whole week away just painting and chatting to looking at developing an underwater theme- a
people. I work from home and as much as whole new level of understanding!

Calla Lily - Oil on canvas, 30''x30'', 2015 19 Ranunculus - Oil on canvas, 50''x50'', 2018
White Hellebore - Oil on canvas, 48''48'', 2015
Elliot Birt

''I am a multimedia artist who is inspired by the natural world and all its various forms. In
my work I am attempting to allow the subject matter a greater autonomy, freeing it up and
allowing it to express itself. The work is a meditation on both the relationship between us
and the natural world and the link bonding the artist and their subject matter. I feel too
often that the link between us and nature is abstracted and detached.
I often experiment and venture out to try new mediums, constantly adding to my
knowledge of artistic mediums. No matter what I use, drawing is always the starting point.
Through my work, I hope to express this relationship between us and the natural world
through the duality of artist and subject matter.''

Elliot Birt is British-born

Manchester and Leeds-based
multimedia artist Elliot Birt, has
been expanding his practice since
leaving University. Making work in
an array of different mediums from
painting, drawing, sculpture,
photomontage, and photography.
Having graduated from Leeds Arts
University (Formerly Leeds College
of Art) in 2022 with a Degree in
Fine Art, Elliot found early success
during his studies, winning
numerous awards from the
prestigious British Art Medal
Society for his work in art medals.
Currently holding a studio space
with Assembly House in Leeds he’s
currently working on his first solo
exhibition entitled “Act Natural”m
which brings together a series of
new paintings on the theme of life
and all its various forms.

21 Act Natural - Acrylic on canvas, 29x21cm, 2023

Can you share some insights into your journey as an artist and how your experiences at
Leeds Arts University have influenced your artistic style?
My journey to becoming an artist started relatively late, it wasn't until I was about 24 that I started
to take it seriously. I consider my time at Leeds Arts University to be the most important of my
career. It's where I discovered just what art could be and being surrounded by so many amazing
artists really opened my eyes to different styles and techniques.
What draws you to the theme of life, and how do you approach capturing the essence of
life in your paintings?
I think what draws me to the theme of life and its various forms is that art can feel a bit abstract, a
bit detached from life sometimes. So with my paintings, I’m trying to boil down the real essence of
a subject and get as close as I can to it. Similar in a sense to analog photography where the
negative and the light that exposed it actually touched the subject. This is also true with my
paintings, the subject genuinely interacts and leaves its mark on my paintings.
Could you explain the process behind this uniqueness and how it distinguishes your art
from traditional printmaking?
The main distinction between my method and conventional printmaking is down to the “Natural
stencils” I use, that being the flowers themselves. Because of this they constantly move and
arranging them in a way to get exact copies is simply impossible.

Act Natural - Acrylic on canvas, 50x40cm, 2023 22 Act Natural - Acrylic on canvas, 59x42cm, 2023
Your unique blend of printmaking techniques and actual plants is intriguing. Could you
elaborate on the process of incorporating nature into your paintings and how it
contributes to the overall aesthetic of your art?
The process is fairly simple and similar in many ways to cyanotype printing but uses the specific
qualities of spray paint to capture form. I start by placing actual flowers down onto the canvas and
map out the forms very roughly in pencil, then I remove the flowers and spray certain areas with
various colours. After this is dry, I place the flowers back onto the surface and use them as a
“Natural stencil” where I lay down a final layer of black. What I'm trying to achieve is not an artist's
impression of flowers but to allow the flowers themselves to leave their own mark.
Borrowing motifs and colours from 1960s pop art is an interesting choice. What about this
art movement appeals to you, and how do you infuse it into your own work to create a
contemporary and fresh approach?
I think what appeals to me about 60’s pop art is the simplicity of forms, colour and the repetitive
nature of certain works. People like Warhol and Jasper Johns's continual use of certain subject
matters and colours really inspired me. What's different about the work I make is that I’m not
exploring contemporary popular culture but rather life as a more general and all-encompassing
theme instead.

Act Natural - Acrylic on canvas, 39x29cm, 2023 Act Natural - Acrylic on canvas, 59x42cm, 2023

23
Manchester is your newly chosen base for your artistic practice. How has this new
environment influenced your creative process and the themes you explore in your work?
It’s been quite daunting actually moving to a new city because I don't know any creative people
here. But it’s been beneficial for my artistic practice in the way that it's made me leave my comfort
zone and develop further through the restrictions it's placed upon me.
As an artist, you constantly evolve and grow in your craft. Are there any new techniques,
mediums, or ideas that you are currently exploring, and how do you see your art evolving
in the future?
As part of my practice, I have always made sculptures, in particular, ‘Art medals’. A rather
underappreciated medium these days but one I discovered during University where I participated
in the British Art Medal Societies student medal competition. I’m currently trying to develop my
knowledge of their construction and hope this evolves into a major part of my artistic output in the
future.
Your use of actual plants in your paintings brings an organic and natural element to your
art. Do you feel a sense of connection or spirituality with nature, and if so, how does it
manifest in your creative process?
I definitely feel a kinship between me and the natural world around me and I suppose it comes
from the unique perspective making art gives you. I also live in one of the most grey cities
imaginable and maybe it's part of my unconscious desire for something natural that's trying to
come out in my work.
As an artist, you have a unique perspective on life and the world around you. How do you
express your thoughts, emotions, and observations through your art, and what messages
or themes do you hope viewers take away from your work?
I think one of the great things about art is that it demands you to think for yourself and the way I
express myself is to effectively self-indulge all my erratic and fleeting thoughts. I try not to think
too long and hard about what viewers will take away from my work, I feel that dwelling too hard on
this in many ways prevents you from actually making anything. I think about possible
interpretations people might have of a certain piece but ultimately I don't know how it's going to be
seen until I show it.
Lastly, can you share any upcoming projects, exhibitions, or artistic endeavors that you
are excited about? What can we expect from Elliot Birt in the near future?
Well recently I was offered a great opportunity but sadly I can’t actually talk about it until
September but I do have some other things on the horizon. I’m currently making work for and
planning my first solo exhibition where some of the paintings you've already seen will be featured.
Its working title is “Act Natural”, a sort of joke about how the paintings are supposed to look. I’m
also working on a new body of work that will be a series of art medals that cover the theme of the
contemporary art world problem of repatriation of culturally significant objects.

24
Act Natural - Acrylic on canvas, 29x21cm, 2023
 Joanne Pudney
Joanne Pudney is an older emerging artist. She completed her BA (Hons) in Fine
Art 30 years ago. She continued to work creatively in sketchbooks whilst working
in Community Development and balancing her young family. In 2021 Joanne
completed her MA in Illustration and now works full-time producing paintings in
oil and egg tempera, collages, 3D work, and illustrations. In September 2021
Joanne was selected as one of the Artists for a Prison Residency at Shepton Mallet.
The Victorian Prison inspired Joanne to research Floriography the art of secret
messages through flowers. A unique and powerful use of flowers for those
punished through Silence and Separation.

Automated Blooms - Acrylic and ink, 30x40cm, 2023

26
''I am always inspired by flowers for my creative work. They have been visually
represented from the earliest civilizations. They form representations in society to offer
celebration, congratulations, and Memorium. Flowers live with us side by side. They have
formed their own global civilization adjusting their biodiversity to survive. We take from
flowers, their offerings being medicine, perfume, poison, and culinary properties. I am
interested in their dichotomy, generally considered fragile and delicate but proving
strength in their continual presence in our lives. Symbolism is an important presence in
my work. I am a student of Floriography and use the secret language to provide a further
visual layer to my compositions. I taught myself to make Victorian Hair Flowers, a practice
of making flower compositions from a loved one's collected hair as a memorial reminder.
My work revolves around the Gothic, Momento Mori, Forensic, and Structural. I work with
traditional materials Egg Tempera, Oil, Gouache, Hair, and ink. My work is represented by
paintings, illustrations, 3D, and textiles.''

Cotinus Crown - Oil/ Textile/ Cushion, 30x30cm, 2023

27
During the interview, Joanne shares with us her artistic journey:
As a child, I constantly drew, painted, and read. This gave me a strong basis for the development
of my imagination and creative questions. When I was very young my Grandfather was watching
me coloring a picture book. He said, “Keep your colors within the lines. I remember thinking, “ I
don’t want to.” The drawing on the page was part of the whole for me. As I grew Art became an
integral part of my everyday life. Aged 18 I attended my local Art College for a year-long
Foundation Course in Art and Design. At 19 - 1989, I continued on to a Fine Art BA (Hons). The
Art College was then called Howard Gardens, it is now University Wales Institute Cardiff, Wales.
We were lucky to have visiting tutors such as Mona Hartoum and Cornelia Parker.
I worked mainly in paint, mixed medium and small pieces of 3D, influenced by Joseph Cornell.

I graduated in 1993 along with my 6-week-old baby daughter Timna. I joined a Women’s Arts
Association, ‘Permanent Waves’ and continued to draw and paint as a daily process. As an
Association we worked professionally and exhibited regularly particularly celebrating Women’s
International Day.
I now had three young children, my husband had left and I was working full-time. I worked for
Permanent Waves delivering an Isolated Communities Project. The project ran for three years
and helped women reconnect with their confidence through the creative process. I then continued
my community development work in the South Wales Valleys working for a charity called ‘Valleys
Kids’ and again I aimed to help the children build their confidence and aspirations by offering
creative projects. My observations from the community development work are that the creative
process is there for everyone. It is unthreatening as nobody can challenge your individual
imagination or way of working. It is an integral positive force.

I recently completed an MA in Illustration in 2021 from Falmouth University. It was interesting to

return to academic study after 30 years, media is much more prominent now within the creative
process and also comparing Fine Art education to Illustration. I personally try not to consider
barriers or differences between Fine Art and Illustration. I also don’t believe that Illustration needs
to live on a page. My final piece consisted of a Cabinet of Curiosity containing 3D body parts as
part of a collection of a fictitious serial killer called Augur who was an independent severed hand
who had escaped from a Victorian freak show circus.
Following the end of my Illustration MA, I was lucky to be selected as an Artist at Shepton Mallet
Prison. The whole experience was very emotive. The Prison was built in the 1800s and although
now decommissioned still held a very chilling atmosphere. The prison is now a tourist destination
during the day. At night you can book a cell as an experience. You can also book ghost tours and
panic rooms.
The wing we worked on during the two-week residency had been the original women’s wing. Each
artist had their own cell to work in and visitors were free to visit each artist and ask questions
about the work being created.

28
I received an extremely strong reaction from one lady who after looking at my work burst into
tears. We spoke about the experience for her, she had felt very overwhelmed by the prison
environment but the fact of people sharing a silent language through the flowers had
demonstrated the full sense of isolation the prisoners would have experienced. I had never had
such a strong reaction before to my work. It demonstrated to me the full responsibility we have as
Artists and the work we produce and share.

Floriography has been used for centuries in different cultures around the world. It regained
popularity in Britain during the Victorian Era. Social Communication was limited due to the strong
rules of etiquette at the time. Sentiments of desire and courtship were handed to women in the
form of a posy containing a selection of flowers and herbs visualizing the intentions of the giver. If
the woman accepted the posy with her right hand or held it over her heart the intentions were
accepted or reciprocated. If she held it with the flowers pointing at the floor it was a sign of
rejection for her suitor.
Floriography was also used in other areas of society such as a thank you for an invitation or
sending a message to a friend wishing to extend an acquaintance to develop the friendship to a
deeper level.
The paintings I completed during the Prison Residency combined expressionistic female forms,
wearing representational masks, I combined each painting with an expressive flower, either of
their crime or to emphasize the prisoners' distress.
Combing still life objects as signifiers along with the floriography emphasizes the meaning or
message of the composition. It is a technique combining another layer of visual information. The
emphasis of the message can be weighed and adjusted symbolically by the corresponding items
within the composition.

‘Silence and Separation’ was a common practice of punishment for women in the Victorian Era. A
woman could be imprisoned at the time for as little as her husband complaining that his wife
wasn’t doing her work or had just annoyed him.
The woman would be incarcerated in a cell. She would have work to do such as unfraying old
pieces of rope. At times of exercise, usually an hour a day the woman would have to wear a mask
in the company of others. The masks had very few eye slits if any at all and the design of the
mask ensured that the wearer could only look down at their feet. A knotted length of rope was
positioned in the exercise yard, each woman would have to walk the yard masked and keep to
one knot away from each other which was normally one to two feet. No physical contact was to be
made during exercise.

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This painting shares the This painting of a prisoner
message of ‘Warning and wearing a Scold’s Bridle
Silence.’ intertwined with Harebell
Shown by the use of Bella Flowers meaning ‘Grief,
Donna Flowers humility and Submission.’
Ink, Watercolour, Acrylic Watercolour, Gouache,
‘Masked Prisoner with Fritillary
84.1x59.4cm, 2021. Graphite
Flowers.’ Fritillary flowers can mean
84.1x59.4cm, 2021
sorrow, mourning, and persecution.
Acrylic, Graphite, Gouache. 2021

The combination of the masks and knots, silence, and separation were punishment techniques to
wear the women down both physically and mentally. Other degrading punishments for women at
that time included the Scold’s Bridle. The metal bridle was a head-shaped cage, the mouth area
was formed into a flat plate that was inserted into the mouth flattening the tongue to prevent the
woman from talking, the cage was then padlocked at the back of the head.
I primarily work with oil paint and egg tempera. I enjoy the traditional nature of these materials
and the ability they give to work from transparency to denseness. I also enjoy working in layers
and sculpting the layers of paint through light and shade. For me, these paints offer the best
solution for building colour and creating visual depth. I like to use colour as an expression of
emotional substance.
I also practise Automatic Drawing. I vary my materials from charcoal, graphite, marker pen and
ink. I find the freedom of Automatic Drawing helps to focus my brain into a creative state either
leading me into painting or to stay in drawing mode and work subconsciously to find new
directions of inspiration.

I work in a number of ways, I will have an idea but I don’t like to plan too meticulously, I like to
keep a strong element of spontaneity. I feel this keeps the piece fresh and gives it space to
breathe.

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During my Illustration Masters I worked primarily in 3 dimensions. I wanted to push my Illustration
to see if I could get it to exist off the page. I studied Cabinets of Curiosity and Dutch Flower
painting. This was the point where my work became symbolic through the juxtaposition of objects,
flowers, and insects.
For my final project, I worked from a self-developed narrative. I constructed anatomical body parts
from a whole range of materials; wax, stockings, teeth, synthetic hair, cardboard, and other
materials to hand. I constructed a large shelved cabinet into a Cabinet of Curiosity. Each of the
objects told the tale of an independent dismembered hand who had escaped from a traveling
circus and had been collecting body parts to reform a body for himself.

The Victorian Prison and Floriography have given me a solid direction to follow with a huge
source of inspiration. It has emphasized the strength of symbolism and impressed the practice of
combining objects within the composition to emphasize emotion.

I don’t have a regular flower or specific objects that frequently appear in my work. As each
composition holds its own symbolic references. I do however have a very large collection of
‘props’ such as dolls, wooden toys, model airplanes, fabrics, lace, metal scraps, etc. Each of
these ‘props’ are able to be intermixed, and arranged to emphasize the meaning or the emotion of
the painting.

‘Oh, No …. Pinocchio.’
Oil, 50x40cm, 2023

In this composition, Pinocchio is struggling

to discover if he is a boy. His insecurity is
emphasized on balancing on a high wire,
traveling uphill. The Red Dahlia behind
him signifies strength and power. The
Snapdragon skull seed pods signify
protection against sorcery, witchcraft, and
curses. The Snapdragon flowers
represent deception.

31
I continue to use Victorian Floriography as part of my own creative language. Some of the
meanings of flowers have changed in Contemporary Society. So to maintain continuity and
integrity of language I only refer to the Victorian. There are many Victorian Floriography
references on the internet. To ensure the meanings are corrected I choose three references and
then cross-reference them. I also have a number of books, I bought this little book in an Antique
shop. It was published in 1868. It’s just perfect for me as its pocket size is approximately A6.

For my next project I’m going to work on a story

from Welsh Mythology, the Mabinogion. A
collection of stories following the early centuries
of Welsh Celtic Heraldry and Genealogy. There
is much symbolism and transmogrification. The
‘Blodeuwedd’ - Collage Study 2023
particular story I’m interested in is Bloduwedd
proun (Blodiweth) it is a story of a woman being
born of broom, primrose, meadowsweet and
oak by two magicians. She was the Goddess of
flowers. Blodeuwedd means flower face. After
betraying her husband she was turned into an
owl so that she would never see the sun again.
I will be collecting flower sources which
symbolise betrayal, distrust, lost love and grief. I
am already drawn to a sense of Surrealism with
this piece as the story runs on a narrative of
transmogrification and human emotion.

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 Sebastien Theraulaz
After completing a degree in industrial design at the ArtCenter College of Design
(Los Angeles, 1997), Théraulaz moved to Montreal and founded a graphic design
studio. Over the next fifteen years, with this studio as his base, he worked as
creative director on a host of projects for Quebec stakeholders in the arts. His
visual creations were recognized with prestigious awards such as the prize for best
Quebec and Canadian music video in 2003, and the Grafika grand prize for his
Subroyal typography in 2006.
After returning to Switzerland in 2010, he devoted himself entirely to his artistic
work and taught art classes in cantonal schools in French-speaking areas near
Lausanne. His approach as an artist is to reflect on the paradoxes of contemporary
society through experimental processes in collage, photography and engraving.
Curious by nature, he explores different forms of artistic language, but with the
constant aim of initiating a sensitive dialogue with the audience.

Aion - Paper, Acrylic, resin, 50x50cm, 2019

33
 Kairos - Paper, Acrylic, resin, 50x50cm, 2019

34
How did your experience in industrial design influence your approach to art?
My experience in industrial design was limited to my studies because I did not work in the field
afterward. Industrial design has allowed me to better understand 3d and therefore to improve my
drawing skills. Drawing remains a direct way to design and put images on my concepts in
development, so I think it helps me to start my projects.
Can you tell us about your journey from graphic design to dedicating yourself to your
artistic work?
Graphic design allowed me to live from my creations but after more than 10 years in this field,I
wanted to have total editorial freedom of my creations. Graphic design is made of constraints from
the client, I learned a lot about how to perceive images from several different audiences. Graphic
design is actually visual communication and it is also important in art for different reasons than
advertising. I still use my graphic design skills in my projects. Composition, colors, or layout are in
all types of Images.
What motivated you to explore collage, photography, and engraving as your chosen
mediums?
All techniques interest me and I spend a lot of time experimenting. I use the medium or the most
appropriate technique according to the work I want to achieve. It depends on my desire at the
time, and the shapes or colors with which I will be able to play. I am always motivated to try new
creative paths.
How do you navigate the paradoxes of contemporary society through your artwork?
I use the word paradox because humanity is made up of opposites. Everything is contradictory
and both funny and distressing. I like to ask myself questions about the society in which we live.
In this sense, the paradoxes of contemporary society are an infinite source of inspiration. For
some projects, I try to make an appealing image even though I'm depicting something horrible. In
other cases, a strange image may arouse the viewer's curiosity.
Can you share an example of a specific project or series where you initiated a sensitive
dialogue with your audience?
A few years ago I did a project with the artist Sebastien Kohler. We created images of the capital
of the Plastic Continent (the 7th Continent.) Using plastic bottle caps, we created a model and
then took several photos with the wet collodion technique (a 19th-century photographic
technique). The images obtained are dreamlike, they make one think of Metropolis, a strange and
beautiful submerged city. The public really liked the images and found them attractive, yet they
materialize a dark reality that brings us back to our consumption choices. This exhibition sparked
a lot of discussion with visitors.
What role does experimentation play in your artistic process?
Experimentation is essential. I am constantly doing tests and trials as I create more demanding
work. This allows me to take my mind off things and try them out without any constraints, just for
the pleasure of the creative gesture.

35
How do you balance teaching art classes with your own artistic practice?
My job as a teacher leaves me a lot of time to work in my workshop. My students are often
curious and want to learn. So this work feeds my practice and my artistic practice feeds my
classes.
Could you elaborate on the significance of receiving prestigious awards for your visual
creations?
The rewards don't really mean anything other than the resulting media exposure. The only thing I
have control over is the art I produce. The rest is a matter of chance and luck. The rewards
encourage us to continue when we lose a bit of our ability to reinvent ourselves.
How has your experience in both Los Angeles and Montreal influenced your artistic
perspective and style?
As I come from a small town in Switzerland, Los Angeles, and Montreal were a culture shock
verse for me. Big cities always have a multitude of facets, cultures, and influences, this has
necessarily had an impact on my way of perceiving art, my work, and the objectives that I have
set myself.
What are some upcoming projects or themes that you are currently exploring in your
artwork?
In October, I got a short residency in a museum (Jenisch Museum, CH). I will draw for a week in a
room in the museum and discuss my practice with the public.
I am also working on a new exhibition scheduled for spring 2024, the title of the series is
"reversible illusions", it is a large format spray canvas using the pointillism technique. I will
address themes related to the mirages of the leisure society.
On the experimental side, I am developing a series of small polaroid photographs called Minicars.
These images are my solution to the climate crisis, I dream that we all have minicars.

Kappa - Paper, Acrylic, resin, 50x50cm, 2019 36 Aris - Paper, Acrylic, resin, 50x50cm, 2019
Namrata
Bhatter
Namrata Bhatter is a visual artist from India with a MA in Visual Communication
Design from Central Saint Martins College of Art & Design, London, UK, and a BA
in Graphic Design from the National Institute of Design, Ahmedabad, India. An
enthusiastic plantsman, her artistic practice is informed by issues of
environmental ecology, sustainability, and man’s relationship with nature. Inspired
by diverse artistic traditions and studies from life, her compositions employ
intricate lines, minuscule dots, stylized forms, and repeated patterns. Her works
are a celebration of the botanical world and the harmonious balance of textures
and colors found within it. Namrata has lived and worked in New Delhi, London,
and Detroit and continues to work as an independent artist and designer in
California.
Through the ages the botanical world has been central to our existence; an
intimate part of our lives and culture, our past, and our future. The Altarpiece
series is a reminder and a celebration of our intertwined threads of kinship with
nature. Illuminated with gold and silver, each work is conceived as an altarpiece to
evoke a sense of the preciousness of what could soon be lost. Painted with gouache
on paper, these intricately detailed botanical bouquets are an interplay between
the quotidian and the sacred.
Altarpiece Triptych - Gouache on paper, 29.7x21cm each, 2022

37
Your artistic practice is deeply informed by
environmental ecology and sustainability.
How do you incorporate these themes into
your artworks, and what message do you
hope to convey to your audience?
Through the ages the natural world has been
central to our existence, an intimate part of our
lives and culture, our past and our future.
Through intricate and detailed botanical
paintings, my practice aims to convey the
preciousness and importance of the natural
world, our intertwined threads of kinship with
nature, and the urgent need for its
preservation.
With a background in Graphic Design and
Visual Communication Design, how do you
find these disciplines influence and
intersect with your fine art practice?
I often find myself unconsciously guided by my
formal training in graphic design and visual Altarpiece Silver - Gouache on paper, 29.6x35.6cm, 2023
communication. I notice the influences of
design education in my compositions, layout,
and general attention to detail in my paintings.
Occasionally I feel the need to ‘unlearn’ the
familiar design process and approach so that I
can challenge myself with new ways of
expressing and exploring the intersection of
art and design.
Could you tell us more about your artistic
process and how you create such intricate
and detailed artworks?
I have always held a fondness for intricacy.
Growing up in India, I was exposed to several
local art forms and handicrafts, all of which are
highly stylized and display exquisite details
and deftness of handwork – this is something
that has influenced my aesthetic and has very
naturally made its presence felt in my work.

38 Altarpiece Silver Large - Gouache on paper, 60.9x45.7cm, 2023

The Altarpiece series is described as a
celebration of our intertwined threads of
kinship with nature. What inspired you to
explore this theme?
The natural world has been my biggest source
of inspiration and learning. I find our history
and dependence on nature fascinating. Each
of the works in this series is conceived as a
botanical altarpiece, illuminated with gold and
silver. These detailed and intricate pieces
exude a sense of fragility and preciousness in
their rendering.
Living and working in different cities, do
you find that each place has influenced
your artistic style?
Absolutely! I have found that the environment
I work in deeply influences the subject matter,
style, and medium I use. For example, during
my time in India, my primary medium was to
Altarpiece Magnolia - Gouache on paper, 29.7x21cm, 2022
use natural dyes from flower petals, and my
work had much more earthy, muted tones.
Currently based in San Francisco, my work is
a lot more vibrant and energetic, uses acrylic,
oils, and gouache, and also draws inspiration
from the architecture of the city.
As a visual artist, you often study from life.
How does this direct observation of
botanical elements and nature impact the
way you represent them?
Nature is truly the greatest teacher and artist.
It's hard not to be drawn into the magical
realm of the natural world, and harder still to
not be influenced by it. My observations help
me look at the plant in its environment, and
study its finer details and its interconnections
within the ecosystem. In landscape, I look at
the overall palette, visual structure, and types
of plants to further inform my practice.

39 Altarpiece Spathiphyllum - Gouache on paper, 29.7x21cm, 2022

Your works are illuminated with gold and As an independent artist and designer,
silver, adding a sense of preciousness to what are your future artistic aspirations
the botanical bouquets. What does this and upcoming projects? Is there a specific
choice of materials signify, and how does direction or new explorations you plan to
it contribute to the overall meaning? take with your art in the near future?
As the title of my work suggests, I seek to As a designer and an emerging artist, I am
elevate flora and fauna to the highest level of excited to further explore the intersection of art
reverence, i.e. an altar. The material and and design and hope to be a part of more art
visual culture of various civilizations through shows and creative collaborations. I am
the ages has used gold and silver to signify currently exploring my practice through
the importance, preciousness, or sacredness different mediums and styles that I hope to
of an object. Here, the use of gold in my work develop as a new body of work.
ascribes the same value and meaning that
precious materials have held and continue to
exemplify in the present.
The harmonious balance of textures and
colors in your compositions is a striking
Altarpiece Royal Poinciana
feature of your art. How do you approach Gouache on paper,
color theory and texture in your work, and 29.7x21cm, 2022

what role do they play?

Color theory has always been an area of
strength for me. During the early years of my
design education, I remember feeling at ease
as well as a sense of joy when it came to
coursework involving color, and have always
tried to bring this aspect of my skillset into
both design and art. Color and texture help me
explore, articulate and implement my aesthetic
and conceptual explorations in my work.
The interplay between the quotidian and
the sacred in your Altarpiece series is
intriguing. Can you share more about the
symbolism and significance of this
juxtaposition in your art?
Nature is all around us and we often forget
how important it is to our very existence. This
series of botanical altarpieces draws attention
to nature as a sacred entity that we need to
preserve.

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 Nick Tobier

''As a flower farmer, I spend a lot of time planting, weeding, and shaping the
gardens I tend. I am always looking for ways to build inventive structures that make
daily tasks fantastical and functional. For your consideration, I am submitting two
watering. systems each for a flower garden-- Aqueduct (Boston, USA) and Oasis
(Marquette, Nebraska, USA.)''

Nick Tobier is an artist and flower farmer. Nick studied sculpture and landscape
architecture and has worked at The Fabric Workshop and Museum in
Philadelphia, The Philadelphia Museum of Art and Storefront for Art &
Architecture in NYC, and as a designer with the NYC Department of Parks and
Recreation/ Bronx Division. Nick’s focus as an artist-designer-educator is in the
social lives of public places, both in built structures and events from bus stops to
kitchens and boulevards in Detroit, Tokyo, Toronto, and San Francisco. His work
has been seen at the Smithsonian, The Queens Museum, NY, The Mattress
Factory, Pittsburgh the Prague Quadrennial, and Somerset House in London. Nick
is co-founder of the Brightmoor Maker Space in Detroit, a libra, a mid-fielder for
the Penguins, a 4th division soccer team, and a Professor at the Stamps School at
the University of Michigan.

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Aqueduct:
Built for an overlooked public square in
Boston, this perpetual watering system
was constructed to care for the plants
and to serve as an element of visual
delight. The aqueduct takes an ordinary
task-- watering the garden--and turns it
into a public ceremony by way of a
‘fountain.’ This aqueduct consisted of
two holding tanks connected by bamboo
sluices. A gardener filled each of the
tanks once a day and opened the valves,
thereby allowing the aqueduct to
gradually irrigate the entire garden; a
trickle meandered along elevated
waterways, and out through a series of
perforations.

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 Aqueduct:

Interior garden details,

long installation view
&
In use
Oasis:
Around Marquette, NE (pop.215) you can find fields of corn and soybeans that stretch seemingly
forever, punctuated at mile increments by straight roads named things like L or 24. You can also
find progressive ranchers who blocked the Keystone pipeline by raising environmental
awareness, a 75-year-old organic farm, a landscape visionary who has been re-seeding the
prairies by hand, and a Victorian home perched on concrete blocks that is home to artists from all
over the world each April-November. The tiny town is an oasis of eccentric thinkers and
visionaries nestled in the midst of social and spatial monocultures. In the Al Hajar Mountains, at
the eastern edge of the Arabian Desert, rain comes rarely, and when it does, in floods. When the
clouds burst, rain skitters from the slopes like oil from a griddle, gathers into rivulets and swiftly
moving sheets, and tumbles into the ditches. Ancient desert dwellers built networks of aqueducts
and underground tunnels to funnel the water to their crops. Oases of mango, date palm, sweet
lemon, and lime still persist in this system. On most adjacent slopes, however, the only traces of
green are a few thorny locust trees, whose roots can descend more than a hundred feet in search
of groundwater. These oases, whether walled off from the surrounding sands or fields, are fed by
real and metaphoric streams with whatever can be collected—whether in cisterns or in
suggestions, complimented by colors, patterns, and visions of earthly bounty on tiles or, the
ultimate portable paradise, woven carpets. The scales seem at odds with one another---the small
dissonant practices facing the dominant mode and the mega scale. Oasis establishes a place to
let alternates take hold-- re-seeding the prairies, providing culture, food, fuel, shade, and shelter.
This Oasis proposes that we can fertilize the soil and the soul, and cool the atmosphere in more
ways than one.

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Oasis: Installation view
How has your background in sculpture and landscape architecture influenced your
approach as an artist and flower farmer?
As a sculptor, I knew I felt at odds with the forms I made in my studio - a sort of alienated avant-
garde practice where my decisions were based on formal choices. As a landscape architect, my
work has always been conceived of for and with a place filled with living systems—people, plants,
and seasons. Now my work involves built forms derived from my sculptural influences but is
always with and for a specific place and always for someone else.
Can you tell us more about your experiences working with The Fabric Workshop and
Museum, The Philadelphia Museum of Art, and Storefront for Art & Architecture? How
have these experiences shaped your artistic practice?
Working in art spaces I always got to be near art and design and my identity as an artist was
useful but not primary. I did get to see and figure out how to work within an institution as an artist.
Without a doubt, Storefront was the most formative of these, as we were all artists and designers
working there, and in many ways much less professional, and so the place was full for me of a
sort of scrappy idealism that I value.
Your focus as an artist-designer-educator centers on the social lives of public places.
Could you share some examples of how you've explored this theme in different cities like
Detroit, Tokyo, Toronto, and San Francisco?
In most of these places, I am a visitor, the city spaces and its residents my host. The habitual
entry points for visitors may be tourist milestones, whereas for residents the habitual places tend
to be everyday interchanges—laundromats, bus stops, and other daily yet transient places.
These are the places my projects tend to reside as they give me access to daily rhythms as well
as allow me to enter as a curious, slightly out-of-place visitor.
The range of venues where your work has been exhibited is impressive, from The
Smithsonian to Somerset House in London. How do you adapt your art to suit various
spaces and audiences?
I am most often invited to be present with the project at these institutions to activate the work. So
the framework of the cultural space informs how people arrive, what they may expect of a visit,
and the adaptations made usually have to do with safety questions. My goal in each of these
institutions is for my work to interact directly with visitors as a kind of interruption to these
expectations, offering a disarming presence that often shortcircuits the formality of an impressive
institution.
As a co-founder of Brightmoor Maker Space in Detroit, how do community engagement
and collaboration play a role in your artistic process?
The Makerspace is my most successful work, in large part because engagement and
collaboration were present from the start. It is not (all or only) about me—and so I can listen and
be present and open without my ego getting in the way. It also has been built—physically and in
terms of relationships---over almost 15 years of continual engagement.

46
Being a mid-fielder for the Penguins' 4th division soccer team and a flower farmer are quite
diverse passions. Do these seemingly unrelated pursuits ever intersect or influence your
artistic work?
Playing on a team means I am interacting live all the time and that no matter what I do individually
there are others to rely on - I find that has affected my collaborative and community-rooted work
more than anything. The flower farm is also live all the time, but very different seasonally in its
tempos and changes and forms a daily practice for me that keeps me grounded metaphorically
and literally. The flowers like the game of soccer demand both a certain amount of patience and
acceptance that a great degree of the outcome is beyond my control. I could learn to be a very
different soccer player from the Flowers.
You are a Professor at the Stamps School at the University of Michigan. How do you
balance your roles as an educator and an artist? How do they complement each other?
Sometimes I don’t do so well with the balance and focus too much on the students. I think it is
better for my students if I am completely engaged in my own work and can empathize honestly
with both the struggle and revelation of an open-ended creative process without projecting my
aspirations in ways that might influence their individual discovery.
Your work has been showcased internationally. Have you noticed any distinct cultural or
societal influences that have impacted your art while exhibiting in different countries?
A lot of my work as an American abroad is based on being a humble guest and spending time
getting to know a place before a project. I was recently in Mongolia where my new friends and
collaborators described themselves and the national character as shy. I loved hearing this –
especially knowing that it is hard for a shy person to reveal this type of intimate detail. I learned in
that time to back up—my tempo, the timber of my voice—and we built something together
transforming an old bus into a community studio that was wonderful, site-specific, and surprising
in ways that are both quiet and exuberant.
Many of your projects involve designing public spaces. How do you incorporate
sustainability and environmental consciousness into your artistic endeavors?
Caring for a physical place on a continual basis with resourcefulness and joy— people, plants,
objects, sense of well-being, and welcome collectively rather than individually is what I feel will
sustain us and our planet.
Can you share with us a particularly meaningful or challenging experience you've had
while working on an art project in a specific location?
22 Fillmore was a project over a month where I made myself an elegant uniform—like a hotel
doorman (this was also a past job of mine I really loved) and I took care of a bus. Swept the bus
stops, and greeted passengers. One day someone hanging out near a stop asked me a series of
questions about what I was doing and why. This became an hour-long conversation at the end of
which he recommended a book (Stranger in a Strange Land, by Robert Heinlein.) I read the book
and recognized that the recommendation was both very specific to the nature of our conversation
and only possible due to an honest and direct encounter. Ever since then, I strive to be on the
level every day—with myself, with people I encounter, and with my work.

47
 Erika Loch

Erika Loch is a poet, lyricist, and writer based in London, UK. She writes in
defiance of modern book burning, leaving messages for those who seek to read
between the lines. She writes for her healing heart, to mine and transmute the past,
and for future dreamers.
The practice of writing gives Erika space to explore the mechanics of thought, time
to play with meaning, and a medium to work out the most authentic arrangement
of words and means to express the myriad ideas that haunt, tease, and dance in
her inner world and upon her soul. She writes as a natural pathway to excavate
meaning.
Like a hummingbird when it comes to concepts and ideas, and a down a hole when
intrigued by something newly discovered, Erika does not focus on any single
theme, but recurring subject matter includes mother nature, consciousness,
rebirth, lived and shared experience, memory, movement, abandonment, trauma,
recovery, characters, humanity, freedom, and truth-seeding.
The creative formats she is mainly drawn to are poetry (predominantly lyrical),
song lyrics, research pieces, articles, and op-eds. Erika is currently writing a new
book which is in the realm of narrative non-fiction – time, is the central character.
Erika hopes that her work helps readers feel or see something inside of them,
conjures pictures, scenes, and landscapes in their mind’s eye; softens pain, and/or
bolsters courage. If there is something to be learned, an emotion to be stirred, or a
new perspective to become upon through reading her poems, Erika believes she
has honoured the spirit of the craft.

48
Can you tell us about your journey as a poet, lyricist, and writer? How did you discover
your passion for writing, and how has it evolved over the years?
I was an avid reader from a very young age, which was fostered by my mother and grandmother,
who were both English teachers and lovers of literature. My great aunt would often gift me books
of poetry, too, and I loved the feeling I would get when I read something that struck me, for
whatever reason. I wrote prolifically in my youth because it helped me express things I didn’t
otherwise have the vocabulary or voice in a troubled home where there was little room for
emotions and dialogue. I spent a lot of time alone in my room listening to music and reading the
lyrics on the old cassette wraps we used to get, and the lyrics that resonated deeply with me have
stayed with me, along with the dream of being able to produce a song or a record that may one
day help someone in the deep way that music has helped me throughout my life. All of these
factors helped ignite my passion for writing – the evolution has been more around confidence and
getting comfortable with being seen than it has around form, style, or technique, for example. I
experiment when I am inspired to, but I don’t feel the need to necessarily. I’ve always had a very
busy mind, so the act of writing helps me to better explore, organize and articulate my thoughts –
call it an act of self-preservation!

Your writing is described as a defiance of modern book burning, leaving messages for
those who seek to read between the lines. Could you elaborate on this concept and how it
influences your approach to writing?
I am acutely aware of the mass censorship going on, particularly since 2020, and have personal
experience both with being censored, and self-censoring. The presence of this invisible force
weighs on me – the scale and omnipresence of it. One of the skills I admire in creative spheres is
the ability to transmute and embed information, ideas, and messages in such a way that it eludes
the would-be censors and gatekeepers – like seed planting. I don’t take a calculated, but intuitive
approach to this when I’m writing – harnessing the tools of poetic license, symbolism, and
abstraction as means to leave ‘white pebbles’ behind, the messages between the lines for the
seekers. It has to be subtle and up for interpretation.

Your work covers a wide range of themes, from mother nature to trauma and freedom. How
do you navigate between these diverse subjects, and do you find any common threads
that connect them in your creative process?
Yes, I do explore a wide range of themes and there are unending common threads – to me, these
subjects are all connected. They intersect at various levels, which exposes new layers, and new
connections, again. I’m not sure I think very much about navigation – my thinking is very frenetic –
I tend to move from the macro to the micro and back again in a more integrated than systematic
way. Very often, the connections reveal themselves in the process, which is always a thrill.

49
Your writing is described as a natural pathway to excavate meaning. How does the act of
writing help you explore and understand the complexities of the world and your inner
thoughts?
The act of writing is akin to setting up a physical arena for exploration and conversation – quite
literally bringing thought-forms out of my head and into ‘physical’ existence where I can see and
play with the moving parts on the page – it feels like a more constructive approach than can be
achieved by pouring over the complexities in my mind. It’s almost like when I can see them, I can
map them. If they’re running rampant in my head, I can’t quite get a hold of them. It is the
difference between watching your laundry turn over in the machine and hanging laundry out on a
line to dry, where I can see and order the garments.

As a writer, you explore concepts and ideas like a hummingbird, continuously seeking new
discoveries. How do you balance this exploration with the need to bring coherence and
structure to your writing?
The hummingbird is my hunter-gatherer. She is free to fly to her fancy, collecting clues, ideas,
concepts, and information that add to, inform, and sometimes re-frame the collective mix, which is
continuously brewing, percolating, considering, and developing. I have a lot of experience with
having my mind changed and blown, my perspective overturned, and having to integrate new
information into my evolving, and sometimes upended, worldview. The very act of exploration is
the thing that helps me find coherence. That said, coherence and structure play a more important
role in my book than in my poetry – I find I have to be very organized in terms of cataloging topics,
events, and ideas – I keep spreadsheets which I review and update regularly!

Your upcoming book centers around time as the central character. Can you provide some
insights into how time plays a significant role in your work and what it represents in your
writing?
I spend a lot of time thinking about time and its role in the human experience of perspective. On
one hand, I see time as a filter through which we understand things (that are constantly changing,
updating, and overcorrecting themselves), and on the other hand, like a catalyst or an antagonist,
like a character in and of itself. We often quip about how much can change in a day, but what
does that actually mean? Time is not just something we use to measure things against, it plays a
more active role than a passive one, in my view. It has its own way and nature that we do not
influence, but rather, influences us. It is something we, as humans, often rail against, which
seems a futile endeavor to me.

You mention that you hope your work helps readers feel, see, and conjure pictures in their
mind's eye. How do you approach crafting your poetry and song lyrics to evoke emotions
and create vivid imagery for your readers?

50
I am a very visual thinker and processor and I use my airy imagination to stoke pictures in my
mind’s eye, which I then download into word combinations that quite simply give me pleasure,
even if they don’t make sense in the material world. I transport myself somewhere magical,
fantastical, other-worldly and I bring my findings ‘back to earth’ via the page.

Memory, movement, and lived experiences are recurring themes in your work. How do you
draw inspiration from your own life and experiences to infuse authenticity and depth into
your writing?
I observe, reflect, and repeat. I reckon with my perceptions constantly – well, much more now
than I did in my youth, when I was absolute about nearly everything. If I can be honest with myself
first and surrender to having my mind changed (over and over), then I hope that the authenticity of
the search comes through in my work. To give a more specific answer in terms of movement, for
example – I practiced ballet and other forms of dance growing up (which I loved), so I naturally
relate to the world through this lens. I draw on the experience of dancing from both a physical and
meta-physical perspective and this weaves its way into my storytelling, helping to animate
meaning in different ways.

Your creative formats range from poetry to research pieces and articles. Could you share
how each format serves a unique purpose in your artistic expression and storytelling?
That’s an interesting question – and one I’m not sure I have a straightforward answer to. Again,
it’s a fairly intuitive process. When the hummingbird comes back with ideas, I intuitively ‘file’ them
in the category that seems the most appropriate pathway to doing them justice. Sometimes an
idea comes and I know it is something that I have to approach in a certain manner, using a
specific format. I don’t interrogate that decision-making process, I just trust the instinct.

Finally, as a writer, what do you hope readers take away from your work? How do you
measure the success of your writing in terms of its impact on others?
For the most part, I’ve given up on the notion that what I intend is what will be received. I’m
constantly surprised and intrigued by the range of feedback I get – often not marrying up with
what I was actually describing or trying to put across. I’m good with that. At a juncture where
attention spans are at an all-time low and people are so busy doing more than ‘being’ or
reflecting, I suppose that I hope readers will take something away from my work, full stop –
whatever that may be, the result of giving pause, perhaps eliciting a reaction, an idea, or an
emotion – I consider the conjuring of some response, even if entirely unconnected to my piece, to
be a success in and of itself. If the seeds I have planted germinate much later, consciously or
unconsciously, even better.

51
We Will Still Be Here

We will still be here

Said the mycelium
And so the truth
So the movement
Ever thus. Lay it down, lay it down
Go to ground
And so below Go to ground
We dare not go Heels off, Girl, heal it down.
But if we know,
The way? There’s a place that I know
With a portal in a tree
Go to ground And ‘where all is light’
Root and bone In stone.
Go to ground In this place
Heal down where beauty thrives
To ground, Man, bring it down. and is to be
for the knights of wands
There is a magic promised and roan.
If you dare
To the edge And the truth that I know
Of the lake Is the truth that we grow
You’ll catch your breath In preparation
Look up to find Of that day.
Trust in the runes
And when you’re there And so below
You do not ache. We’ll have to go
No matter
And so below what they say.
We dare not go For the truth that is
But what if we show And always was,
The way? Come whatever may.
Elemental

Air. Breeze.
Ground. Trees.
Flame. Heart.
River. Start.
Inside Out

Though she may be fiery

She is of gentle nature
Though, at times, she seems aflame
She’s a tentative crusader.

The leaves are dry and fallen

As if with Autumn’s touch
But it is not yet August
And the bugs are late to buzz.

Into the secret garden

And all the thought invokes
A chorus of what to ponder
And still, she’d go for broke.
Off the Wall

Down from the skies

And in from the Hills
Away from the valleys of dolls
and their thrills,
Harnessing dreams and Abstract divine
Intentions for light Grounding expression
This time for the soul The god of the sun
And the seekers, ignite. And the fate of ascension,
On to the canvas So many gifts
Sweetgrass and lime When senses align
Sun-dusted clouds Movement to stillness and
A mycelium chime… Taking sweet time.
Branches that dance and Come as you are
Stems breeding colour And leave all demands
Vital and honest Release all the stories
Sweet fragrance of summer. And be where you stand.
No walls to climb here Down from the skies
No need to resist And in from the Hills
Here is to ground Away from the valleys of dolls
Let go and desist. and their thrills.
Roll out a moment Harnessing dreams and
And cradle your heart Intentions for light
Lay down your armour This time for the soul and
And give over to art. The seekers ignite.
A visual investigation into the multiple breathing organisms populating our planet.
Stemming from investigations into carbon-based life on our planet, these drawings 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. Our planet's lungs. With each
passing minute as these drawings were created, our planet's lungs in the form of forests
take in large amounts of Carbon Dioxide from the atmosphere in exchange for Oxygen as
a waste product. Just think about that for a second. One of the reasons you're able to
breathe now is that plants have released Oxygen as a waste product. This process is one of
many that continues to make our planet an oasis within the cosmos.

Lewis Andrews

Lewis Andrews is a Fine Artist based in Leeds, United Kingdom. His work
specializes in dealing with complex thoughts, ideas, and facts within nature and
science. Some explore those in which we seem to be overshadowed and
overpowered in comparison by the vast distances, size, or quantities. Others
investigate moments of extreme power, creation, and rebirth on a molecular scale
or on a scale comparable to that of the universe. Questioning our relationships,
place, and role within the universe, environment, and natural spaces. Lewis moved
to Leeds in 2016 to study a BA(Hons) in Fine Art at Leeds Arts University
graduating in July 2019. In 2022, Lewis completed his Postgraduate Fine Arts
Degree also at Leeds Arts University, graduating with a Masters in the Creative
Arts. Lewis has participated in exhibitions up and down the United Kingdom and
Internationally.

56
Your work delves into complex thoughts, Some of your pieces explore moments of
ideas, and facts within nature and science. extreme power and creation on both
Could you elaborate on how you visually molecular and cosmic scales. How do you
represent such intricate concepts in your approach translating these awe-inspiring
art? phenomena into tangible artworks?
The initial ideas originate from a simple The artworks when dealing with these
interest in the subject which leads into further phenomena need to try and condense the
research of the subject matter. Once subject matter into what I like to refer to as
complete, I employ a conceptual approach to ‘Stepping Stones’. What I mean by this is
making art where the idea takes priority over visually making it easier for our minds to
material usage. My work often attempts to comprehend such information in small
then visualize the subject matter in order to digestible chunks (or at least attempting to).
stimulate what I’ve theorized as an Therefore, making some of the information
‘Informative Encounter’ with the work and the easier to understand and learn from through
information within. the use of visual preference as a species.

Global Lungs V - Indian Ink & Charcoal on Watercolour Paper, 29.7x21cm, 2020 - Global Lungs IV

57
Nature and our place within the universe Can you share how your time in Leeds has
seem to be recurring themes in your art. shaped and influenced your artistic vision?
What draws you to explore these subjects, 100%. My studies for my Bachelor's and
and how do you hope your audience will Masters's Degrees in Leeds have shaped my
respond to them? practice to become what it is today. The way I
This aspect of my work can be traced back to like to think of it is my Bachelor's laid the
myself asking myself constantly ‘What’s our foundations of my practice by guiding me to
place within this cosmos?’. Honestly, I don’t different subject matters which fascinated me
mind if the answer turns out to be something and creating work based on those interests.
like we are insignificant, it’s the asking of the My Masters build a superstructure on top of
question that’s the fun part for me due to all those foundations by focusing on how the
the learning involved to get to the answer subject matter should be communicated and
(which will probably never be answered). spending time to develop the theory of an
When it comes to the audience, this is a ‘Informative Encounter’ methodology of
question I like to leave open, what do they feel working.
their place is in our cosmos?

Global Lungs III - Indian Ink & Charcoal on Watercolour Paper, 29.7x21cm, 2020 - Global Lungs VI

58
Have you noticed any differences in how How do you hope your art can contribute
viewers from different regions or cultures to conversations about environmental
interpret and engage with your art? awareness and sustainability?
Yes. People from all walks of life have now To understand the problem, you first need to
encountered my work and it’s interesting to understand why certain processes are
see the different responses I’ve gotten from important to the planet. If you say to someone
the variety of work and development of trying CO2 is bad for the atmosphere without
to stimulate the ‘Informative Encounter’ with explaining that CO2 in large quantities affects
the audience. Above all else, the most the atmosphere by preventing heat from the
important aspect for me is that the work so far sun from escaping back into space and
has opened up conversations between the increasing global temperatures, I feel that it’s
audience out of general curiosity about the not going to resonate with that individual how
subject matter and wanting to learn more. bad the issue in question is. So, with my work,
In your artistic process, do you find it’s a case that must identify the issue being
yourself drawn more to meticulous discussed by exploring the subject matter and
research and planning, or do you often its processes and then introducing the
allow spontaneous and intuitive decisions problem, so the audience can understand the
to guide your work? severity of the situation in question.
It mostly falls into meticulous research and
planning naturally when dealing with subject
matter from the realms of science and nature.
Although not always, spontaneous decisions
are great fun when they do happen.
How do you strike a balance between
artistic expression and scientific accuracy,
especially when dealing with complex
scientific concepts?
The artwork itself doesn’t necessarily have to
be visually accurate as long as it remains true
to aspects of the scientific information that
spawned the work. The balance and line
between the two subjects shift for each work
with some being a more artistic expression
that scientific accuracy whilst others are vice
versa. The finding of this balance is found
through meticulous experimentation and
thinking about how the idea in question could
most effectively be communicated through an
‘Informative Encounter’.

59 Global Lungs I - Indian Ink & Charcoal on Watercolour Paper, 29.7x21cm, 2020
As an artist, you often challenge Could you share an example of an artwork
perceptions of scale and size, exploring that was particularly meaningful or
the vastness of the universe and the personal to you? What was the inspiration
minuteness of molecular structures. What behind it, and how did it impact your
emotions or thoughts do you aim to evoke artistic journey?
in your audience? ‘Scientia’ is not a singular artwork but a project
When exploring either of these ends of the containing multiple artworks which has been
spectrum, my work aims to communicate the most meaningful for me. The project
curiosity and wonder with awe. Because started from the idea of stimulating an
artworks are a reflection of the artist’s ‘Informative Encounter’ and has since offered
emotions and these three I would say are the me a new direction in how to use my practice
ones I experience when I read/research the as a visual conduit between art and science.
subject matter. As mentioned previously with Through this project, I feel I’ve gained a
the technique of an ‘Informative Encounter’ in clearer picture (excuse the pun) of what my
my work, the artworks want to stimulate these practice wants to achieve and how to achieve
sorts of emotions when interacting with a it through artwork or multiple artworks.
viewer.
Global Lungs VII - Indian Ink & Charcoal on Watercolour Paper, 29.7x21cm, 2020 - Global Lungs II

60
Yunxuan Shi

Yun uses Chinese painting skills to outline the details and color changes of flowers
to record the beauty of flowers with brushes and to arrange flowers or plants of the
same type in an organized manner. Flowers exist worldwide, and different kinds of
flowers grow in different seasons and climates. There are many ways to express
flowers, whether it is by emphasizing the flower as the main subject or the
environment and light, all of them can give the flower a different life. yun
emphasizes the compositional coordination of the picture organization, using the
same kind of flowers in the same period of time in an organized compositional
arrangement to form a coordinated picture.

Beginning of Summer - Chinese pigment, A5, 2023 Summer Solstice- Chinese pigment, A5, 2023

61
Can you tell us about your journey as an artist and how you developed your skills in
Chinese painting to capture the beauty of flowers?
I utilize the creative techniques of Chinese painting to create flowers by blending them with new
and modern compositions. I was born in Taiwan and studied calligraphy and Chinese painting
since I was a child, and I successfully majored in calligraphy and Chinese painting in my BA.
During that time, I not only improved my painting skills, but also studied Western composition and
Japanese painting, and finally utilized the evenly distributed composition to present flowers in a
way that is no longer limited to the way they grow.
Your artwork focuses on flowers and plants, highlighting their details and color changes.
How do you approach capturing the essence of these natural elements with your brushes?
I like to observe my surroundings and study the use of colors. So I have skills in capturing the
details of a flower's structure and the type of color. I use complementary colors or a similar color
to outline and smudge the details of the flowers.

Autumn - Chinese pigment, A4, 2023

62
Flowers are diverse and exist worldwide. How do you select and arrange the flowers or
plants in your compositions to create a harmonious and organized visual arrangement?
In Asia, we use the 24 solar terms and we use seasonal plants to symbolize the different
seasons. I used this information as a basis for further research on flowers and finally used color
planning and harmonious composition to complete the work.
The environment and light play a role in showcasing the beauty of flowers. How do you
incorporate these elements into your artwork to enhance the overall composition and
bring the flowers to life?
When painting with flowers, I create an approximate light source and distribute the colors based
on the light source to make the overall picture look harmonious.
What inspires you the most about flowers and plants as artistic subjects? Are there
specific characteristics or meanings that you try to convey through your artwork?
I like to use the language of flowers in my creations, to express what I want to express according
to different flowers. To me, flowers are magical things, they have their own language and season
of growth, and they accompany us like many different quiet listeners.

Winter - Chinese pigment, A4, 2023

63
Can you share your process of creating a coordinated picture with the same kind of
flowers in an organized compositional arrangement? How do you ensure that the elements
work together harmoniously?
Compare the real size of each plant and use the circles to make a rough composition, then use
the smaller objects to fill in the blanks when the picture is almost complete.
Chinese painting has a rich history and tradition. How do you incorporate traditional
Chinese painting techniques into your contemporary artwork?
Learning the creation of Chinese painting and the use of the brush, researching and studying the
painting and composition of modern art and illustration, and finally applying the creation of
Chinese painting to the composition of modern illustration.
Are there specific flowers or plants that hold personal significance for you? How do you
approach capturing their unique beauty and translating it onto the canvas?
I like lotus and snow very much. Lotus has the feeling of being out of the world, and snow has the
feeling of being able to make people feel peaceful and clean. When I paint with these elements, it
calms me down.

Grain Rain - Chinese pigment, A5, 2023 Lesser Heat - Chinese pigment, A5, 2023

64
How does the cultural context of Chinese
painting influence your artistic practice
and the way you approach depicting

Greater Cold - Chinese pigment, A5, 2023

flowers?
I really enjoy the details, and the Claborate-
style technique in Chinese painting allows me
to better accomplish what I need to show that I
can become more immersed in my work.
Looking ahead, what themes or subjects
are you excited to explore in your future
artwork? Are there any new techniques or
approaches you are eager to experiment
with?
I would like to integrate traditional Chinese
painting techniques with modern surrealistic
compositions and impactful use of color to

Greater Snow - Chinese pigment, A5, 2023

plan the style of my future creations.

Frost's Descent - Chinese pigment, A4, 2023

Rain Water - Chinese pigment, A5, 2023

65
 Ksenia Semirova
Ksenia Semirova, a Hove-based embroidery artist, has been honing her
embroidery skills for several years. She believes that her job is to perform magic, as
this term perfectly describes the outcome of manipulating plain supplies such as
threads, beads, and tiny plastic or metal pieces, while also exploring cultural,
historical, environmental, social, and political contexts. By uncovering, enhancing,
and interweaving these notions, and blending them with her personal way of
seeing, she aims to produce complex and creative results.
Using a variety of hand embroidery techniques, such as Luneville, pearl
embroidery, and goldwork, Ksenia creates personal artistic outcomes through
observation and the integration of various contexts. She strives to evoke emotions,
ranging from curiosity that leads to questions about how her work was done, to
happiness. Ksenia strongly believes that embroidery, as a craft, benefits both the
creator by allowing them to share their level of artistry, and the audience by
providing them with truly unique pieces of work that reflect the maker’s
personality.

Ksenia’s research and creative process

involve striking a balance between the
past and the present. She is
particularly interested in exploring and
experimenting with heritage, aiming to
preserve traditions while also seeking
alternative contemporary
interpretations for ideas discovered in
the past. Above all, Ksenia’s goal is to
reflect on sociocultural contexts and
visualize her personal interpretation of
these processes through her craft.

Lady Slipper Blue and white,

Tropical Garden Series
Hand embroidery, 30x20cm, 2023

66
Can you share a bit about your artistic journey and what led you to specialize in
embroidery as your chosen medium?
To be honest, I believe that embroidery has chosen me. When I reflect on my past, I realize that
embroidery has always been present in my life, in one way or another, since early childhood. I
have finally stopped pretending to be someone else and have embraced my true passion. Now, I
am doing what I have always dreamed of.

How do you approach the process of performing "magic" with plain supplies like threads,
beads, and plastic or metal pieces? Can you describe your creative process and how you
transform these materials into intricate artworks?
When you attend a magic show, you know that it is all about manipulation, but you can't help but
wonder: HOW? I've often been asked the same question with a similar expression when it comes
to my artwork. The process behind it involves mixing various materials that I feel inspired by at a
given moment, or for a specific project, and improvising with techniques that help me solve the
creative task at hand.

Your work explores cultural, historical, environmental, social, and political contexts. How
do you incorporate these complex themes into your embroidery pieces?

Speaking about concept development, I have spent a significant

amount of time contemplating how to incorporate multiple layers
of context into my project. Rather than aiming to directly
represent each individual notion, I view it as a collection of
diverse stories that I can narrate.

Could you provide some examples of how you

interweave different notions and blend them to
create unique and meaningful artistic outcomes?
Let's explore the context of the Tropical Garden series.
In general, this project draws inspiration from the dynamic
interplay between urban environments and the natural
world in Asia. One vivid memory I have of Singapore (or
Bangkok) is the presence of small pockets of nature, such
as potted flowers or trees adorned with orchids, amidst the
bustling urban jungle. Each piece in the series showcases
my exploration of the pearl embroidery technique, which holds
cultural and historical significance. The color palette, featuring
"Lady Slipper Blue and White", represents the canon Russian
pearl embroidery technique and symbolizes the connection to my
homeland with the deliberate absence of red.

67 Lady Slipper Black, Tropical Garden Series - Hand embroidery, 30x20cm, 2022
What drew you to hand embroidery techniques like Luneville, pearl embroidery, and
goldwork? How do these techniques contribute to the overall aesthetic and impact of your
work?
First of all, this is not an exhaustive list of the techniques I practice. Some techniques are derived
from the contemporary fashion industry, while others are the result of my personal research. The
key idea here is that I believe in the power of mixing various techniques to achieve unexpected
and creative results. Moreover, this approach allows me to blend ancient techniques with modern
elements, resulting in both evolution and continuity.

In your opinion, what role does embroidery play in preserving traditions and heritage?
How do you balance honoring the past with exploring contemporary interpretations in your
creative process?
I believe that embroidery serves as a perfect form of visual storytelling, reflecting customs, beliefs,
and values. There are two ways of honoring heritage – replication and interpretation. Personally, I
prefer the latter. I study past examples but strive to adapt them to the current reality.

How do you approach evoking specific emotions through your embroidery pieces? What
are some techniques or elements you use to convey curiosity, happiness, or other
emotional responses in your audience?

I love that I can create an object that brings

happiness to people. And this happiness is not
about consumerism: it's not just about someone
buying another framed picture or a decorative
piece. It's about that feeling from childhood when
your most desired dream comes true. I have
observed how people are drawn to touch
embroidery, trying to understand if it's just beads
and threads or something more. This reaction is
truly priceless!

Lady Slipper Gold, Tropical Garden Series - Hand embroidery, 30x20cm, 2023

68
Can you talk about the role of craftsmanship and artistry in embroidery? How does your
level of skill and attention to detail enhance the overall artistic value of your work?
I believe that finding a balance between craftsmanship and artistry is crucial not only in
embroidery but in any creative practice. It is important for me to display a certain level of
craftsmanship in my works as it allows me to better express my ideas, whether it is at a higher
level or in various ways.

What challenges do you face as an embroidery artist, and how do you overcome them?
Are there any technical or conceptual obstacles you encounter in your creative process?
For now, the primary challenge for me is to demonstrate that hand embroidery is not merely about
flat stitching with threads, but rather, it encompasses so much more.

Looking to the future, what are your aspirations or goals as an embroidery artist? Are
there any specific themes or concepts you are excited to explore further in your upcoming
projects?
As a former graphic designer, I have developed a strong passion for letters. Now, I'd like to
combine my love of typography with embroidery. Regarding the concept, for obvious reasons,
there is a lot of pain and hatred around. So, I feel a pressing need for something different,
something that can offer solace and respite from negativity. Therefore, my next project will be
dedicated to this idea.

Lady Slipper Pink, Tropical Garden Series - Hand embroidery, 30x20cm, 2022

69
Indianna
Solnick

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Indianna Solnick is a painter and sculptor, who primarily works with paper to
create spatial interventions. She graduated with an MFA in Painting from the Slade
in 2023 and a BA in Painting from Wimbledon in 2017. Throughout her artistic
journey, she has received recognition for her talent, being a recipient of the
Haworth Scholarship for Painting from 2021 to 2023, winning the Retreat Prize in
2017, and being shortlisted for the Adrian Carruthers Award in 2023.

Diagram 8 - Mixed media on paper, 60x100cm, 2023

71
Your artistic practice involves working chiefly with paper to create spatial interventions.
How did you discover paper as your primary medium, and what appeals to you about its
use in your art?
It wasn’t always obvious but over time as I’ve tried to look back, I’ve realized that it’s always been
there in some way. I spent a lot of time at my mum’s office as a kid, which was a paper stationery
design company, and I was fascinated by the archival papers, ledgers, folders, and invoices (the
cheaper paper basically). Nowadays it shows up in all sorts of places, from shredded bills
becoming gnarled papier-mâché sculptures to the delicate behaviors of cut and curled paper in
my small collages to larger constructions built from many layers of paper to photocopier
experiments to create giant billboard-like murals. When I’m traveling and have to be particularly
resourceful I collect newspapers, leaflets that come through the door, or those little wall-color
cards from hardware stores to paint and build with. But it’s always paper and my interest is in its
textures and behaviors when I push it into new circumstances, and I love the way it moves and
curls and surprises me each time.

Diagram 7 - Mixed media on paper, 60x100cm, 2023

72
How have educational experiences influenced your approach to storytelling through art?
It’s a little odd for someone who got on so badly at school that I really thrived in the university
environment. I’ve never felt more at home than I did at both of those institutions. It’s where I
learned the importance of community, which is something that has become an increasing focus in
my practice. I think the challenge is trying to take all those relationships and the feeling of
collectivism with a peer group and carry them forward. We need to become our own version of
those situations, creating conversations and collective support systems with other artists that are
sustaining.
As a recipient of the Haworth Scholarship for Painting and other recognitions, how have
these accolades impacted your artistic career, and do they play a role in shaping the
narratives you convey in your work?
The Haworth Scholarship, on the back of being accepted to the Slade, was a game-changer for
me. Nothing can describe the feeling of validation of those two things combined, not to mention
the financial difference it made. I’ve never felt I needed permission to be loud and expansive in
my work, but that feeling of being backed by someone who’s decided you’re worth it is really
powerful. I think it pushed me to work harder and expand dramatically over my time at the Slade.
Can you elaborate on the themes and inspirations that drive you to explore the structuring
and infrastructure of environments through your art?
I walk everywhere and I have a dog to take with me so we explore together, which gives me the
freedom to explore the places that really draw my curiosity: alleyways, footpaths, abandoned
places. It’s that feeling of some mystery just around the corner and somewhere along the way, I
get to thinking about how these jumbles of spaces fit together, seeing the landscape as a
language that tells stories of each decision layering and layering upon each other until they don’t
quite make sense. And I think about how our ci)es are designed, who for and why, and
particularly about how much agency we have in these spaces, how much say we have in the
decisions. It becomes about how our society fits together and about community.

Diagram 2 - Mixed media on paper, 60x100cm, 2023 Diagram 5 - Mixed media on paper, 60x100cm, 2023

73
Symbols like flowers and channels appear in your work as spatial motifs. How do
these symbols contribute to the narrative and meaning of your art, and what
significance do they hold in your storytelling process?
There are many symbols in my work and they evolve over time and sometimes merge
with each other. The flower symbol, although it was already in my work, went through a
change around 2021, when I was trying to use mapping and diagrams to describe my
ideas around how parts of land (‘hubs’, I call them, or ‘enclosures’) fit together and are
inter-reliant. The channels described the routes of resource or travel between the ‘hubs’,
like alleyways, railways, roads, waterways, etc. The overarching category in my work
which I call Diagrams is essentially painting that uses symbols, including the flowers and
channels, to describe how I think about land and my imagining of how our environments
might be constructed.
Material choices play a crucial role in your storytelling. How do you select the
materials you use, and how do they enhance the narratives and emotions you wish
to convey in your spatial interventions?
I’m a scavenger in that I use what comes to hand most easily, but I have rules about it. I
prefer an industrial sensibility in my materials, something that points visually to
construction and a temporary, loose, flimsy quality but is not distractingly marked or worn.
They also have to be materials that would easily decay and leave as little trace or harm
as possible. I suppose this says a lot about how I think about my environment and
contains a philosophy of reuse and resourcefulness, of using what the space around me
provides and embedding this symbolically in the work.

Diagram 1 Diagram 3
Mixed media on paper, Mixed media on paper,
60x100cm, 2023 60x100cm, 2023

74
The use of form, diagrams, and narrative in your art suggests a layered and intricate
storytelling process. Can you shed light on how these elements come together to create a
cohesive and compelling narrative in your work?
Working with installation, I think of individual works as components that can move around and tell
a story across a space. My Diagram paintings, with their geographical and ecological notes, and
video works are able to ignite aspects of my larger works that are there below the surface, and so
tell this story of construction and navigation, of public space and architecture, of issues of access
and participation. Similarly, the material content and manner of construction in the larger works,
being physically involved and architectural, conveying ideas around material value and waste, are
able to ground and solidify the themes of those other works. I think that one object on its own can
tell something of that story, but when drawn through the space by that construction it reads in a
much richer and fuller way.
Your work seems to explore the intersections of nature and human-made environments.
How do you strike a balance between the organic elements of your motifs and the
structured narratives you convey?
I think the answer here is that I don’t see a separation. I see our world as an ecosystem with
humans and our constructions are a part of that. I don’t think there’s any such thing as ‘unnatural’
but I do think there is such a thing as an ecosystem being out of balance, and ours has been
unbalanced on an unimaginable scale. But I think it’s a mistake to conceptually separate
ourselves from so-called ‘nature’, and there is much more value in trying to rebalance our
ecosystem with a place for us within it. A lot of what I do is about trying to think of our cities as
ecosystems, finding a wildness and wildernesses in them and revelling in that because I think that
those spaces are dwindling as we over-sanitise.
In your artistic journey, have you noticed any recurring themes or evolutions in your
storytelling approach? How do you navigate and evolve your artistic practice over time?
My work has changed so much over the years, but there are definitely themes that remained, and
sometimes recur years later. There are some forms or symbols that have gone through evolutions
but I can follow them back in my work. The flower or daisy has been around since my teenage
doodles and has completely altered its meaning, while the spiral started as a pipe-like coil about
four or five years ago but has retained its essential meaning of self-containment. I also tend to
bounce a bit, so when I’m struggling with painting I might return to writing and then back again,
but it’s always cyclical and that methodology is something that sustains me.
Looking forward, what future projects or directions are you excited to explore in your art?
I’ve really tried to hit the ground running after the degree show. I’m putting together a publication
project at the moment which I’m really excited about, which is a writing exchange for artists to
write about each other’s work and maintain that crucial network for critique and feedback. I’ve
also just closed a group show in South London and I have one coming up in Athens, and I have a
new project utilizing London’s traffic surveillance system and some old collaborations to
resurrect… so a lot of excitement really!

75
Keith Buswell
''I am constantly amazed at the labels I ascribe to them. Our culture establishes them to categorize
each other into stringent definitions that simultaneously ease and stoke our fear of the other. I have
learned that these stereotypes are nothing more than vases constraining the actual life that exists in
all of us. At times they are used to define us to others. At times they are used against us through hate
and fear. Understanding, discerning, and dissecting them allows us to combat their clinical
dichotomy over our lives while expanding our tolerance for new ideas.
This body of work I have titled Unmentionables uses floral symbols juxtaposed with undergarments
and taboo accessories to reveal flagrant and fragrant misconceptions surrounding the sexes.
Utilizing the stark and graphic nature of the pencil on paper against the feminine backdrop of
ready-made fabric, acknowledge my own preconceptions of the gender spectrum with cultural
meanings of botany. These stereotypes become the artificial amphorae that contain life. By
exposing the layers just above our skin, unveiling comical and controversial imagery normally
deemed inappropriate, this work not only showcases my own preconceived notions of gender but
also the generic symbolism flowers also hold.
While the urn may seem anathematic, the joining of floral adornments creates a childlike and
whimsical look at otherwise controversial subject matter. For whatever reason, our society has
emphasized the meaning behind nature, from the innocence of the daisy to the strength of the
sunflower. There is a bouquet for every occasion and a label for every person. Unmentionables
marries these two concepts into a comprehensive evaluation of my personal biases juxtaposed to
societal evaluations.''

Keith Buswell graduated with a BFA in art University of Nebraska--Lincoln. He

works with various printmaking processes such as screen-printing, intaglio, and
mono printing and dabbles in drawing and multimedia. He currently is a member
of Karen Kunc’s Constellation Studios where he creates his prints. His work has
been shown in the United States, Egypt, Dubai, France, and Italy. Notably, Keith
received the Perry Family Award in 2018 and second place in the 40 Under 40
Showcase in Annapolis, MD, and third place at the Under Pressure print show in
Fort Collins, CO. He is a contributing artist to issues 23 and 28 of The Hand
Magazine. In 2021, Keith became curator/co-captain of the Tugboat Gallery in
Lincoln, Nebraska. He also attended residencies at The Kimmel Harding Nelson
Center in Nebraska City, Nebraska, Pyramid Atlantic Art Center in Hyattsville,
Maryland, and Zootown Arts. Community Center in Missoula, Montana, and the
Chicken Coup Artist Residency in rural Nebraska. Keith is also a member of the
Society of American Graphic Artists since 2023. Originally from Council Bluffs,
Iowa, he currently lives in Lincoln with his husband Brad and his dog Max.

76
Your art journey has taken you through We bounce ideas off each other, talk about
various printmaking processes, drawing, new processes, and inspire each other to
and multimedia. Can you tell us how you push our work to new levels. My drawing
discovered your passion for printmaking process, on the other hand, almost acts as my
and how it has evolved over the years? little secret. I can work in my home studio by
My passion for printmaking started later in life myself and show my cards when I want to,
for me. I had the unique opportunity to go creating a sense of surprise with my peers. I
back to school and I decided I wanted to study like that shock value.
art. At first, I had a desire to learn screen Your artwork has been exhibited in various
printing so I could make T-shirts, but I soon countries around the world. How do you
found out that my real passion was in the feel your art resonates with different
etching process. Something about taking a audiences from different cultural
piece of metal and manipulating it with tools backgrounds?
and chemicals appealed to my process- This body of work can often be jarring for
oriented mindset. more conservative viewers, especially when
Being a member of Karen Kunc's shown to religious individuals. My work
Constellation Studios must be an enriching reflects on subjects of queerness and gender
experience. How has this artistic roles many people are not comfortable talking
community influenced your work and about. I think there is a quaint humor in the
creative process? way I present my work though that allows
The artistic community has a major role within people to open their minds a little more when
the printmaking community as we usually work talking about tough issues.
in a communal setting.

Ding Dong, Little Bell - 14”x14”, Mixed Media, 2020 If He Squeals, Let Him Go - 14”x14”, Mixed Media, 2020

77
We All Fall Down - 34” x 34”, Mixed Media, 2020 Pocket Full of Posies - 34” x 34”, Mixed Media, 2020

Winning different awards must be an white matboard in showcasing these prints

honor. Can you share the significance of and started working with fabric and faux fur as
these recognitions on your artistic a way of adding texture and dimension to the
journey? work. I use publications, such as The Hand
Recognition and awards are validating as an Magazine, as a way of showcasing the print
artist, especially when the money comes with and only the print.
money that helps to pay for my practice. Becoming the curator/co-captain of the
Accolades can also get your foot in the door Tugboat Gallery is a significant role. How
for other opportunities such as future has this experience impacted your
exhibitions and residencies. In a way they are perspective?
nothing more than a way of ensuring that I can I was honored to be asked to be a part of it in
continue to share my work with more people; 2021. It was the first place that offered me a
that is my main goal as an artist. show and I get excited to show new artists
How do you approach when creating coming into the art world. It also gives me
pieces for a publication, compared to more insight into what other artists are
creating pieces for exhibitions? accomplishing, which generates enthusiasm
A large part of my exhibiting work, especially for my own work. We are a small, artist-run
as it pertains to my arboreal prints, relies on gallery, so our main goal is to keep the doors
the framing of the works. I became tired of flat open, but one thing we have been trying to do
white matboard in showcasing these prints is to collaborate with other galleries like our
and started working with fabric and faux fur as own to create a traveling show of artists.
a way of adding texture and flat Hopefully, we can get this done next year.

78
You have attended various artist residencies in different locations. How have these
residencies influenced your artistic practice and allowed you to grow as an artist?
Artist residencies have always been a great way for me to shift my way of creating and the
direction of my work. Being in a new location, interacting with new people, and being forced to
work outside of my normal miens creates a situation where I change, even if it is just a little bit.
Most of these changes happen after my residency when I have time to reflect on the experience.
As a member of the Society of American Graphic Artists, how do you see yourself
contributing to the art community and promoting the appreciation of graphic art?
The Society of American Graphic Artists is an organization that promotes the printmaking
mediums such as intaglio and relief printing. Falling in love with etchings has been vital to my
advancement as an artist so I love promoting and encouraging others to experiment with this form
of creating. Being associated with an organization, such as SAGA, with the same goals just
seems appropriate for achieving these shared goals.
Your upbringing in Council Bluffs, Iowa, and your current life in Lincoln, Nebraska, must
have influenced your art in unique ways. Can you share how your surroundings and
environment impact your creative process?
Growing up in the Midwest region of the United States has always been difficult; especially for a
queer individual such as myself. Rooted in biblical conservatism, it was difficult to find acceptance
for my sexuality. In creating my work, I often split my focus between my more outwardly queer
work, such as this body, which better represents my viewpoints as a gay man, and my more
subdued tree prints which I find are more palatable to a wider audience. I suppose in some ways I
am always trying to find acceptance through my art.

It Followed Her to School One Day - 25” x 28”, Mixed Media, 2019 The Cradle Will Fall - 25” x 28”, Mixed Media, 2019

79
Looking ahead, what are your artistic ambitions and dreams?
Right now, I am focused on my changing the direction of my etchings. I have been working on this
tree project for almost ten years now and am looking at how I can change gears to make a new
body of work. Not an easy feat considering the amount of time I put into such an endeavor. I
recently spent a week on a farm residency where I helped take care of goats, horses, and
chickens which triggered thoughts of the origins of mythology especially as it relates to
anthropomorphism and queerness. I am not sure where I am going with it but it does excite me at
the moment.
How Does Your Garden Grow? - 14”x14”, Mixed Media, 2020
Cesar Ceballos
Cesar Ceballos, a respected architect, artist, and world traveler uses colors to
express the geometry of nature; light to enhance the volume and drama in a
painting. Culture, tradition, and history play important influences in his artworks.
Layering and overlapping the paints is part of his method while listening to his
feelings. In 2021 and 2022, Cesar’s works were awarded first prize and Special
Merit for his paintings at Apollo Dionysian International Award for Poetry and
Contemporary Art, by The International Academy of Signification Poetry and
Contemporary Art, in Rome, Italy. He was awarded 3 United States Congressional
Recognitions.

''My artwork sparks the viewer’s senses and recognizes something in the painting
that relives the connection to nature and the subject. Floral as a theme during my
process and into expression through composition is like music with its tonal value.
I relate to the energy, colors, formations, and connection to the viewer and their
perception, appreciation, and gratitude to the genius of nature.''

Art Show Plant

81
82 Termi di Stigliano Shrubs
How do you believe colors can effectively convey the geometry of nature in your
paintings?
Together with the light sources, I use shades and shadows on my color palettes, ink pen,
charcoal pencils, and other materials to express the shapes, depth and texture and emotions.
Could you elaborate on the role of light in enhancing volume and drama within your
artwork? How does it contribute to the overall composition?
For me, light is like a material within the painting which enhances the artwork through depth,
perspective, and focal points within the painting. Dark and the light varies. It is like a theater
production on a stage play. One of the essences of the painting for me is the use of light to
navigate the viewer to the important points and establishing the connection, as a form of a dialog
in the composition. If there is no light, then there are no colors and shapes that give the geometry
of elements.
You mentioned culture, tradition, and history as influences on your art. Can you provide
some examples of how these elements manifest in your paintings?
Some of the influences are through the landscapes (mountains), cityscapes (building ruins),
waterscapes (ports and sand dunes), musical instruments (festivals), and elements identifiable to
the place or setting (statues, faces of ethnicity and race). As an architect, these influences are
embedded in my process, such as Greek Methodology. It may be subtle, or you might have to find
it, but is there.
Lady Plant and Lanterns

83
Your method of layering and overlapping paints while listening to your feelings is
intriguing. How does this emotional connection impact the final outcome of your work?
My painting is described as “Contemporary Figurative” – Antonio Bumbica, Art Director of Apollo
Dionysian Awards”, Canale Monterano di Rome, Rome, Italy. The unique feature of my
watercolor, for example, which I use a lot, is the quality of transparency. The effects, and results
are like a veil or silhouette and revealing the element or object behind the first or second layers. It
is like in a cinema, hiding something behind a curtain or wall. The wall can be a glass wall, too.
This process makes the layering and overlapping, a perception of the inner depth of the painting
and vice versa. The feelings and inner self of the viewer as he or she experiences the painting
and establishes a certain relationship. I like the viewers to absorb and remember the painting
after they spent time with the artwork.
The Apollo Dionysian International Award recognized your paintings for their poetic
qualities. How do you see poetry and visual art intersecting in your creative process?
My process in painting starts with its narratives in my mind as I prepare to indulge in actual
painting with my paints and brushes. The intersection begins to blend at this moment. The origin
of the 2 working together. Those moments may be fragmented and yet they become poetry and
frameworks, as the basis and rationale. There is also poetry of movements as I orchestrate my
paints and brushes into the canvas. I consider it a process of assemblage. As professor Fulvia
Minetti, Founding President of Apollo Dionysian International award, in Rome, Italy puts it
“breaking the conventional rule and let the instinctual pulsion come through”.

Winning three United States Congressional

Recognitions is an incredible achievement.
How do you feel these honors have impacted
your artistic journey and your approach to
creating art?
The exhibition is to celebrate 2020 Chinese
Lunar Year of the of Rat. The impact on my
artistic journey branched out to give back to the
community, using my artworks, through donation
for fund-raising for charities. Public and
community consciousness became my artistic
awareness for promoting and enhancing
peoples’ lives. I say, “it is a discovery and re-
discovery of art through oneself.” One of the
several involvements is environmental advocacy
such as using the power of art to bring
awareness of climate crisis and its solution.

Love and Time

84
You mentioned a connection between your What draws you to a floral theme?
art and music's tonal value. Can you Florals are art, life source, life force, medicine,
elaborate on how you translate musical and meditative. Floral images with joyful or
concepts into your visual language? certain colors and shapes remind us of life and
Just like I music, there is a “timbre” which is purpose. For example, a Bonsai tree. It is a
the quality of sound. The pitch, tone and conduit to channeling the awareness that we
silence or gaps make the music in my thinking. are part of nature. They make us pause, relax,
It could be voice or musical instruments. When be introspective, and feel hopeful and
I use red, it expresses intensity, life, or optimistic. Florals or flowers are beautiful and
loveliness in a set of roses. While using a hue inspirational. Simple with great impact.
of blue with a mixture of a little gray provides Flowers of Spanish Steps
that translates to tonal value through shades,
shadows, and texture. The pause and pitches
make the beauty in music. There is parallelism
in my paintings, blue presents calmness
through skies, clouds, and seascapes. Or why
would choose the color of orange for a fish?
The placement of these essentials also plays
an important role in the composition.
Nature plays a crucial role in your artwork,
and you aim to connect viewers to it. How
do you ensure your paintings evoke a
sense of connection and appreciation for
nature?
I consider all of us a part of nature. We are
parts that make us as whole. Therefore,
establishing the connection. It may be subtle,
and other artists may have a different mindset.
In my paintings, a few of many elements are
placed on my paintings such as a moon, sun,
colors green for landscape, blue for water,
waterscape, sky, and clouds. Painting on
location or Plein Air, I would use the water
around, or rub my painting on the soil or sand I
am standing on, or using salt, twigs, and rocks
for leaving imprints on my paintings, hence
establishing the connection and the
relationship. A beautiful moment to
experience!

85
The appreciation and gratitude to the genius of nature are evident in your work. How do
you think this message resonates with viewers, and what kind of responses have you
received from your audience?
The viewers’ reactions and comments of my paintings during exhibitions, publications, and
interviews, as I interacted with them, including text messages and emails expressed deep
connections and reliving their experiences of places and events at one point in their lives. It is a
story telling tool of memories. And with that said, they bought my paintings. Including many
invitations to join them for coffee or to visit their homes and introduction to their friends. I am very
fortunate and grateful to be able to do it.

Here are some quotes from my viewers and observers:

“Ceballos’ watercolor with the psychic spatial construction and architecture of the external
environment invites to the spousal merger of the liquid which represents the emotional interior
shelter.”-Prof. Fulvia Minetti, Founding President of the International Annual Exhibition of the
sense of Beauty in Poetic and Figurative Art., Canale Monterano di Roma, Rome, Italy

“…yes, intersection indeed! I see this and the fluidity with which the individual works go off in one
direction or the other. Two things are evident; you are having fun and the Italian art world has
found you, a champion of this position. I suspect the young Italian masters are times paralyzed
from the weight of over two thousand years of art history.”-Alexander Hartray, Architect, and
faculty educator at University of Illinois at Chicago’s School of Architecture, and Illinois Institute of
Technology, College of Architecture, Chicago, Illinois, USA

“Dear Cesar,
Thank you so much for submitting your art. It is always a pleasure!
We would like to accept “Why,” “Portrait of Humanity” and “Time” for our June 1st “Curiosity”
issue. Such introspective pieces could not fail to catch our curiosity”.-
-Katherine McDaniel (She/her/hers), Editor, Synkroniciti Magazine, Founder and Director,
Synkroniciti, Houston, Texas, USA

“Your submission stood out among many talented artists, and we were impressed by your unique
vision and skillful execution. We believe your artwork will make a valuable contribution to the
exhibition, and we are excited to showcase it alongside the work of other talented artists.” –Mark
Brammer, Executive Director, Celebrating Yellowstone Yellowstone Gateway Museum, Montana,
USA

“Inspired by his Inspired by his travels in religious pilgrimages, his watercolor and drawing
techniques spark the imagination.”- Veronica McDonald, founder, and editor of Heart of Flesh
Literary Journal, USA

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87 Reaching for the Sun
 Phytography, 2023

J
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As an artist, Jasmine is fascinated by the complex relationships within the natural
environment. Working across disciplines, much of her work incorporates organic
materials and what we can learn from them. Jasmine’s particular focus has
recently been on fungi and plants and the important roles they play in the soil. Her
practice utilizes a variety of media – including experimental photography, organic
mark-making, music, video, and sound art.
Jasmine combines scientific research with a multitude of art forms to educate and
spark the imagination. She hosts a wide range of community workshops all over
Cornwall from edible wild food to experimental art and music.
In 2020, she set up The ADHD Forager; a foraging class and educational blog to
offer affordable and accessible workshops on how to sustainable forage abundant
wild food; this was a response to the cost of living and food crisis. Jasmine uses this
work to advocate for more access to green spaces for everyone and the benefits of
green health for well-being and neurodiversity. In 2021 she set up The Wild Art
Club, hosting a series of workshops for all ages, utilizing natural materials in a
range of experimental forms to connect to nature in a sensory way and to create
accessible pathways to create art.

Mycelium song, 2022

89
Butterfly Tea, 2022
Your work explores the complex relationships within the natural environment, focusing on
fungi and plants and their roles in the soil. Can you tell us about what initially sparked
your fascination with these subjects and how they inspire your artistic practice?
It started when my friend, a mycologist, showed me all the different species growing on one pile of
logs (shout off to Jules!) He attached this £10 microscope to his phone and showed me all the
cool fungi and lichen up close. Seeing the microcosm and macrocosms from one tiny area
opened my mind to what I could find. I spend so much time outdoors teaching myself about local
habitats that there is no way it wouldn’t influence my art.
do you decide which medium to use for a particular project, and how does each medium
contribute to conveying your artistic message?
I find artistic experimental techniques that highlight the subject in the best possible way. I’m
usually trying to share the story of the environment in an educational but playful way: my work is
very sensory and tactile.
Scientific research plays a significant role in your art, and you blend it with various art
forms to educate and spark the imagination. How do you strike a balance between the
scientific aspects and the creative expression in your work?
I do all the research before I start making a piece so that I am informed and free just to create! I
love researching subjects I’m interested in and can deep dive for hours. I think this comes from
doing my degree and also having to cross-reference plants and fungi so much as a forager. And
having ADHD haha.
Hosting community workshops on topics like edible wild food and experimental art and
music seems to be an important part of your practice. How do you use these workshops as
a platform to advocate for more access to green spaces and promote the benefits of green
health for well-being and neurodiversity?
Seeing ourselves as a part of nature is really important so my workshops are about connecting to
our environment. I think my foraging workshops do this the most, I talk a lot about habitat loss and
green spaces here. Being neurodiverse, my brain processes things in a unique way, and that has
helped me to think differently and create differently. The workshops I run are very experimental
but also accessible to a wide age range.
The ADHD Forager and The Wild Art Club are two projects you initiated to offer affordable
and accessible workshops on foraging and nature-based art. Can you share some of the
memorable experiences or outcomes you've had through these initiatives?
For me, every foraging class has been memorable, when I get to share the wide range of
amazing flavors nature has to offer people are always so surprised by what can be found on their
doorstep. I love sharing that knowledge with everyone! The outcomes of my art workshops are
always really positive I have a lot of people say they have wanted to make music or art before but
felt like the barrier of complicated techniques stood in their way and the experimental ways we
learn had made them feel confident. This was also my experience with music and art so it feels
good to share this with others.

91
Nature seems to be at the heart of your work, and you use natural materials in your art.
How do you see your art connecting people to nature and fostering a deeper appreciation
for the environment?
I have a lot of curiosity myself and when I learn a new exciting thing it can inspire my art so I think
my passion for nature shows in my work and sparks curiosity and intrigue in other people when
they see it.
Cornwall is the location for many of your community workshops. How does the unique
natural landscape and environment of Cornwall influence your work and the experiences
you create for your participants?
I’m so lucky to be surrounded by so much nature here. Cornwall is the southern tip of the country
with its own microclimate and over 250 miles of coast to explore. Which means we have an
abundance of interesting flora and fauna. It’s hard not to be inspired by nature as an artist here. I
bring a lot of textures and colors from the landscape into the workshops.

Organic Sonification, 2022

92
 Your approach to art seems to embrace
experimentation and innovation. Can you
describe a particularly challenging or
groundbreaking project you worked on, and
what you learned from the experience?
Most of my big projects were made in or using
nature so I’m always up against the weather or
seasons if I’m looking for a specific plant or
fungi. Also making new and experimental work,
the outcome isn’t always what I had hoped. In
more recent projects, I have focused on the
interesting processes behind the work rather
than focusing so much on the outcome.

The themes of sustainability and accessibility are evident in your work. How do you
envision your art making a positive impact on society and encouraging people to think
more deeply about their relationship with the natural world?
My work aims to be introspective, not immediate. It challenges you to slow down, think about the
piece, and ask questions. Which is probably needed a bit more in our world.

Mycelium song, 2022 93

Looking ahead, what are your future goals and aspirations as an artist? Are there any
specific projects or collaborations you are excited to explore in the coming months or
years?
I really enjoy the workshop element of my work and have been volunteering at outdoor education
schools, so teaching environmental-focused art full-time would be amazing. I’m working as a
guest artist this autumn running workshops for young artists at an institutional art museum in
Cornwall which I am so excited and proud to be doing.

Scanned leaf, 2022

94
 Kelly Maryanski

"Inspired by scenes in my backyard in Los Angeles, CA and the idea of "growing

up", platonic and romantic relationships, and covered in whimsy, "Transitions" is
composed of nine ink and watercolor illustrations steeped in folklore and the
magic of nature. Each piece tells a story on its own and between each other. "

Kelly Maryanski is a Los Angeles-based illustrator specializing in ink and

watercolor and live fashion sketching. Her work was first published at the age of 11
in TOKYOPOP Magazine, Los Angeles, CA. In 2005, Kelly completed her first
publication job when she was a junior in high school as a recurring illustrator at
Bolchazy-Carducci Publishers. She holds a BFA cum laude from Denison
University in Granville, Ohio where she specialized in large-scale illustration and
site-specific installations. She is intrigued with voyeurism, tactile objects, cuteness
and kitsch, society’s fixation upon iconic figures, identity formation, and
incorporating whimsy in each of her designs and into everyday life.

Kelly is inspired by the works of John Tenniel, Maira Kalman, Wes Anderson,
Edith Head, and Miles White. And Audrey Hepburn. And movement.
Often, verity lies in details and sometimes these small things matter the most.

Kelly’s illustrations have been featured for the Art Institute of Chicago, Dainese,
Harley Davidson, Hush Puppies, Lumen Optical, Simple Skincare, FLATS
Chicago, Givenchy, Create & Cultivate, Goldman Sachs, Luxury Garage Sale,
Hermès, Saks Fifth Avenue, Wansas Tequila, West Elm, Westfield Shopping
Centers, private concept art and character design, D&D character designs, and
multiple exhibitions across the USA.

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Transition 01 - 11" x 18", ink and watercolor, 2023
Can you tell us about your journey as an illustrator, starting from your first publication at a
young age?
I guess like many artists, I began creating and drawing at a very young age and was lucky
enough to be surrounded by teachers, mentors, and parents who have supported my artistic
abilities and endeavors. As a kid, one of my favorite shows was Sailor Moon (and still is). When I
was 11 I entered a colored pencil illustration of Super Sailor Moon to Tokyopop Magazine based
in Los Angeles and it was accepted for publication (wow my first published piece of art!) From
then on, I entered many local art competitions at the bequest of my teachers and more often than
not won blue ribbons and/or first-place positions. I feel like I could go on and on about each step
as a kid early in my career (I sewed! I was obsessed with CATS! Audrey Hepburn! I also danced,
sang, played piano, and was a Jr. Olympic volleyball player all before the age of 14) but let’s skip
ahead! In high school, my teacher and mentor Thom Kapheim saw something in me
(stubbornness perhaps?) He asked if I would be interested in possibly illustrating for a Chicago-
based publishing house that specialized in academic language books. I worked on a few projects
for this company throughout high school (it was also at this time that I became obsessed with the
works of John Tenniel - more on that later). After high school, I attended Denison University, a
quaint private liberal arts college in the middle of Ohio where I once again was greeted with
wonderful mentors who supported and pushed me in the realms outside illustration; printmaking,
ceramics, and site-specific installation. I also was quite involved in fashion and merging my
illustration interests in that realm (mid-century and the golden age of Hollywood films are my
favorites. Also more on this later.) I owe a lot of my work ethic to Ron Abram, who was chair of
the art department at the time. After graduating with a BFA in studio art and dance, I headed back
to Chicago where I freelanced as an illustrator for authors, PR firms, and other clients. My love of
mid-century fashion and wardrobe design eventually took hold and I ended up also becoming
requested as a live fashion illustrator, which is primarily what I focus on currently here in Los
Angeles.
How did your experience studying large-scale illustration and site-specific installations
influence your artistic style and approach?
In college, I delved into large-scale work, which was a huge departure from my normal illustration
style (tiny, line work, hatchwork, particular, could I get a Staedtler pen smaller than .005?) Having
24/7 access to my own studio and a facility with ventilation and tall ceilings (and a kiln) was
something I did not take for granted and I definitely miss nowadays. I was intrinsically drawn to
creating site-specific work, which was a form I had never come across before. The idea of
combining multiple mediums and methods of art into a perhaps fleeting, specific time and place,
like a pop-up or fashion show, made perfect sense to me. Experiencing the art rather than just
viewing it. I guess you could compare this theory to being completely enveloped in a great film or
piece of music. Or you could use that film or piece of music in the installation to make the whole
greater than its parts. My approach to my work became grander - grander brush strokes, more
movement quality came through, and my work felt more like an extension of myself (also a
dancer.)

97
How do you incorporate whimsy into your designs and everyday life?
I mentioned briefly earlier that I also am a dancer. Well, I am a bit of a Renaissance person (a title
bestowed on me by my 11th-grade French teacher.) I always say I have “two lives.” I am a visual
artist and live fashion illustrator. I also am a professional circus artist/aerialist and completed a
post-grad professional training school in circus arts. I also am an actor - musical theatre primarily
but occasionally TV and film. I was a puppeteer/actor/dancer/aerialist for five seasons with The
Lyric Opera of Chicago. I had the pleasure of spending a summer filming DIVERGENT back in
2013. I also have choreographed and danced in some smaller Hallmark films. I grew up playing
competitive sports (club and Jr. Olympic volleyball as I mentioned earlier). I was a pit and jazz
pianist briefly and still play (mostly for pleasure) nowadays. I enjoy rides on my motorcycle. I love
playing with fashion. I’m a singer and got to write and record an EP with a synth-wave producer
during the pandemic. There is just too much in life to do and I tend to not be able to slow down. I
try to not take most things too seriously, embracing a certain level of optimistic nihilism.
Perhaps I have closer to like, nine lives.

Transition 02 - 11" x 18", ink and watercolor, 2023 Transition 06 - 11" x 18", ink and watercolor, 2023

98
What draws you to ink and watercolor as How do iconic figures and identity
your preferred mediums for illustration? formation play a role in your illustrations?
Ink has always been my preferred medium. In I always think of David Bowie and Michael
fact, I rarely pencil anything in before inking (I Jackson when I am asked about identity
do *sometimes* but I prefer not to). If it is formation. Those two greats were famously
meant to be it is meant to be with ink. There is known for being self-made, yes extremely
no forgiving. But that is where the watercolor talented in their own right, but they created
comes in. Almost like a dance between stark their own personas, alien or otherwise, and
permanence and dreamy possibilities. I think had the general public generally agree that
manga had a heavy influence early on on why yes they must be what and who they say they
I was drawn to ink. There is a joke in there are. A lot of that self-creation is done via
somewhere. In the “Transitions” series, the fashion and I still believe you can be whatever
watercolor is a bit more particular and exact you want to be, at least, you can create that
as well as more translucent than I tend to perception with art and fashion.
lean.

Transition Blossom - 11" x 18", ink and watercolor, 2023 Transition 04 - 11" x 18", ink and watercolor, 2023

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Could you elaborate on your interest in voyeurism and how it influences you?
During my senior year at Denison, I decided my thesis would be on the “cult of celebrity”,
using Michael Jackson as the vehicle for my solo show exhibition, which evolved into a
site-specific installation posing as a live silent auction of his “belongings” posthumously.
At that time I was interested in the general population’s infatuation with owning signatures
and items that celebrities owned, almost as if by owning these objects they could possess
some of the celebrities’ talent or greatness - through something like osmosis.
In my fashion illustration work and while illustrating at events, I feel like I am a voyeur -
trying to capture as quickly as I can the essence of the garment/person.
Can you share how the works of John Tenniel, Maira Kalman, Wes Anderson, Edith
Head, Miles White, and Audrey Hepburn inspire your creative process?
All of these artists’ works are full of color, have an old soul quality, class, and are a bit
whimsical. Subconsciously they all seeped into my work and contributed to how I
perceive the world.
How does movement manifest and contribute in your illustrations?
In regard to fashion illustration, I look at each piece like a dance. Especially working with
watercolor and as quickly as I do, I feel a bit as if I am creating a tiny dance composition
in each piece. Which is familiar to me as a choreographer as well. Whether it is
choreographing physical movement or brushstrokes on paper. I get a lot of comments
from clients in regard to the style that I paint in for my fashion illustrations like I capture
the “essence” of the person and/or their “aura”, which I feel is quite a high compliment.
And a goal for each piece.
Can you talk about your experience working with various organizations?
I hate playing favorites but…. my favorite commission work is when I get the opportunity
to work with brands. Sometimes this work will be designing invitations or marketing
material, and sometimes it will be painting live for brand activations or private events. In
the former, I have the leisure of drawing at my home studio. In the latter, this is where I
essentially speed-paint fashion illustrations live.
What have been some of the most memorable exhibitions or projects?
I have been very lucky to have been a part of some amazing projects and exhibitions
both as a visual artist and as an aerialist and dancer. Recently, I have been working with
Harley Davidson and earlier this year they asked me if I would be interested in a project
they were doing with the Girl Scouts of America. Of course, I said yes (I am a former Girl
Scout myself). I was asked to translate the designs of four young Girl Scouts onto Harley
Davidson motorcycle tanks that are now currently on display for Harley Davidson’s 120th
anniversary. Last year I painted another tank for Harley that was on tour across the USA
for motorcycle rallies including the infamous Sturgis Rally.

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 Transition 03 - 11" x 18", ink and watercolor, 2023 Transition Spells, 11" x 18" - ink and watercolor, 2023
Transition 05 - 11" x 18", ink and watercolor, 2023 Transition Fates x The Keans - 11" x 18", ink and watercolor, 2023
Lisa Lemke

''Layers are a key concept of my work.

That is why I engage in both abstract acrylic paintings and digital collages. Abstract
paintings enable me to immerse myself in colors and shapes that can be perceived
differently by each viewer, much like a Rorschach test. On the other hand, digital
collages allow me to construct surreal, tranquil spaces – a much-needed escape
from the bustling city life I experience in Berlin.
Notorious for its grey winters and black fashion, this city's influence drives my
yearning for joyous, vibrant colors, which is evident in my artwork. While the color
palette is usually the only planned aspect before starting a painting, representing
my emotions, recent discoveries, or experiences, I wholeheartedly embrace
spontaneity and fluidity throughout my artistic process. Dancing between intuition
and intention, I welcome accidents and unexpected discoveries, seamlessly
incorporating them into the final composition. This fluid approach fosters an
ongoing dialogue between the (digital) canvas and me, resulting in a unique visual
language that evolves with each stroke or layer.''

Lisa was born and raised in Berlin, Germany. Coming from an art-interested
family, her childhood was filled with visits to galleries and art workshops, sparking
her excitement for the creative world.
After completing her A-levels, she pursued studies in both Fine Arts in the
Netherlands and Motion Design in Berlin, as her passion for both analog and
digital art held equal significance for her. Throughout her journey, she has worked
in several agencies, all the while continuing with side projects like paintings,
collages, and experimental video productions. However, it was during a
challenging period in her life that she realized the profound need for a creative
outlet. This led her to discover her true path in painting and creating collages daily,
which has become an essential part of her life.
In the summer of 2023, she had her first physical exhibition, marking a significant
milestone in her artistic career. With excitement and anticipation, she looks
forward to what the future holds for her creative endeavors.

102
Growing up in an art-interested family and being exposed to galleries and art workshops
during your childhood, how did those experiences shape your early artistic development
and influence your decision to pursue Fine Arts and Motion Design?
It happened that I was the only child at Vernissages with my grandparents, but I remember how
exciting it was for me to be there, and it felt like a happy place to be at. I've seen paintings my
mum did in her childhood, and she was incredibly talented from a young age but didn't really have
a chance to see where this is going because she grew up in the GDR. I'm pretty much the first
one in my family to be able to pursue something creative, and I feel very lucky because I can't
imagine anything else, really.
Balancing between analog and digital art, how do you find the synergy between these two
mediums in your creative process?
I always thought I had to decide on one medium and master it, but I realized that I would miss the
qualities of other techniques if I focused on just one. Right after my studies, I started creating
collages, and I found that my experience with them also benefited my paintings. It felt like
adapting the use of many layers to my paintings as well. Since my collages are digital, it involves
very meticulous work, which satisfies the perfectionist in me.
On the other hand, while working on a painting, my movements tend to be much bigger and more
expressive. It feels more intuitive and spontaneous, like having a conversation between the
canvas and me. But, that can also mean I need to be ready for a conversation and be open to the
process. So, on introverted days, collages are the perfect creative outlet.

103 Scanography Collage Series "Flowers are Forever"

Can you share more about your experience working in agencies and balancing side
projects in painting, collages, and experimental video productions? How have these
diverse artistic endeavors influenced and informed each other?
It definitely used to be a bit of a struggle to balance a full-time job, social life, and finding time for
my own projects, but now I have found my rhythm by reducing my working hours and planning
ahead. Planning really is essential, so I can use even short time windows for an underpainting, for
example. My job as a videographer and video editor helped me develop an eye for framing, taking
the photos that I need for my collages but also understanding the softwares that I use to edit
them. However, working mainly digitally also made me realise that I needed to create something
with my hands, which eventually led me to painting.
You mentioned finding your path in painting and creating collages during a low point in
your life. How has this creative outlet transformed your perspective and helped you
navigate challenges?
In what ways does art serve as a form of self-expression and healing for you? Creating a painting
or collage is a very mindful moment for me, where my focus is fully on the work and nothing else,
so it's definitely healing for me. I feel in the zone, and it has happened many times that, after
finishing a painting and taking a step aside from it, I might end up being surprised by how obvious
it is in which state of mind I was when creating it. However, I always feel better after a painting
session.

104 Scanography Collage Series "Flowers are Forever"

Congratulations on your first physical exhibition in 2023! How did it feel to showcase your
work in a physical space? How did the exhibition experience influence your artistic
journey and future aspirations?
Thank you so much, it was really inspiring to see the great work of others together with mine and
see how they interpreted the same theme. I think it's also a great learning experience to talk to
other creatives, and I want to keep being inspired without feeling intimidated. I want to continue
learning and apply to more Open Calls to have more of these wonderful experiences.
As you look ahead to the future, what are you most excited about in terms of your artistic
career? Are there specific goals or projects you are working towards or dream of
pursuing?
A short-term goal would be working on bigger-scale artworks because I really love the expressive
movements they allow. As a longer-term goal, I'm dreaming of a solo show, despite my love for
group exhibitions. It would be amazing to see both my analog and digital work together in one
exhibition, including collages, paintings, and experimental video projects.

Scanography Collage Series "Flowers are Forever"

105
Can you describe your artistic style and aesthetic? How would you define your unique
visual language and the themes or subjects that inspire your artwork?
What my collages and paintings have in common are the vivid colours, the copious amount of
layers and often the theme of abstracted nature.
Painting is very intuitive for me and it is bringing my latest emotions, discoveries and
experiences on the canvas, often reflected by my choice of colour. The viewer might see or feel
a completely different experience in it though, I like to think of them as some sort of Rorschach
test which can be interpreted differently by everyone.

How do you approach the process of creating collages and paintings on a daily basis?
Do you have specific rituals or routines that help you tap into your creativity and
maintain consistency in your artistic practice?
I gain inspiration mainly through walks (often on holiday, so I take lots of photos, which also
helps me create new collages), music, and seeing work by other artists. In order to balance it
with my daytime job, it's useful that I work in many layers. Whenever I have some spare time, I
prepare the first layers, for example, if it's a painting, I can take care of the underpainting and
let it dry, or I can cut layers for my collages before I have more time and start the creative bit of
assembling everything together.

Could you discuss the role of experimentation in your artwork? How do you push
boundaries and explore new techniques, materials, or concepts in your creative
process?
Experimentation is quite essential because it also helps in finding your own style. By
experimenting with colours, and textures through layering or adding paste, and playing with
opacity through water, which also led to certain shapes, I found my style in painting. Through
experimenting with my scanner and Photoshop, I started my Flowers series.

Berlin is known for its vibrant art scene. How has being based in Berlin influenced your
artistic journey and provided opportunities for growth and collaboration? Are there
specific aspects of the city that inspire or inform your artwork?
As I mentioned before, it's very important to me to have an open eye and see lots of other
artworks, so having art on basically every corner (including street art) is very inspiring. Berlin
has changed quite a lot in the last couple of years, and the prices aren't nearly as low as they
used to be, which makes it harder for new artists to establish themselves. However, I think the
overall mindset is still unique, and it's easy to find like-minded people.
Once you live here, you notice the long grey winters and the prevalence of black fashion. I
think this also led to my desire for more colours, which I'm applying in my artwork.

106
Scanography Collage Series "Flowers are Forever"
 Allison Schultz
Through the process of making and
combining materials, Allison searches for
relationships between ideas, material
sensibility, and an elusive physicality. She
utilizes the qualities of different papers,
waxes, stitches, and natural fibers to
evolve repetitive forms that echo
something bodily or cellular. These
are often combined or interrupted
by a systematic form of attachment
or display order. The use of steel
pins, clamps, or weights is
materially different and
contradictory to the tactility
of the forms.

The exploration of making

objects to touch and
hold aids her in
identifying parallels that
exist between her
interior self mirrored
against the landscape
of the natural
world she inhabits.

108 Coverings - Wool, beeswax, paper, 20''x16'', 2023

Can you tell us about your educational journey and how your studies have influenced your
artistic practice?
My educational trajectory has been a bit unconventional in that the gap between receiving my
BFA and MA has been significant. Returning to education as a mature student allowed me the
richness of introspection of both professional and life experiences.
Your work involves combining various materials like papers, waxes, stitches, and natural
fibers. How do you approach the process of selecting and integrating these materials into
your artworks?
I reach for simplified materials so that I might focus on clarity. For me, it’s not a reduction as
much as it is an emphasis on detail. It becomes difficult to hide small elements when the volume
is turned down. There is beauty in simple things arranged intentionally.
How do you create an immersive experience for those interacting with your pieces?
The work I create is for me. It’s the residue of processed thought, the imprint of time spent on an
interior dialogue. My work often feels quiet, more of a placeholder rather than a punctuation.

Squeezed - 16''x20'', 2023

109
What inspires the repetitive forms and patterns that are often present in your artwork? Are
there specific themes or concepts you explore through these repetitive elements?
Much like the selection of materials, I use repetition as a simplified tool to gain a deeper
understanding of what I’m creating. As we can’t step in the same river twice, each attempt at
constructing, with a similar foundation, will yield a unique result, no matter how exacting I attempt
to be. The evidence of hand in my work is evident, which I like.
The use of steel pins, clamps, or weights in your art creates a contrast to the tactile nature
of the forms. What significance do these contrasting materials hold in your work?
Contrast points to balance in my selection of materials. A pairing of odds, heavy clamps with
delicate paper, for instance, seems to move towards creating a defined space in which to move,
with the brackets on either end being anchored in place. I’m curious about the middle.
How does the exploration of making objects to touch and hold contribute to your artistic
expression and the ideas you aim to convey?
Tactility is compelling. It feels like an inherent part of being human. I find myself unconsciously
self-soothing through touch. Consequently, much of my work is defined by how it feels; Soft wool
paired with wax-dipped ridges of paper, stitched together, providing a transcript to read.

Joined - 8''x10'', 2023

110
Could you elaborate on how the natural world influences your creative process?
My personal catalog of inspiration is almost entirely informed by my natural surroundings. There
are worlds of untold inspiration just beyond our hurried movement. I’m an advocate of blooming
where planted, focusing on what’s just here without feeling limited. Much like the materials I reach
for, I can respond to what authentically resonates with me in a way that doesn’t feel forced or
sought. It’s an organic progression of exploration.
As an artist, how do you approach the balance between the intentional and the
spontaneous aspects of your creative process?
Oh, this sounds like the sweet spot we all yearn for in one way or another. It’s a constant push
and pull to remain regulated enough to create without ego, habit, or exterior influence dictating
our final work's outcome. I’ve tried to eliminate the word “originality” from the fabric of how I
discuss my process. It’s an impossibility. Intentionally staying in my respective lane while
remaining open to shifting as the work requires is the foundation I strive to live through.
Looking forward, do you have any upcoming projects or exhibitions you are excited about
and would like to share with your audience?
I’m wrapping up a year’s residency with spudWORKS located in the New Forest in the UK,
culminating with a joint show entitled “Being here: Finding Familiarity through navigating language
and Storytelling” It will run through the end of September
Placeholder - Wool, glassine, paper, ink, 6''x8'', 2022

111
Buried - 20''x16'', 2023

112
Tangled - 20''x16'', 2023

113
Silvia Cristobal
Alonso
Silvia’s main concerns are underpinned by her cultural background, with an
interest in how we consider our cultural and personal identities and memories.
She looks to nature and poetry to explore these ideas, often using photographic
imagery and found elements from her surroundings as metaphors for events of the
past. Botany is the link to bring her work together with her birthplace and
represents struggle as essence of the life. As Herman de Vries said “Without our
relationship with Nature, our life and culture are lost, and how these two
components in our lives influence one another”, in a way to recognize who we are.
Since graduating from Camberwell College of Arts in 2020, she’d been part of

different collaborative projects

like “Photosensitivity & The
Natural World” or “Capturing
Nature” at Oxford Botanical
Gardens. She got awarded by
Printmaking Council for her
artwork Post-Memory which was
selected to show at Saatchi
Gallery in London. Silvia
exhibited in different galleries
like Pocket Star Gallery in
Athens, Artworks in Halifax,
Woolwich Contemporary Art
Fair, The Printmaking Lab in
India, or Art from Heart among
others. Some of her work had
been published online like
Analog Forever Magazine,
Superpresent, and Dwell Time.

Wind
Inkjet print on Hahnemüle Bamboo 290gms
50x40cm, 2023

114
How does your heritage influence your exploration of cultural and personal identities in
your artwork?
I had always been influenced by my surroundings but also by the traditions and customs of Spain.
Although I work intui6vely in the early stages of my artwork it is underpinned by these influences.
Places and childhood memories have given shape to who I am today both as a person and as an
artist, so they are always present in my work.
Nature and poetry are sources of inspiration for your creative process. Can you delve into
how these elements inform your artistic exploration and how you incorporate them?
I use Nature and poetry as a language to express hidden emotions and memories particularly
where I struggle with the spoken word. With English not being my first language, I can feel shy
when I have to speak to a group of people, so I leave the artwork to largely speak for itself.
Could you elaborate on how you select and integrate elements, and how they contribute to
the narrative and symbolism within your artwork?
I grew up learning how difficult the life of my grandparents who had had to build a country
destroyed by war. Sharing these artifacts, traditions, and values is a recognition of them and their
stories. This is especially important for the younger generations who sometimes forget what our
grandparents have done for us.
Wind Wind
Inkjet print on Hahnemüle Bamboo 290gms Inkjet print on Hahnemüle Bamboo 290gms
50x40cm, 2023 50x40cm, 2023

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How does the study of botany inform your artistic expression and add depth to your
exploration of personal and cultural identities?
My family has a background in farming. Some flowers like lavender remind me of my grandmother
and make me feel emotional. One of my aims is to share that emotion or memory through the
image of that dis6nc6ve plant in the artwork and invite the viewer to bring their own memories.
The relationship between nature, life, and culture is a significant theme in your work. How
do you perceive these three components intersecting and influencing one another, and
how does it manifest in your artistic practice?
My life experiences, Spanish culture, and Nature are like strands of hair that interact together to
become a plait. All of them are equally important in my artwork because they are the main
influences in shaping my identity and adding meaning to each other.
How do collaborations enhance your creative process and contribute to the development
of your artistic ideas and concepts?
Being able to work with other artists, share my ideas and process, and learn from them is very
important to me. It helps me to test and develop themes, improve my skills, and give me the
opportunity to become a part of a community, bringing new ideas into my ar6s6c practice.

Brown Purple
Inkjet print on Hahnemüle Bamboo 290gms Inkjet print on Hahnemüle Bamboo 290gms
50x40cm, 2023 50x40cm, 2023

116
Your artwork "Post-Memory" was recognized and exhibited at Saatchi Gallery, earning an
award from the Printmaking Council. Can you share the inspiration behind this particular
piece and how it relates to your exploration of memory and identity?
Post-Memory is a tribute to my grandfather who was a Republican soldier fighting in the Spanish
Civil War. His written memories and poems about his struggles in life, made me identify and
connect with him even without knowing him. I want to share his story with the rest of the world to
get the recognition that he and others like him deserves.
Your work has been showcased in various galleries and published on online platforms.
How do these opportunities contribute to your artistic growth and the exposure of your
ideas to a wider audience?
When your work is recognized and showcased is the greatest feeling that an artist can have. It
gives you the energy and courage to keep pursuing your career and to find different routes to
connect with a wider audience.

Earth Green
Inkjet print on Hahnemüle Bamboo 290gms Inkjet print on Hahnemüle Bamboo 290gms
50x40cm, 2023 50x40cm, 2023

117
You have exhibited internationally, from Athens to India. How do these different cultural
contexts impact your work, and what experiences or insights have you gained from
showcasing your artwork in diverse locations?
One of the advantages of living in a multicultural city like London is to interact with different
people from all over the world. I feel fortunate that people share their life experiences with me,
and I am able to connect them with my own story. Exhibiting internationally helps me make these
connections with people of different cultures and to absorb some of their influences in my artwork.
Looking ahead, what new themes or concepts are you eager to explore in your artistic
practice? Are there any specific projects, collaborations, or artistic mediums that you are
excited to delve into in the future?
At the moment, I am working on a series of works centered on the meaning of Home. Being
separated from my family for long periods of 6me during Covid, and being a mother myself, made
me value the connection I share with my parents and miss my country a little bit more. Using
Nature as a vehicle to express these feelings, the artworks are like portals that bring you to
another time and space.

Yellow Pink
Inkjet print on Hahnemüle Bamboo 290gms Inkjet print on Hahnemüle Bamboo 290gms
50x40cm, 2023 50x40cm, 2023

118
Jennifer
Reynolds
Jennifer has been photographing nature since she was 14, in 2020 she began her
bachelor's degree in Fine Art, and in 2022 she transferred the course to
photography, giving her a rounded experience of photography and art. Her
professional career began this year in 2023, beginning with a collaborative
exhibition with herself and 5 friends that was held in the DIVA Gallery in Dublin.
Since then, She has participated in 7 group exhibitions and has 3 more upcoming
group shows in Barcelona and New York. In May 2023 she completed a residency
with World of Co which helped her career tremendously, she came out of it with
her favorite project to date as well as a photobook.
She has just been accepted into the Can Serrats residency program in Barcelona
for summer 2024 and has her first Solo Show coming up in August. Her images
have also been published in the New Word Order magazine ( issue 2 ), F stop
Magazine ( issue 116), and Lemon Piglet ( issue 1).

Jennifer Reynolds is a Dublin-based photography student in IADT, currently

entering her final year. Her work concerns existential questioning and is centered
around the natural world, she enjoys exploring humans' connection (or
disconnection) with nature and hopes to bring to light the ways in which we are
separating ourselves farther and farther from nature. She hopes through her work
that she will help us recognize that we are a part of nature, we are in harmony with
it and we are not separate from it. Nor should we try to be.
On top of this, she explores her own existential questioning through her work,
heavily inspired by the theories of philosopher Alan Watts as well as
phenomenology, she uses an overlaying technique to create new dimensions inside
our own world which appear as dreamlike scenes that thin the veil with the spirit
world.
Her photographs also play with our interpretations of time, she works through an
archive as well as creating new work, blending images from different time periods,
questioning the effects that time really has and the ability that a camera has to
pause scenes in time.

119
 The angels are jealous - Photo-print, A1, 2023

120
 Stars fallen to earth - Photo-print, A1, 2023

121
Can you share how your passion for nature photography has evolved from your early
years to your current artistic practice? How has your exploration of humans' connection to
nature developed over time?
I began to notice people's reactions when I showed them my nature photographs, people were
always in awe at the nature they were looking at, as if it was a magical being that they would not
be able to see by themselves, which I began to realize is true for a lot of people nowadays in our
digitalized world. Over time, this disconnect from nature has been something I have been trying to
make people aware of in my work, that we are connected to nature and we should be outside
experiencing it ourselves.
How has your educational journey in Fine Art and photography influenced your approach
to photography as a medium for artistic expression? In what ways has this
interdisciplinary background shaped your artistic perspective?
My education in Fine Art and photography has definitely opened up possibilities for me in terms of
what I can create. A few years ago I believed a photo was just a photo and I couldn’t do any more
with it, Now I have learned that anything can be used as a vessel for artistic expression. The
mixture of fine art with photography has been invaluable to me for my progress as a visual artist.

Crushingly beautiful - Photo-print, A1, 2023 122 Love you till I die - Photo-print, A1, 2023
Congratulations on your recent collaborative exhibition and participation in multiple group
exhibitions. How have these experiences contributed to your growth as a photographer
and artist? What lessons have you learned from collaborating with other artists and
exhibiting your work?
Thank you! Each experience teaches me something new, I get to work with people from all over
the world, hear their ideas and what drives their creativity, as well as get inspired by fellow artists.
Some lessons I have learned are to always be prepared, to always have a backup solution to your
original plan and not to rush into something, take time to plan it out first.
What visual elements or techniques do you employ to evoke a sense of connection or
disconnection?
Great question, although my work explores my own existential questioning and human's
relationship with nature, I am also open to each individuals interpretation of my work, my main
goal in my work is to make people feel peaceful and calm and to open them up to a new way of
looking at our natural world. I often choose “quiet” images from my work, I stray away from busy
images with a lot of activity and opt for one that is still, in this way, I hope it evokes the same
feeling of physically sitting inside the image and meditating.

The dream of my life - Photo-print, A1, 2023 123 This one's best kept for memory - Photo-print, A1, 2023
It's fascinating to hear that you draw inspiration from philosopher Alan Watts and
phenomenology. How do these philosophical ideas inform your artistic process? How do
you translate abstract concepts into visual representations in your photographs?
Alan Watts has always inspired me, in his biography he says “We need to experience ourselves in
such a way that we could say that our real body is not just what’s inside the skin, but our whole
total external environment” The more I listen to Alan Watts’ talks, the more I am inspired to turn
his teachings into visual concepts. Phenomenology is the study of structures of consciousness,
again, I bring this into my work by visualizing the concepts that I read.
The overlaying technique you mentioned creates dreamlike scenes and blurs the boundary
between our world and the spirit world. Can you share more about your process of
creating these dimensions within your photographs? What do you hope viewers
experience when they encounter these ethereal scenes?
Yes, I choose images that evoke feelings of serenity as well as ones that I think blend together, or
that fit the concept that I am working on at the moment. It is a long process to get it “Perfect” but
the final outcome is always worth it. I hope the viewers also feel a sense of serenity of calmness
while looking at these scenes.

I see god in everything - Photo-print, A1, 2023 124 Nature's first green - Photo-print, A1, 2023
Your work also plays with interpretations solo show, I am presenting my project “The
of time, blending images from different gods are among us in the forest” which
periods. How does this exploration of time questions why we look outside of our world for
impact the narrative and meaning within a god when they could be among us in the
your photographs? What message or forest. While I am in Barcelona, I want to
emotions do you aim to convey through explore nature's connection with our urban
this manipulation of time? world.
I think the inclusion of images from different As you enter your final year of studies,
years questions how linear time is, I find time what are your goals and aspirations as a
fascinating as it is a human concept, nature photographer and artist?
lives without the knowledge of time. I use this I hope to continue on this path to creating my
in my images to show the consistency of work full-time and being able to share it
nature throughout the world and throughout worldwide. After I graduate, I believe the
time. I think this impacts the narrative once the freedom of being able to travel and create new
viewer discovers that the images they are projects all year round will expand them
looking at are blended together from different immensely and I am excited to see where it
points of time, I hope it helps them appreciate goes, I can’t say for certain yet as I still have a
nature's consistency throughout, as well as year to go!
realize that nature doesn’t change that much Meerkats - The giants and their spirits
with time and I hope it takes the pressure off Photo-print, A1, 2023

them to feel like they have to change so much

in a short amount of time, as humans we are
constantly under pressure to change year by
year.
Your upcoming solo show and residency
program in Barcelona indicate exciting
developments in your career. How do you
envision these opportunities shaping your
artistic growth and future projects? Are
there specific themes or concepts you plan
to explore during your residency or in your
solo exhibition?
I think these opportunities will help me no end
in expanding my practice. Preparing my own
solo show is a huge learning experience and
will help me going forward in making curatorial
decisions in my work. I am sure the direction
of my planned project in Barcelona will change
while I am there and I will grow in ways I
wouldn’t if I stayed in Ireland. For my

125
 Ashlee Kennedy
Ashlee Kennedy lives in Gateshead. She graduated from Sunderland University in
2022, obtaining a MA in Fine Art. She works with various mediums, including
acrylic on canvas, digital works, and photography. Her works aim to highlight and
challenge current events, social movements, and the needs of the local community
while celebrating beauty. In the past, some of her works have shed light on hidden
disabilities and mental health issues.

Full bloom - A4, 2023

126
Can you tell us more about your journey as which were solely focused on self-expression,
an artist and what initially drew you to the my personal feelings, and emotions. It was
world of art? during this time that I decided to pursue art
I was very imaginative and creative when I within higher education and as a career path
was young, this continued through school and gained a Masters's Degree in Fine Art in
where I focused on art, developing my skills 2022.
and understanding, and gaining a high How do you choose the mediums you work
secondary school qualification in the subject. I with? What attracts you to acrylic on
worked as a Youth & Community Learning canvas, digital works, and photography?
worker within my locality and used my learned My mediums depend on my mood and
art skills as a way of making initial contact with sometimes personal circumstance. Each of
and actively engaging with groups of these mediums make me feel a different way
challenging and hard-to-reach young people and each of these mediums help me process
as well as members of the community. I also and understand information in a different way.
implemented art throughout my role as an I chose photography as a medium because it
Alternative Education Provider, working with allows me to capture and freeze a single
young people who had been permanently moment in time, preserving it for eternity.
excluded from mainstream school. My career Through photography, I am able to
lasted 10 years. During the Covid 19
pandemic, especially during England’s
LockDown period, as a coping method, I
revisited and turned to art and creative activity
as a personal coping method. At this time I
concentrated on sketches and canvas works

Welcoming - A4, 2023 127 'Bee' part of something - A4, 2023

tell stories, evoke emotions, and convey Incorporating current events and local issues
concepts without the need for words. It grants into my artwork is crucial because I believe art
me the ability to bring attention to the has the power to shed light on important
unnoticed beauty of everyday life and share societal matters. By using my creative
my unique perspective with the world. I chose expression, I can raise awareness, provoke
to work with acrylic on canvas because of the thought and encourage dialogue around these
vibrant and versatile qualities it offers. Acrylic issues. Through my artwork, I aim to offer a
paints allow me to experiment with different visual representation and interpretation of the
techniques, layer colors, and create texture, world around me, focusing on the pressing
giving my artworks a dynamic and energetic concerns that affect my community and the
feel. The quick-drying nature of acrylics also wider world.
allows me to work at a faster pace, enabling To achieve this, I stay informed and actively
me to capture spontaneous inspiration and engage with local news, social media and
achieve the desired results more efficiently. conversations within my community. I explore
The durability and long-lasting nature of diverse perspectives, conduct thorough
acrylics on canvas ensure that my artworks research and critically analyse the topics I
can be cherished and enjoyed for years to want to address. Incorporating these elements
come. I choose to create digital art because it into my artistic process involves a thoughtful
provides me with a unique platform to express selection of symbols, colours and
my creativity and bring my imagination to life. compositions to convey the essence and
With digital tools and software, I am able to urgency of the current events or local issues I
experiment with various techniques, colours, wish to highlight. By visually depicting these
and styles, pushing boundaries and breaking matters, I hope to spark conversations,
limitations that traditional art may have. The promote empathy and encourage viewers to
digital medium allows me to constantly evolve take action and make positive change.
and adapt my artistic skills, as I can easily
edit, manipulate, and experiment with my
artwork until it reaches the desired outcome.
Additionally, the digital realm provides a vast
and accessible audience for my art, enabling
me to connect with people from all over the
world and share my creations instantly.
Ultimately, digital art offers me a limitless
canvas to explore, innovate, and challenge
myself, continuously fuelling my passion for
creativity.
How do you approach incorporating
different themes into your art?

128 Sunshine day - A4, 2023

Can you share some specific examples of deep emotional level, making it an effective
how your past works have shed light on tool for raising awareness about social issues.
hidden disabilities and mental health Through thought-provoking visuals, art can
issues? communicate complex concepts and evoke
The example I would like to discuss is my final powerful emotions, sparking conversations
show at university, I chose to theme this and encouraging dialogue. It provides a
around IBD and IBS, specifically Crohn’s platform for marginalized voices to be heard,
disease. I chose this particular hidden amplifying the stories and experiences of
disability/ condition because I suffer with it and those directly affected by social issues. By
live with a permanent stoma and ileostomy challenging societal norms and presenting
bag. The show itself was made up of two alternative perspectives, art can inspire
elements, a toilet displayed on a plinth and a individuals to question their own beliefs,
video projected behind this. The video was leading to a greater understanding and
made up of clips documenting the digestive empathy for marginalized communities.
system, mouth to anus, it included graphic Have you faced any challenges or
scenes of food breakdown within various obstacles?
organs as well as x ray style clips of food I have not experienced any challenges,
moving from one organ to the next. The entire obstacles, or push-backs thus far in my art
show was called ‘From Mouth To Anus – A journey or career.
Complete Alimentary Canal Story’. The show
was presented in a painted black room with
the only light being from the visual. This was
to highlight isolation and loneliness felt as a
result of the issues these conditions can
cause. I felt it important to highlight this topic
as complications caused by and with IBS &
IBD’s are very common but there is a huge
stigma surrounding them, there is
embarrassment and shame in discussing
these and they can be and are debilitating life
long conditions. My hope for this show was to
stimulate discussion around ‘gut health’ and
encourage those, thought to be, embarrassing
conversations as well as attempt to normalise
these.
How do you believe art can contribute to
raising awareness and fostering
conversations about social issues?
Art has the unique ability to transcend
language barriers and touch people on a

129 Take me with you, stream - A4, 2022

What role does beauty play in your art? How do you balance the aesthetic aspects with the
conceptual and social messages you aim to convey?
As an artist, beauty plays a significant role in my art, serving as a captivating and engaging entry
point for my audience. My attention to aesthetics draws viewers in, enticing them to explore the
depths of my creations. By incorporating beauty, I create an emotional connection and evoke a
sense of wonder in the beholder, allowing them to appreciate the visual allure while immersing
themselves in the art's underlying meaning. This balance between beauty and substance enables
my work to resonate on multiple levels, enriching the viewer's experience and fostering a deeper
understanding of the conceptual and social messages I aim to convey. To strike the right balance
between aesthetic aspects and conceptual depth, I approach my art with a mindful intention to
intertwine form and content seamlessly. I meticulously craft each piece to ensure that the visual
allure aligns harmoniously with the intended message, rather than overshadowing or diluting its
impact. By employing various artistic techniques and mediums, I use beauty as a powerful tool to
amplify the emotional and intellectual resonance of my ideas, enhancing the accessibility and
impact of my art. Ultimately, my art becomes a powerful vehicle through which I can express
complex thoughts and social commentary, inviting the audience to engage not only with their eyes
but with their hearts and minds as well. Hidden beauty lies tucked away in the nooks and crannies
of nature, awaiting curious eyes to unveil its splendor. To find it, immerse yourself in the
wilderness, walk around your local park, explore dense forests, and marvel at intricate patterns in
leaves and petals, revealing the artistry of the natural world. Similarly, in man-made structures,
hidden beauty emerges when we pause to appreciate the intricate details of architecture,
discovering the craftsmanship and artistic expressions woven into the buildings that surround us.
Look beyond the obvious, and you'll be rewarded with the exquisite allure that lies beneath the
surface.

Layers - A4, 2023 130 Grow through the storm - A4, 2023
Can you talk about your creative process? How do you translate your ideas and concepts
into tangible art pieces?
My creative process begins with thorough research and introspection. I dive deep into the topic or
concept I want to explore, seeking inspiration from various sources like books, articles,
documentaries, and personal experiences. This phase allows me to gain a deep understanding of
the subject matter and helps me develop a clear vision for my artwork. Once I have a solid grasp
on the idea I want to express, I begin sketching and experimenting with different compositions,
colours, and techniques. This stage involves a lot of trial and error as I explore various ways to
visually translate my thoughts and emotions into tangible art pieces. I often engage in thought
bubble sessions and seek feedback from trusted peers and or mentors who can provide valuable
insights or fresh perspectives. After finalising the concept and composition, I bring my ideas to life
using my chosen mediums. Whether it's acrylic on canvas or digital art, I apply my technical skills
and artistic intuition to create visually captivating pieces. During the process, I constantly evaluate
and refine my work, maintaining a balance between intuition and intention. The final result is an
artwork that conveys my ideas and concepts in a visually compelling and thought-provoking
manner, inviting viewers to engage with the piece and interpret its meaning.
Looking ahead, what themes or subjects are you interested in exploring in your future
artworks?
Making art accessible to all has been and is very important to me, it is a crucial endeavour that
breaks down barriers and fosters inclusivity. As an artist, you have actively pursued various
initiatives to ensure that your creations reach a diverse audience. By utilising digital platforms and
social media, I have democratised the dissemination of my art, allowing people from different
backgrounds and geographical locations to engage with my work. Additionally, I have
participated in community outreach programs and collaborated with organisations that promote art
education, ensuring that individuals with limited resources or disabilities have equal opportunities
to experience and create art. Through these efforts, I am not only broadening the reach of your
artistic expression but also enriching the lives of those who might have otherwise been excluded
from the art world. Furthermore, I have deliberately considered the language and visual elements
used in my works, aiming to create pieces that resonate universally. By incorporating themes and
symbols that transcend cultural and societal boundaries, my work becomes relatable to a wide
spectrum of audiences. Moreover, I actively encourage open discussions and diverse
perspectives, fostering a sense of belonging and acceptance within the artistic community. In my
commitment to making art accessible to all, you are championing the idea that creativity knows no
bounds and that everyone should have the opportunity to experience the transformative power of
art. Using art and creativity to challenge social isolation and loneliness is proving to be a powerful
and compassionate priority of mine. As an artist, I have recognised the potential of my craft to
bridge gaps and foster human connection. Through interactive art installations and community-
based projects, I would like to create spaces where people can come together, share their
stories, and find solace in shared experiences.

131
By encouraging collaborative art-making, this promotes a sense of belonging and camaraderie,
empowering individuals to break free from the shackles of isolation and forge meaningful
connections. My art also serves as a platform to raise awareness about the importance of mental
health and emotional well-being. With thought-provoking visual narratives and expressive pieces,
I would like to address the underlying causes of social isolation and loneliness, encouraging
conversations that challenge stigmas and encourage empathy, art and creative activities could
begin to open up dialogue and promote understanding, art could be used as a way of hope,
offering a lifeline to those who may feel disconnected or isolated. I am dedicated to combating
social isolation and or loneliness, I would like to make a profound impact on individuals and
communities, demonstrating the power of art in bringing people together and fostering a more
connected, compassionate world.

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NOTES SPACE
Volume 30