square

works
Collect Art
Special Edition | VOL34 | October 2023 | Tbilisi, Georgia
On the cover: ‘Square’, by Aili Markelius
Welcome to the 34th Volume of our beloved Art Magazine, a remarkable Special
Edition that transcends borders and cultures to bring you a dazzling array of
international artists, sculptors, and photographers. This edition is a celebration of the
square, a canvas that has been a timeless muse for creative minds across the globe.
Within these pages, you will find a curated collection of square artworks that push the
boundaries of imagination, accompanied by in-depth interviews that offer a glimpse into
the minds of these visionaries.

Art has a unique power to connect us all, transcending linguistic and geographical
barriers. It is a universal language that resonates with emotions and experiences. In this
edition, we take you on a journey across continents, exploring the diverse
interpretations and expressions that artists bring to the square canvas. These square
masterpieces capture moments, emotions, and concepts in ways that words alone
cannot express.

Our team of dedicated art enthusiasts has scoured the globe to curate a collection of
square artworks that will leave you inspired, enthralled, and moved. The pages of this
magazine are adorned with visual narratives that challenge convention and embrace
innovation. You will discover the raw passion of sculptors who breathe life into their
materials and the keen eye of photographers who freeze time in a perfectly square
frame.

But this Special Edition is more than just a visual journey. It is an opportunity to get
inside the minds of these artists, to understand the inspiration behind their work and the
stories that have shaped their creativity. Through interviews, you'll gain an insight into
the thought processes, struggles, and triumphs that make these artists the exceptional
talents they are.

Art has always had the ability to spark conversations, inspire change, and challenge
preconceived notions. In this edition, you'll find that the square canvas is more than just
a shape; it is a platform for innovation, creativity, and the exploration of the human
experience.

So, immerse yourself in the enchanting world of square artworks and the compelling
narratives of international artists, sculptors, and photographers. Let this Special Edition
be your passport to a global artistic journey, where the square canvas unites us all, and
creativity knows no bounds. Welcome to Volume 34 of our Art Magazine – a window
into the diverse and captivating world of artistry.
THE
CONT

COLLECT ART
ENT
05 RACHEL VOGELEISEN

11 JOE KING

16 JEANNE-LOUISE MOYS

20 CECILIA-XIXI LIU

24 ROSS DEELEY

27 LOUISE HAPTON

32 PETER WISEMAN

39 YUEHAN HAO

45 AILI MARKELIUS

52 HANNAH MRAKOVČIC

58 KATE PEEL

63 KSENIA RYBKA

OCTOBER, 2023
 Rachel
Vogeleisen

Straw Beach Umbrella, 2023

05
Rachel is a London-based photographer and artist whose passion lies in capturing
beautiful, cinematic experiences that take viewers on a journey. With a discerning eye
and creative spirit, Rachel uses her camera lens to transport audiences to distant places,
carefully curating scenes that embody the beauty of life. Drawing inspiration from famed
photographers like William Eckletson, Cartier Bresson, and Willy Ronis, Rachel’s work is
infused with the essence of classic film photography. From the tranquil beauty of nature
to the complexity of the urban landscape, each image Rachel creates speaks to the joys
of a life fully celebrated.

Rachel’s process is both methodical and emotionally driven. She carefully plans out her
shots and seeks out the perfect locations, focusing on the right light and the perfect
angle. But perhaps the biggest challenge that Rachel faces is the ability to capture the full
range of emotions that make up a moment. Whether it’s a soft, warm embrace or a
solitary figure standing on a beach at sunrise, she is determined to create images that
evoke emotion in the viewers.

Can you tell us about the specific moment or experience that first inspired you to become
a photographer and artist?
From an early age, I've been captivated by photography. I used to love rummaging through my
grandmother's shoe boxes, full of old family photographs, in search of my roots. I got my first
camera at the age of 10 when my dad presented me with a Kodak camera with a blue button. At
the time, I was expecting glossy magazine-like images to come out of that camera, but without
knowing the technicalities of photography, I was sadly disappointed. Despite these initial
discouragements, I persevered.
I soon realized that behind my enthusiasm for photography lay a true passion. I decided to go
back to university and earn an MA in Fine Art Photography, which helped to greatly elevate my
skills and engage my creativity. Photography has become an integral part of my life; I am even
unable to travel without my camera in tow!
Your work is often described as "cinematic" and capable of taking viewers on a journey.
Could you elaborate on the storytelling aspect of your photography and how you achieve
it?
Whether it's at a museum, in a book, or anywhere else, my imagination and storytelling skills are
constantly ignited. Growing up in France, French cinema gave me a love of creating pictures that
look like they were taken from a movie. By composing scenes, I invite the viewer to get a
message or an emotion out of them. As an introvert photography is a fantastic tool to spread your
voice and share what you have to say without having to yell.

06
You draw inspiration from renowned photographers like William Eckletson, Cartier
Bresson, and Willy Ronis. How have their works influenced your own artistic style?
The photographic style of these artists is cinematic and precise--nothing is left to chance. Each
image is carefully composed, conveying a story. Working with film, these photographers had to
restrict themselves to 36 exposures per roll. This has inspired me to work with film more often and
to slow down being more intentional when taking pictures, instead of the common practice of
shooting everything and later editing. These photographers are inviting us to stop and think and
behave like an artist rather than just pressing a shutter when using a camera.

07 Red Beach Umbrella, 2022

Can you walk us through your creative process?
Adventuring with a camera in hand is my favorite way to travel. I'm constantly on the lookout for
compelling scenes, both anticipating the moment and responding to the unexpected. When I find
a likely subject, I decide whether it's worth taking by first using my viewfinder or taking a picture
with my phone. That way, I can compose and frame the shot to make sure it has maximum visual
impact. For certain projects, I even create mood boards on Pinterest of the ideal location and
work with a model to enhance the viewer's connection with the scene. I want people to feel it - to
imagine themselves in that place.
How do you balance the technical aspects with the emotional and artistic elements?
When working on location I use an app called Golden Hours to help me find the best lighting
conditions. Working during the golden hour casts warm-toned colors, giving a glow to the images.
Light will have a significant impact on everything you are trying to say with a camera. An overcast
sky can be the perfect soft box when working with a model outdoors. Working with a tripod during
the blue hour can create a very soothing and calming atmosphere with a slower shutter speed. I
tend to avoid shooting during midway as I hate harsh shadows but it’s not always possible. I tend
to work with a mood in mind and work from there with available light.
Can you describe a challenging moment when you captured a specific emotion?
That’s a good question because the emotion is not always there. I often create it to trigger the
emotion in the viewer. I love using a slow shutter speed to let people move by my camera, so they
are blurry, and you can only see their silhouette. Blur is a great way to add emotion to your
images don’t overdo it but in these times of over-sharpened images, it’s a great way to let part of
the story to the viewer and imagination. I love the photographer Sarah Moon who created very
grainy and blurry images but the softness and the lack of sharpness allowed you to feel
something you could make up part of the story yourself because the image was not entirely
defined.

Venezia Lido Beach, 2023 08 Venezia Lido Beach Hut, 2023

When curating scenes to embody the beauty of life, how do you decide what elements to
include or exclude within the frame to convey your intended message or feeling?
The first element is to understand what your message is and what you want to say.
When working with a model I will often ask her to move, walk, and move her body to capture the
moment and the intensity of that moment. I will often imagine the scene before or after like in a
movie scene and then choose the image that has the most intensity like the image of a movie has
stopped. Without a model, composition, and light will define what to include, again every scene Is
like a movie that stops on this specific image. I very often notice the work of the director of
photography in some movies and their photography adds so much to the story and how you feel
about it. By watching a lot of movies, I have trained my eye and I know what I want to say.
Your work encompasses both the tranquility of nature and the complexity of the urban
landscape. What draws you to these contrasting subjects, and how do you approach each
differently as an artist?
I love planet Earth it’s so beautiful, and there’s so much to see. So photographing nature is my
way of reminding us about its beauty. A sea landscape is so soothing, they are also a great way
to embody freedom. The urban landscapes are more connected to the humans living in that
landscape and their stories, the architecture, the constant movement, the noise, the smells that
shape our memories about a place and I try to reproduce that.
Photography is often about freezing a moment in time. How do you navigate the balance
between preserving the authenticity of a moment and infusing your own artistic
interpretation into your images?
The debate over authenticity in photography has been ongoing since the days of Henri Cartier-
Bresson when his famous "Kiss from the Hôtel de Ville" was later revealed to have been staged.
Even today, photojournalists recognize the need to create the best moment possible that
accurately reflects the needs of their clients. In terms of personal photography, I believe that bias
is inevitable. Photography is an art form, that allows us to express ourselves as we might with
writing and painting. How do you decide to capture a decisive moment? What is the decisive
moment for you? I think the photographer's bias will always be present.
Can you share a specific photograph that you feel best exemplifies your ability to capture
a full range of emotions? What was the story behind that image, and what do you hope
viewers take away from it?
I chose the image with the gondolier on the Grand Canal. Even though this image could be
considered as a cliché. I think the composition, the moment, the light are converging together to
invite the viewer to center their attention on the gondolier. A human element in a photo creates
scale and is a great focal point. I waited for the gondolier to be at the edge of my viewfinder
framer before pressing the shutter. Venice is such a magical place that transports you away from
modern times, the serenity, and the halted movement invite the viewer to stop and contemplate,
notice the moment but also to take them back to Venice and remind them about the experience of
being there.

09
Gondolier on the grand canal in Venice, 2023

10
Joe King
Joe King has a ‘portfolio career’ as an artist and educator. He has exhibited widely in the
UK and overseas His work includes painting, sculptures, and digital art.

11 Yellow -limited edition print, 30x30cm, 2021

Your career spans both artistry and education. How do you find that these two aspects of
your life intersect and influence each other in your artistic practice?
My fine arts degree qualified me to teach art in a secondary school. I enjoyed it and was able to
continue with my fine art practice benefitting from the school facilities. My work inspired the
students and they certainly inspired me. I was rapidly promoted and eventually progressed to a
fairly senior position.
You've exhibited your work extensively in the UK and abroad. Can you share an exhibition
or project that had a significant impact on your artistic journey and development?
As an art teacher, I did freelance work in my own time, I painted equestrian pictures, made
commercial sculptures, and exhibited my fine art. A record sleeve for the notorious punk rock
group The Stranglers earned me some fame and bemusement from my students, many of whom
were fans of the band. I think I learned at this point that being an artist requires one to engage
with the wider world and with other creative media. To live a creative life rather than live in an
ivory tower has been my aim.
Your portfolio includes a diverse range of mediums, from painting and sculpture to digital
art. How do you decide which medium to use for a particular concept or idea, and does
your approach differ when working with different mediums?
I draw and paint from observation all of the time. Whatever catches my eye. This builds up my
repertoire of images and ideas. I then create spontaneously and subsequently review what I’ve
done developing images and ideas later in various projects.
The submitted piece is an iPad drawing of an empty picture frame, which can be
customized by the purchaser. Could you delve into the concept and inspiration behind this
unique artwork?
The size is up to the purchaser. They might want their image to be isolated in the middle of a big
space or shoehorned into a confined space.

The idea of an empty picture frame

invites viewers to insert their own photo
or image. How do you see this interactive
element shaping the meaning and
interpretation of the artwork?
Someone might want it empty, in which case
it could be that emptiness itself is ‘framed’,
which is probably the case in many of the
‘me too’ social media and press witch-hunts
that feature widely in the media now.

Framed - digital art, 24'’x24'’, 2023

12
The concept of "being framed" has a double meaning in your work, referring to both the
act of framing a photo and being wrongly accused of a crime. Can you elaborate on the
symbolism and narrative behind this dual interpretation?
This ‘me too’ craze always seems to feature the victim complaining of being framed. In this work,
the people around the edge seem to be the accusers but they seem more interested in each other
than what may be going on in the frame. Just like the media in life.

Mindlessness colouring-in - limited edition print, 60x60cm, 2023

13
In your opinion, how does art, and specifically your work, engage with or comment on
societal issues such as wrongful accusations or the perception of truth and reality?
My work is about the human condition. Some of my work features people and in others, it’s the
world itself. The environment is under going through a traumatic phase at the moment which is
why I try to capture its beauty. I frequently paint on location and engage passersby in
conversation. The humans in my work are often lost bewildered or confused, as indeed many of
us are in this crazy world.

Fart 500 - lomoted edition print, 30x30cm, 2022

14
The notion of inserting one's image into the frame suggests a level of personalization and
participation by the viewer. How does this aspect align with your broader artistic
philosophy?
I like the idea of interactive art, hence the colouring-in picture. No doubt after spending many
hours dutifully colouring in these crazy people the owner might well have questions to ask
themselves about their mindfulness or lack thereof.
As an artist working with digital media, how do you see the relationship between
traditional art forms and the digital realm evolving in the contemporary art landscape?
Digital media simply adds another dimension. The iPad enables me to zoom in, layer and even
animate very easily. I can bounce images between applications for different effects. Procreate to
Illustrator for enormous vector images for example.
Could you share a glimpse into your creative process when working on digital art pieces
like the one submitted? How does technology impact your creative workflow, and what
possibilities does it offer for artistic expression?
I draw, draw, draw. It’s compulsive. When I reach a point where I have an idea I scan it or photo it
and refine it. I use Procreate on the iPad and Photoshop and Illustrator on the PC. The sculpture
is modelled in clay around an armature and then cast with silicone into fibreglass. All of my
landscapes are from direct observation or my sketchbook.

15
Jeanne-Louise
Moys
Jeanne-Louise Moys is a visual artist and design academic. She lives and works in West
Yorkshire, England, where she enjoys creating both plein air and in her home studio.
As an artist, her typical subjects include dancers, flowers, landscapes, and seascapes.
Her affinity for nature subjects and creating in the sunshine stems from her South African
roots. Working primarily in oil, acrylic, and drawing media, her gestural and expressive
approach leads to a strong sense of movement and texture in her visual style.

In her academic life, she’s currently an Associate Professor in the School of Design at the
University of Leeds. Her research expertise focuses on typography, graphic
communication, and inclusive design. Once upon a time, she worked as a graphic
designer.

Exuberance - Acrylic and mixed media on deep edge panels, diptych, 40x40cm each, 2022

16
You have a diverse range of subjects in more of a social conscience, engaging with
your art, including dancers, flowers, how visual design can contribute to everyday
landscapes, and seascapes. How do you life and address issues of exclusion. Whereas
approach each subject differently, and my art is more about recharging my spirit and
what draws you to these specific themes? creating images that people connect with
I paint what feeds my soul. Every creation is because it’s soulful.
an opportunity to savor those transient
moments of connection and beauty. My
approach to each subject differs in the
emotions or atmospheric qualities being
shared. But it’s always about how it feels
rather than how it looks. And there’s always
an element of playfulness through
experimenting with different materials.
Your South African roots are mentioned as
an influence on your affinity for nature
subjects and creating in the sunshine. How
does your cultural background inform your
artistic perspective and choice of
subjects?
I’ve moved around a lot. Painting is one of the
ways I connect to new places and reconnect
with meaningful memories.
Home, sweet, home - Oil on panel, 20.3x20.3cm, 2023
Can you describe your gestural and
expressive approach to painting and how it Summer - Oil on panel, 20.3x20.3cm, 2023
contributes to the sense of movement and
texture in your visual style?
Music is essential to my creative process. So
painting is a bit like choreography. The way I
move when I’m painting translates into the
marks.
Your academic background is in
typography, graphic communication, and
inclusive design, How does your expertise
in these areas intersect with your artistic
practice, if at all?
My art and design backgrounds intersect in
terms of helping students explore the creative
process and learn about visual theory. My
academic practice has much

17
You mentioned a fascination with the tactility of paint and its ability to evoke emotions,
memories, and movement. Can you share a specific artwork where you feel this quality is
particularly pronounced and discuss the emotions it conveys?
The seascape triptych included here recreates the squelchy feeling of your toes sinking into the
sand and the gritty wash of the water as it splashes and then pulls back into the ocean. Gazing
out to sea gives you that sense of being connected to infinity and feeling the ocean heal you. The
layers in this painting morph over each other giving that sense of possibility and movement.

Ocean caress Wash away your fears Sinking toes

Mixed media on deep edge canvas, Mixed media on deep edge canvas, Mixed media on deep edge canvas,
40x40cm, 2012 40x40cm, 2012 40x40cm, 2012

Your exploration of mark-making and the use of different applicators and textures is a
notable aspect of your work. Could you delve into your creative process when
experimenting with these techniques?
My creative process is very playful. I might discover a new way of creating marks when painting
clouds and then decide it’ll make a great tutu, so shift between seascapes and dancers, for
example. It’s about being curious and seeing what might happen. I combine traditional tools
(brushes and palette knives) with repurposed stuff around the house (random stuff like elastic
bands, incense sticks, fabrics, plastic tubes, whatever takes my fancy. I also paint with my hands
a lot. It’s about feeling the emotion. I’ll often start a new project by hand, covering the canvas with
paint so that I can connect, physically and emotionally, with the surface.
The square format appears to be a recurring choice in your art. What about his format
appeals to you, and how do you use it to create visual and symbolic power?
As a child in the 80s, I was given colored gummed paper squares for crafting. I loved them and
didn’t want to cut them up. Visual theory claims squares are harmonious and stable. They have
their own, intrinsic appeal. My compositions are typically asymmetrical, so getting the balance
right within a square is a good challenge. I usually avoid squares for dance paintings because it’s
harder to give the dancers enough space to move into.

18
You mentioned working with diptychs and triptychs, extending the sense of movement
through juxtaposing squares. How does this format influence the narrative or message of
your artwork?
These are fun because the visual power of the square means our brains want to keep each block
self-contained but the continuity of color, style, and composition tell our brains they are
connected. So, visually it’s lively, and working with multiple squares accentuates the movement.
For the seascape trio, moving the squares around can change the movement of the tides. You
can change how closely you hang them together, to change the story or mood too.
Can you discuss any artists or art movements that have inspired your work and played a
role in shaping your artistic style?

At school, I fell in love with

Monet and then Rothko at
university. Seeing their art
in real life as an adult
overwhelms me in the best
possible way. They’re the
artists that make me cry
when I visit galleries of
their work. I’m in awe of the
sense of light in Monet’s
landscapes. And the
brushwork and color in his
waterlilies. I don’t think
Rothko has influenced my
style, I just love his work. It
would be fab to create at
that scale too. Love a giant
canvas!

Summer stroll
Oil on panel,
20.3x20.3cm, 2023

Looking ahead, what artistic projects or themes are you excited to explore in your future
work, and how do you envision your art evolving in the coming years?
It’s an adventure, I’m not sure how it’s going to unfold and it’s better that way. My best work is
spontaneous and I want to embrace that. Definitely more texture and loosening up. Currently
working on a few more seascape trios and 20-something other projects. I’m also playing with
upcycling some of my art, sanding it back, reworking the surface, and letting what lies below
become part of the creation.

19
Cecilia-Xixi Liu

‘’Thinking and visualization is my concept of art. Having

a philosophical and literary background gives me the
motivation to try to combine images with narrative. I call
it looking for areas where easels and bookshelves
overlap. Retro or even near-primitive worship of nature
approaching storytelling techniques and attitudes is an
aspect I prefer for my aesthetics that seeks to narrow
down the parts of human arrogance. In terms of
creation, I believe there is no such thing as an individual
project, it is a continuous flow. Art may be life itself, a
holographic experience that cannot be finely sliced.’’

As a creator, Cecilia possesses a profound passion for

painting and illustration. Her artistic endeavors revolve
around visualizing abstract concepts and exploring the
relationship between minds and spaces. Her main
creative habits include observational sketching, painting,
and model making, usually accompanied by a lot of new
visual experiments, in an open and fluid way of thinking.
Having been educated in art at school, she studied
graphic design; however, her enthusiasm for painting
drove her to teach oil painting and later to practice in
favor of traditional methods. Cecilia is graduating with
an MA in Illustration in the UK in 2024.

Little views passing by 1,2,3

Acrylic on canvas,
10x10x1.9cm each, 2023

20
Your artistic practice involves visualizing abstract concepts and exploring the relationship
between minds and spaces. Could you share an example of an abstract concept that has
particularly inspired your work and how you transformed it into a visual piece?
Seeing touching texts is like being an athlete hearing the starting tone.
For instance, my project 'ESCAPE' started with a humanist geographers' book. It is not a novel
having plots, but rather about how people recognize concepts like the environment in general. So
I am inspired by the contextual geographic idea it presents. Using research and questionnaires, I
developed a set of illustrations turning words such as "boring routine" and "a world where only I
exist" into small universes representing spaces that people want to escape from and to - real and
fantastical sites.
You mentioned your background in graphic design and your self-taught journey into oil
painting. How has your journey from graphic design to traditional painting influenced your
artistic style and approach?
Graphic Design is fun and challenging at times, yet it is during the courses that I realized that
digital treatments lacked a sensual touch on a personal note.
On the other hand, when I learned gouache, I once got told I was drawing the wrong way, " It is
too much like an oil painting". On asking if I should learn oil in that case, I was warned not to think
too big. “It's too hard for beginners. Build a good foundation on a water base first.”
Still, ignoring all other factors, I taught myself oil - It is a capricious behavior expressed by the act
at learning. My artistic style and approaches are the by-product of being driven by curiosity, in a
certain sense.
Graduating with an MA in Illustration in 2024 is a significant milestone. What discoveries
or developments in your art do you anticipate making during this academic journey, and
how has the program shaped your artistic perspective?
Narrative and the scale of projects are the most important things I've learned during this time. It's
good practice to pass through a series of flows testing the viability of an idea instead of being
constantly swept up in wondering and knowing about it. While on the other hand as a result of
being encouraged to explore multidisciplinary similarities and differences, I have a further sense
of my detailed positioning as a creator, with the painter's -er and the illustrator's -or being my
practical identity in the world.
You mentioned combining images with narrative and the overlap between easels and
bookshelves. Can you delve into how you merge visual and literary elements in your work,
and how they complement each other?
For example, when portraying a river, I tend to use the specific cultural symbolic meaning of rivers
in my cultural background to help composition-- taking the aesthetic value of distancing,
anchoring the viewer's position, and gazing at something wonderful beyond reaching across it.
Images that have a text as their inner soul can be fascinating to audiences who are not obsessed
with metaphysical notions of undiscovered pure beauty but rather are happy to puzzle out
archaeological findings.

21
The text alludes to a preference for retro or near-primitive worship of nature in your
aesthetics. Could you expand on how nature and storytelling techniques influence your
artistic creations and the message you hope to convey?
The rhythm of pop culture stories is nowadays so familiar that I prefer retro stories whose themes
are a bit quirky from a contemporary POV. The notion and attitude of people respecting nature
and using sympathetic magic is something lovely and rewarding for me to learn from. Perhaps
more empathy for nature would motivate us to be less destructive and polluting.

Art as a holographic experience is a

fascinating idea. How do you believe this
holistic view of art influences the way
viewers engage with and interpret your
pieces?
This insight originated from a great suggestion
by my tutor - to document everything. I set
myself a challenge to expand my visual
language vocabulary. Within my current work,
I focus on overlaying ideas upon realities and
combining multiple aspects of the frame. By
talking with the audience I found out that they
really felt the breeze or the heat of the solar
radiation and got the mood of the notes.

Cumulus Cloud - Oil on canvas, 30x30x3.8cm, 2020

Meadowland - Oil on canvas, 20x20x3.8cm, 2020

You mentioned that you see art as a

continuous flow and that there is no such
thing as an individual project. How does
this philosophy impact your creative
process and the way you approach your
work?
I enriched my artistic thinking while reading
and getting feedback at the earlier stage. The
mobility of energy, the significance of
process, and the meaningfulness of
cherishing everyday life well. No need to
devote too much focus on categorizing things
- they will always have their proper place to
go and nothing will be left out.

22
Your work is described as seeking to "narrow down the parts of human arrogance." Can
you elaborate on this concept and how it manifests in your art?
That statement seems kind of super villainous tone now, but it's based on actual footage. This
concept came to me cognitively as I studied Turner's works and some other artists who present
human figures as tiny. The expression ego's size comes from psychometric drawings, people who
draw the graphic representing ego huge are usually pretty happy with themselves.
The above made me reflect on my scenic images having an idealised reverence for wild places.
Individuals have little strength, yet after this feeling of powerlessness towards vast topics became
visible, the words to be uttered emerged.
Can you share a specific project or piece that you feel encapsulates your artistic
philosophy and approach particularly well?
My favorite project at the moment is " Adventure in the Spiritual Platform". It began with this idea,
" Who will watch over the watchmen?". Telling a dream story is superficial, the essential depicts
some psychological aspects and I mainly use spaces to narrate this one. I do not expect to
educate my readers or give a moral, merely inviting everyone to join in the thinking. As people
say they're keen to get into these little worlds I think it does what I'm trying to do with storytelling
in the first place.
What do you hope to achieve with your art in the years ahead?
In the next step I would like to continue creating illustrated books of a certain literary context,
keeping hand-drawn along with restarting digital drawing. I would also like to follow the suggested
attempts to make short animated films. A great piece of advice I got recently is not to worry about
how to classify textures, subjects, and techniques - they can be used flexibly, building up
awareness of that. Combining my knowing and continuing to explore within the surroundings of
living in the UK, as this is so inspirational for me.

Glacial Peak - Oil on canvas, 30x30x3.8cm, 2020 23 Hillsides - Oil on canvas, 20x20x3.8cm, 2020
Ross Deeley

Slump - Vulcanised rubber, `70x70x70cm (depends on corner), 2022

24
Born in Birmingham, Ross Deeley is a fine artist who works across sculpture and
drawing. He has exhibited his work both nationally and internationally. In the summer of
2023, he graduated from Lancaster University with a first-class degree in Fine Art.

This sculpture belongs to a series of process-based sculptures, made from recycled vulcanized
rubber, mimicking geological processes. I slumped, layered, and stacked materials to produce
strata-like forms filled with movement and dynamism. 'Slump' exploits the materiality of vulcanized
rubber as a plastic and flexible material. The material loosely fills and defines the interior space.

"Slump" is described as a sculpture that exploits the materiality of vulcanized rubber.

Could you tell us more about your choice of this material and how it influenced the
creation of the artwork?
Vulcanized rubber is a plastic and responsive material. It can flex and respond to spaces and
gravity in a unique and dynamic way. Vulcanized rubber is also a petrochemical material –
meaning that the origin of the material lies in the extraction of crude oil, industrialization, and the
contemporary environment.
The sculpture is part of a series of process-based sculptures that mimic geological
processes. What drew you to the idea of using geological processes as inspiration, and
how do you incorporate these processes into your artistic practice?
I’ve always been interested in geography and the environment. Other process artists used direct
or personal verbs to manipulate materials, but I was interested in happenings beyond the human.
Geomorphic processes have shaped the world as we know it today, but are largely unseen,
moving slowly- locked in deep geological time. It’s interesting to try and visualize these processes
in the form of more tangible and bite-sized chunks.
The use of recycled vulcanized rubber is an environmentally conscious choice. Can you
share more about your commitment to sustainability and how it aligns with your artistic
vision?
I managed to get about 90kg of vulcanized rubber from a salesman on an industrial estate who
was about to throw it all away. Why through stuff away when you can make art with it?!
Reclaiming petrochemical materials and using found objects has since become a cornerstone of
my practice, using materials from today is extremely important when making art about today!
In your description, you mention "strata-like forms filled with movement and dynamism."
Could you elaborate on the concept of movement within a static sculpture and how you
achieve this effect?
For me, movement and sculpture are bound together by process. Sculptures that retain residues
of process and action will always be dynamic.

25
The title "Slump" suggests a sense of instability or change. What emotions or
narratives are you trying to convey through this particular artwork?
“Slump” changes its form depending on the corner it's installed in – so I guess it is very
unstable. I’ve had lots of different readings and interpretations of “Slump”. Painters have
compared it to a fallen Malevich’s ‘Black Square’. It’s also quite figurative, there’s a
similarity to a haunting quality of a body slumped over in a depressive state.
Could you walk us through your creative process when working on sculptures like
"Slump"? How do you start, and how does the work evolve from the initial idea to
the finished piece?
My sculptural practice involves a lot of play, and moving around the studio. I never make
preliminary sketches. Whatever happens happens. Stuff gets moved around, changed,
and taken apart. The single piece of advice for creation from an old teacher that has
always stuck with me is “Don’t think, just do”.
As a recent graduate with a first-class degree in Fine Art, how has your education
influenced your artistic practice and the themes you explore in your work?
My time at Lancaster University encouraged me to experiment as much as possible within
my art practice. LICA (Lancaster Institute for the Contemporary Arts) really emphasized
the importance of research in my artistic practice - reading philosophies on time, new-
materialist texts, and writings by artists like Robert Smithson really aided my practice.
Your work has been exhibited nationally and internationally. How does the
experience of exhibiting your art in different locations and cultural contexts impact
the reception and interpretation of your work?
Seeing sculptures in print or digitally is obviously a completely different experience to
seeing them in person. While the experiences might be different – I’m extremely grateful
that my sculptures can reach people from all over the world.
Are there other artists or movements that have inspired your work, especially in
the realm of sculpture and process-based art?
Richard Serra, like lots of artists investigating processes, is usually the first port of call. I
then started to research practitioners like Eva Hesse and Lynda Benglis whose organic
forms emulate natural processes. Erwin Würm’s sculptural practice is also a personal
inspiration – his objects and ‘One Minute Sculptures’ are whimsical, playful, and ooze
process and movement.
Looking ahead, what themes or materials are you excited to explore?
I’ve been engaging with petrochemical and industrial materials as part of my practice for
quite some time. More recently I’ve been experimenting with reclaimed bitumen to create
slick, black, globular sculptures pointing toward the Anthropocene and the damage
caused by human-induced climate change.

26
Louise
Hapton
Louise Hapton is a young French writer and contemporary artist based in London. She is
currently studying Fine Art (BA) at the University of Westminster and recently obtained
representation from Agence BeYou Paris. Very early, the eighteen-year-old artist
published both her literary and visual artwork in magazines and books. Louise is a black
(Caribbean), queer, and neurodivergent artist exploring her own issues with a brush and
clay. She has many iconic collections like Of Does and Men (feminist anthropomorphism),
Mariage Frères, 5 Years 5 Psych Wards (narrating her passage at the hospital during her
childhood and what caused it), Drooling Eyes, Things I Wish I Could Say I Like
(erotic/kinky series) and many more.
Her pieces have been exhibited in numerous exhibitions all around Europe, the US, and
online galleries and platforms like Christie's, SOTA marketplace, FLOAT magazine, and
the fetish platform Charm Skool Shop. Louise Hapton's artwork is vivid - one thing is
certain: it's not decoration. Her 2D and 3D pieces take you through her journey as a
young psychotic woman of many hopes, dreams, envies, fights, and wounds. On the
literary side, Louise has always had a big appetite for writing fiction. She wrote her first
novel "Arnold" while recovering from a dreadful attempt to take her life away. Its
publication one year later when she turned fourteen gave her enough hope and strength
to continue her internal fight. In 2022, Louise Hapton's second novel was published ("La
Librairie du coin de la rue") by the feminist publishing house "Éditions Chèvre-Feuille
Étoilée".

This is the second apparition (in non-chronological order) of

Ayame, a young Japanese expatriate living in a dusty art studio
in Spleen’s territory. The young girl is fascinated by her blue
friend. She has an ultimate goal: take a picture of him smiling.
The task seems impossible, as Spleen has never grinned ever.
But she won’t give up! Ayame is nicknamed ‘Idéal’ by Alphonse.
He believes she is the only person who could one day make
Adrien happy. This painting, in particular, occurs when Spleen
discovers the taste of tuna onigiris, his new favorite food. Ayame
loves to cook those fish-filled rice balls for him. Now she's just
waiting for him to smile finally!

Doucement! Tu vas me manger la main!

Acrylic and spray paint on canvas,
105x105cm, 2023

27
Your identity as a black (Caribbean), queer,
and neurodivergent artist is a significant
aspect of your work. How do these
intersecting identities inform and influence
your artistic practice?
When it comes to my art, most of the time, my
hands are led by a raw and complex emotion,
the feeling of being different, and the
questions that come from it. Why don’t the
other kids play with me? Why does the
teacher say I’m too dark-skinned to have such
good grades? It can also be a positive
emotion like love — I think it’s important as an
artist from the new generation to talk about
what makes me need to create to get the
feelings out. Not only for myself but also for
the million other people feeling like they are
‘the weird ones’. Representation matters. Le Spleen du chaton
Collage, spray paint, printmaking, and acrylic on canvas
You've already achieved so much at a 76x76cm, 2023
young age, both in the literary and visual
arts. Could you share a pivotal moment or
experience that shaped your decision to La ménine (self-portrait)
Acrylic and spray paint on canvas,
pursue a career in the arts? 105x105cm, 2023
I grew up in the South of France, in
Montpellier, and due to my neurodiversity and
skin color, I was always bullied by other
children or left alone. When that happened, I
drew. A pile of drawings was overflowing my
room and my mother — who worked a lot, as
a doctor — ended up noticing that I wasn’t
feeling well. One of her patients was an art
therapy teacher. I would’ve never understood
that I was an artist without Gevi. She was so
understanding of my differences and told me it
was my strength. I always removed my shoes
to wedge my clay with my feet, and the other
children found it peculiar — but not her. I was
around five when I met her, and we are still in
touch. Then later, I fell in love with literature
and became a young writer.

28
Your collections, such as "Of Does and Men," "5 Years 5 Psych Wards," and "Things I
Wish I Could Say I Like," cover a wide range of themes and emotions. Can you discuss
how personal experiences and emotions play a role in the creation of your art?
When a painting, a novel or a sculpture comes to my mind, it doesn’t come from my brain, but
from my heart. I did not choose to be an artist — it was an evidence. How else could I express
myself in this world? Therefore, in my collections, I try to convey different facets of my life story.
The kinky one, the feminist one, the little-girl-spending-christmas-at-the-hospital one… All my
series are a door to different corridors of my life. When put together, they fuse to become my
inner home.
Your work has been exhibited in various locations, including physical exhibitions and
online platforms. How do you adapt your art for different exhibition settings, and what do
you believe is the role of technology in contemporary art presentation?
I was fifteen at the time of my first exhibition, which happened in Chicago for a group show
dedicated to non-American artists. For years I’ve been using technology to help me find new
opportunities to exhibit my work. It sure makes the search easier, but not simple either. I would
spend three hours every night after dinner looking for artist open calls on the internet. With the
years, I’ve become more comfortable with artist forums but at the time I didn’t know anything
about galleries and curators, so I did make mistakes. I think that technology brings a lot as long
as you also listen to other artists and what they have to say about their exhibiting experience.

Restes L'homme qui parlait aux chats

Acrylic and spray paint on canvas, Acrylic and spray paint on canvas,
76x76cm, 2023 71x71cm, 2022

29
Your artwork is described as vivid and not mere decoration. Could you elaborate on the
narratives or stories you aim to convey through your 2D and 3D pieces, and how they
reflect your personal journey?
To answer this question, I will take the example of my most recent collection of paintings and
sculptures: ‘Spleen Mon Ami’. Ever since I was a child, reading and writing poetry has been a way
to appease myself. I was ten when I discovered Charles Baudelaire’s ‘Flowers of Evil’. I could
identify with the concepts and feelings the French poet put into his words. Especially the Spleen:
deep ennui, and profound melancholy of the poet. I usually paint people with beiges or browns but
this time, I chose a deep blue. My new character was born. Adrien, a young orphan nicknamed
‘Spleen’, raised by a two-headed stray cat… In this series, all my mediums are fusing. Writing,
ceramic, drawing, painting… all are stimulated by my characters and the feelings they bring me.
Spleen is like my twin.
On the literary side, your first novel, "Arnold," played a significant role in your life. Can
you share how writing and storytelling have been therapeutic or empowering for you
during difficult times?
I was hospitalised when I wrote Arnold. At age thirteen, I’d tried to take my life away — but I was
saved. During my emotional recovery, I only had one friend: the old computer in the common
room. No access to internet. No phone. No outside world. Just this computer, my emotions, and
I. A story formed itself in my head, and I was so concentrated when I was typing on this old
computer that I would forget where I was. I was no longer in the hospital — I was following Arnold,
Eliot and Céleste through their adventures. When I got out of the children psych ward, I sent my
novel to French publishers and quickly got a response. This moment when I saw my book
between my hands helped me go through a lot, and still does today.
Your second novel, "La Librairie du coin de la rue," was published by a feminist publishing
house. How do feminism and gender-related themes influence your writing, and what
messages do you hope to convey through your novels?
I have not always been sensitive to women’s condition, or been aware of patriarchy before I was
hospitalised. I was under a lot of teenagers and young men’s influence on the internet, whom I
thought were wise due to their eloquence. Therefore, I had no interest in feminism and I could
even say I was a bit annoyed by it (crazy right?). But when I was hospitalised, I met so many
young girls my age who had suffered from patriarchy’s worst vices: rape being very common.
During my whole hospitalisation, I was always the only one who hadn’t known sexual assault. I
was the only spared one. That’s when I understood how much feminism was important. Today, I
am a radical queer feminist, aware that the world has to change drastically to reach gender
equality. My novels are the mirror of this fight for all women’s rights, and convey both my angst
and my hope.
As a student at the University of Westminster studying Fine Art, how has formal education
impacted your artistic development and the concepts you explore in your work?
At first, going back to an academic context was making me anxious as I have school phobia,

30
but after Brexit I had no choice but to apply for visa as a student to live in London. The first
months were difficult, but thanks to the teachers whom understood my art and its emotional
depth, I was able to push my limits further. The University of Westminster has a very open Fine
Art BA which enables neurodivergent people to be creative without basing skills on technique, but
on expression. At the end of my first year, I managed to fight my social anxiety to create a big
performance: I married my artwork in front of hundreds of people on the campus.
Your representation by Agence BeYou Paris is a notable achievement. How has this
partnership affected your career as an artist and writer, and what opportunities has it
provided?
Carol Becker Lacave and Frédérique Favro are more than just agents for me. They are part of my
family. When we met after I contacted them, they were very enthusiastic about my work, but
ended up turning my application down, as representing such a young artist could be a financial
risk. But a few weeks later, we met again. They had an idea: creating a special section of their
agency, the ‘BeYoung Incubator’, dedicated to representing artists under twenty five years old for
free. We have only recently started working together, but I can already see the difference: I am no
longer alone in my studio, anxious about my art’s visibility. A photo. A message. They’re always
by my side and advise me amazingly.
Looking forward, what are your artistic and literary aspirations for the future? Are there
specific projects or themes you are excited to explore in your upcoming work?
I am currently editing the second draft of my third novel (written in English). Expect a feminist
thriller with hints of psychological horror and a fight between love and hate. On the visual arts
side, I am exploring the medium of stoneware ceramic everyday and I would really like to mix
ceramics with performance and installation. The ‘Spleen Mon Ami’ series which I’ve talked about
earlier is also growing, and BeYou and I are doing our best to give it a very unique exhibition. I am
also preparing a wearable artwork collection of unique pieces to remind people that they are all
works of art and to recycle unwanted clothes.

Adrien’s hair grows fast. Too fast sometimes. When the cold rain
starts pouring and his mane grows below his shoulders, he gets
cold as they drain in his back. That’s why Alfonse gets him a pair of
old scissors he found in a bin every two or three weeks, especially
on rainy days. Alfie lets her brother be the barber — she has other
grooming to do!

Haircut time
Acrylic and spray paint on canvas,
76x76cm, 2023

31
Peter Wiseman
‘’I think of myself as a photographic artist using the camera to gather images for artistic use,
rather than a photographer using a camera to record what is in front of the lens. I look at the world
with an eye for the material that can be manipulated and enhanced to create bold statement
images to convey ideas in striking, pieces of thought-provoking artwork.
Many of my images relate to contemporary issues, from the global environment to personal
experiences that many people have been through. My challenge is to use my imagination and eye
for composition and color to create artworks that make viewers think about the content to raise
their awareness of, and consider specific issues from a different perspective.’’

Peter is a self-taught photographer who, for many years, experimented with creative
photography using a variety of techniques and images to complement his creative writing.
However, this pursuit was put on hold when, in addition to his day job, he and his wife
took on the lease of an old school, refurbished it, and created a gallery for local artists.
This endeavor became an integral part of the village community, and they ran it for a
decade. It also provided an outlet for his interest in creative writing, as he established
"The Poetry Wall," a space where anyone could post their poetry for the public to read.
Managing the gallery, along with his own career progression and family responsibilities,
left him with little time for photography. In 2018, circumstances led to a career change,
offering him the opportunity to return to photography, this time with a digital camera. A
new camera opened up new avenues and allowed for new artistic expressions. While the
camera and accompanying software facilitated the development of his creative skills, his
art remained firmly rooted in capturing images that could convey a message.
Within two years, he had works for sale in galleries in Cumbria and had his works
exhibited in various places:
- From August to October 2018, his work was featured as one of the five photographers
in the "Photographers of the North West" exhibition, a collaborative showcase at Farfield
Mill in Sedbergh, Cumbria.
- In February 2019, his works were accepted at the Up Front Gallery in Unthank, Penrith,
as part of the 2019 Open Exhibition.
- From June to October 2019, he had an exhibition at the Florence Arts Centre in
Egremont, Cumbria. This exhibition included "Music at an Exhibition," a collaboration with
his son John Wiseman, featuring an evening of music inspired by the works in the
exhibition.

32
- Another exhibition was held from September to November 2019 at Mae's Tea Room
and Gallery in Uldale, Cumbria.
- In February 2020, his works were once again accepted at the Up Front Gallery in
Unthank, Penrith, as part of the 2020 Open Exhibition.

Things were going well until March 2020 when other priorities took over, and his
photographic artwork was pushed to the background. There were occasional moments
when it regained some prominence, with works accepted for the FLUX Virtual Exhibition
in Autumn 2021 and inclusion in the Collect Art Autumn 2022 Magazine. However, most
of the time, it remained in the background as other responsibilities took the forefront.
Now, as things return to a semblance of normalcy, he has added new works to his
portfolio. The steering wheel beckons, and he's ready to release the handbrake and
resume his photographic journey.

33 Uprooted, 2023
Your artistic journey has encompassed various phases, from creative photography to
running a gallery. How have these diverse experiences influenced your current approach
to photographic art?
Looking back, in the 1980s my initial photographic art was just a personal interest. I would read
articles in magazines, see what other people were doing, and set myself challenges to experiment
and create something different. I had works published in magazines but in those days my
motivation was technique; how to use different methods to be creative; it was not art with a
message.
Having the gallery meeting artists and talking about their work gave me a better understanding of
expression through art and interpretation, which helped me develop to where I am now.

The Poetry Wall at your gallery provided a platform for public engagement with poetry.
How did this collaborative space impact your own creative writing and the artistic
community in your village?
The village was very small so there wasn’t really an artistic community, but the gallery did become
a community meeting place with people getting involved in exhibitions and events there. The
main impact was providing a showcase for writers not just within the County of Cumbria but
visitors from further afield as well. Meeting writers and talking about their work was a wonderful
learning experience. It inspired me and I got involved with local writing groups and had a number
of poems published.

34
 Faith

I am a man,

but I'm just one man,

what can a single man achieve,

what audience can a solitary

cry

for reason, sense

ever hope to receive.

I have a mind

I can see behind

the words that are used to deceive,

I have a heart, it holds many things

that are lost

and for which I grieve.

I'm just one man,

but I have my faith,

a faith that will never fail,

it gives me strength

to fight for change,

to fight for what I believe.

35
You mentioned a career change in 2018 that allowed you to rekindle your passion
for photography. Could you share the driving force or inspiration behind this return
to photography with a digital camera?
I had a spell of ill health during which I was made redundant. After two years of not being
able to find another job I was a bit despondent but then I was offered some support to
start my own business. I needed something that would give me purpose, and digital
photography offered a whole new challenge.
Your artistic focus is on capturing images that convey a message. Can you
describe a recent work or series where you feel you successfully achieved this
goal, and what message or narrative it conveys?
A pair of recent works are manipulated close up images of patterns in cut timber panels
to highlight the sustainability of the planet with man’s existence relying on interaction with
nature. Nature is all around us, the planet continues to change and we cannot escape the
power that it has to shape our future. If nature is keeping a watching eye on what is
happening to the planet and intervenes, will we be part of its future?

Your art has been exhibited in various galleries and exhibitions in Cumbria. Can you
highlight an exhibition or moment in your artistic career that stands out as particularly
meaningful or transformative?
There are two:-
In 2018, I had a small booklet of my photo art images printed and I started to approach local
galleries, but to be honest I think I was scared of my photo art getting a bad reception and ended
up just talking about landscape photographs I had taken. Then by chance, I came

Nature’s Eye 36 Man and Nature, 2023

across a gallery in Carlisle and plucked up courage to go in and talk about my photo art. The
owner asked to see my portfolio booklet, really liked my work, told me to believe in what I was
doing and offered me exhibition space for a number of my pictures. That was a huge boost to my
confidence and spurred me on to approach other venues. Without this encouragement I may well
have given up. Shortly after I had work accepted at two more galleries and was invited to put on
exhibitions at two arts centres.
In 2019 my work was accepted for display at Florence Arts Centre (not Florence, Italy, but an arts
centre at a disused mine in Egremont, Cumbria) and as part of that I was able to collaborate with
my son, who is a composer and musician, to stage “Music At An Exhibition” where he performed
music that had been inspired by pieces of my work. It was well received and we were planning to
pursue this further but then came 2020…

The year 2020 brought about significant changes

and priorities. How did you navigate the
challenges and disruptions to your artistic
practice during that time, and what lessons did
you learn?
After the promising start in 2019, I was geared up to
build on what I had achieved so lockdown really
knocked me back. With all the restrictions and fears
I focussed on creating works to record life in troubled
times, from a personal perspective to wider
contemporary issues, through new pictures created
in the restricted lockdown environment and
manipulation of existing stock pictures. It was at this
time that I started to use my art to try to put across a
Time Unwound 2, 2018
message.
You distinguish yourself as a photographic artist
rather than a traditional photographer. How do
you approach your photography to create
thought-provoking artworks, and what role do
manipulation and enhancement play in your
process?
My aim is to use my imagination and eye for
composition and color to create artworks that makes
viewers think about the content to raise their
awareness of and consider specific issues from a
different perspective.
I am always looking for an image that I can work on
to give it relevance to contemporary issues. It could

37 Pillars of Society, 2019

be anything, a small area of a landscape view, As you return to your photographic art
a pattern, or something incongruous that practice, what themes or subjects are you
sparks an idea. eager to explore in your upcoming works,
I do not stick to many rules when editing but and what new directions do you envision
only use basic editing software to manipulate for your art?
contrast, saturation, tones, and color shifts to At the moment there are no specific themes I
highlight aspects of a picture to create high- want to explore, with the world as it is there
impact images. are enough issues to provide inspiration for
Many of your images relate to new works. One area I would like to
contemporary issues. Could you share an concentrate on again is creative writing to
example of an artwork that addresses a complement my artworks.
specific contemporary issue, and how do Your artistic journey has been marked by
you hope it impacts viewers' awareness phases of exploration and adaptation. How
and perspectives on the subject? do you see your art evolving in the future,
“A Bond Too Tight” addresses the issue of and what aspirations do you have for your
manipulation. The goal of manipulation is to continued growth as a photographic artist?
control another person in order to get what the Currently, there are numerous debates about
manipulator wants. It can involve a range of AI and the future of photography. As far as I
behaviors from the more obvious to the very am concerned AI is not something I want to
subtle. This image is a plain statement piece. use. One way I’m considering developing my
I hope that after initially looking at the obvious art is through mixed media works
bond, viewers will be more aware that it is incorporating my photo art.
harder to see the finer subtle control cord.

A Bond Too Tight Warrior, 2018

38
 Yuehan Hao
Yuehan Hao was born in 2000 in Qingdao, Shandong, China. Graduated from the Kede
College of Capital Normal University, majoring in photography. Currently, Hao Yuehan is
insisting on creating photographic works and plans to continue to study in the direction
and field of photography, trying to build her own artistic world.
The work is shot with a film camera, with
the theme of the dialectical contradiction
between the stillness of life and the
preservation of photography. It reflects on
the relationship between the death of the
mother and changes in family relationships
and discusses the connection between
spiritual awareness of life and body image.

39 Lies in stopping - Giclee print, 30x30cm, 2023

Within the imagery of "cessation", one can find a judgmental consciousness of death in the closed
loop of overlapping current images. The immediate experience brought by vision might only exist
momentarily, but when contextualized within the creative process, it goes beyond merely
exploring the essence of the body as the primary medium of visual expression, delving into the
intrinsic significance of familial connections before and after life ceases. What's paramount is
establishing a public discourse on the elusive topic of death through visual creation. Specifically,
how to reflect on the inherent nature of imagery to address the fractured family relationships
exposed in society after the loss of a loved one, finding an ascending exit for establishing intimate
member connections in the future — rooted in cessation but never solely limited to it.

Photographic works use the clock as a metaphor and link, prompting contemplation on the notion
that life resides in cessation. By intertwining death, familial memories, and the intrinsic
connections of imagery, the comprehensive expression of the created image embodies the
intricate real-world relationship between death and family memories, forming an intrinsic closed-
loop through visual means. This completes the refinement process from factual logic to artistic
conceptualization. That is, the photographic work originates from individual free consciousness,
breaking the barriers between the self and the outside world on the topic of death through
documentary and conceptual experimental imagery. It not only practices discussing how the
personal attributes of individual perceptions of death can be made public through photography but
also explores new ways to sort out and reconstruct family relationships through visual creation
after the cessation of the photographer's mother's life. Moreover, it highlights the therapeutic
function of related visual media in healing the emotional and psychological trauma brought about
by death.

40 Lies in stopping - Giclee print, 30x30cm, 2023

Can you share the story or moment in your life that initially drew you towards pursuing a
career in photography as an art form?
Of course. When I was in high school, I was diagnosed with depression and felt a strong need to
distract myself by doing something. I casually picked up an old camera from home and started
taking random shots of my "sick daily life." Later, I realized that I wanted to leave clearer and
more permanent records of my life and experiences while teetering on the edge of breakdown, so
I bought a mirrorless camera. Photography naturally became a part of my life from then on.
Could you elaborate on the philosophical and artistic concepts that drive your
exploration?
Franz Kafka once said, "The meaning of life is that it ends." The very act of preserving images
through photography inherently carries the essence of death; it can be seen as a subjective action
of hitting the 'pause' button on life. When the moment of capturing an image coincides with a
pivotal moment in real life, a dual loop is naturally constructed—between life-stopping and the
captured state after the shot.
How does your personal experience inform your artistic expression, and what emotions or
messages are you conveying?
My mother's death made me reflect on her role in the family and our previous family relationships.
I pondered, "Why do people subconsciously tend to hide the intimate relationships that come to
an end with the cessation of life, choosing to ignore even obvious emotional scars?" I needed to
find some explanations in the way I'm most familiar with, which is through the creative process of
photography. I sorted out and reconstructed existing family relationships, establishing a visual
space for public discussions on death and providing a healthy outlet for the further development
of family relationships.
What draws you to film as a medium, and how does it contribute to the overall narrative
and aesthetics of your photographs?
I have to admit that the physical and chemical properties of the film itself are fascinating. On the
one hand, the unique texture of the film base physically translates into a visually distinctive
intimate touch aesthetically. When the audience's gaze rests on these photographs, it's as if their
eyes are caressing every detail in the images. On the other hand, during the film development
process, controlling the chemical reactions between the developer and the film can produce the
soft tones that I desire. As viewers go through the entire series, they will experience a visual shift
from light to dark, emphasizing the narrative theme of "Lies in stopping."
How has your formal education influenced your artistic vision?
Although my major in school is photography, it doesn't mean that's all I study. Art is all-
encompassing, and anything in the world can inspire our creative work and provide inspiration. So
in school, we learn about many different fields, including fine arts, literature, music, dance, and
more. As an artist who uses photography as a medium, I want to understand and integrate
different artistic methods and approaches, try new things, and practice more. I'm still exploring.

41
 Lies in stopping - Giclee print, 30x30cm, 2023

After my mother passed away, I, my father, and my grandmother were left behind. I held the camera and watched
subjectively as my father and grandmother gradually held hands, and we were readjusting our family relationship.
Your work delves into the connection between spiritual awareness of life and body image.
Can you discuss how you approach this complex and deeply personal theme in your art?
The body is the most direct thing we can interact with every day—it's both straightforward and
mysterious. In my work, I aim to express how thoughts centered around the "theme of death" can
complicate both individual and family relationships. Therefore, I plan to shoot some direct physical
aspects of the body and use clocks as a metaphor for life's spiritual awareness. This links the
beginning and stillness of time with the unfolding and ending of life, combining the intuitive
expression of the body to encourage people to think about the idea of "Lies in stopping."
What artists or photographers have had a significant influence on your creative process
and style, and how have they shaped your artistic perspective?
Two photographers have greatly influenced me. One is the Japanese photographer Araki
Nobuyoshi. His work "Sentimental Journey - Winter Journey" expresses feelings of love, hurt, and
grieving for his late wife through highly personalized images. This individualized point of view has
been highly inspiring in my own creative process. The other is American photographer Dru
Donovan, whose work often connects the body and emotional states with experience and cultural
expression. She explores issues related to social identity, and her exploration of the body and
diverse photographic expressions have also deeply inspired me.

Lies in stopping - Giclee print, 30x30cm, 2023

Mother's face and hands as she lay dying.

43
Can you walk us through your creative process when conceptualizing and executing a
photographic series? How do you go about translating complex emotions and concepts
into visual imagery?
During my sophomore year, my mother passed away from late-stage pancreatic and breast
cancer, prompting me to reflect on illness and family. From a societal perspective, both pancreatic
and breast cancer have high incidence and mortality rates among people with malignant tumors
worldwide, seriously endangering public health. So, based on both personal and societal
considerations, I wondered if I could find an outlet for understanding through creative work, much
like when I first got into photography. Building upon the initial documentary images I shot of my
mother's illness and passing, and integrating them with my current family relationships, I was able
to produce the work that people see today.
As you plan to continue your studies in photography and build your artistic world, what
are some specific themes or ideas you're excited to explore in your future work?
I hope to always maintain a spirit of continuous trial and exploration, taking opportunities to
experiment with the integration of different artistic mediums and diverse creative expressions. At
the moment, I can't limit myself by specifying what I will create in the future, but what is certain is
that I will continue to work from a personal perspective and maintain my drive, just as I have in
creating my current work.

Lies in stopping - Giclee print, 30x30cm, 2023 Lies in stopping - Giclee print, 30x30cm, 2023

The crack that appeared on the door panel of the house My mother liked sunflowers the most during her lifetime,
when my mother was ill, it has been there for a long time. and she often bought them and placed them at home. Now
when I miss my mother, I buy a bunch of sunflowers and
put them in a vase one by one.

44
Aili
Markelius
Aili Markelius is a multidisciplinary artist from Sweden, specializing in the fields of
photography, digital art, and moving images. Her body of work has garnered attention
and recognition internationally, leading to exhibitions in galleries such as Fotografiska in
Stockholm. In March 2022, she unveiled her debut book, "What Happens In The Dark,"
which was published by Swedish publisher Max Ström.
Markelius' artistic endeavors delve into the intricate realms of metamorphosis and
transformation, encompassing both personal and societal dimensions. In her earlier
works, Markelius established a profound connection to Nordic nature, utilizing it as a
symbolic representation of various states of mind. However, her current projects are
venturing into themes of the future, particularly exploring the dynamic interplay between
humans and machines.

What Happens In The Dark

In the deeply personal project “What Happens In The Dark”, photographer Aili Markelius
explores the innermost corners of the human psyche. With her camera as a tool, she
approaches her fellow human beings as much as she seeks herself. The images hover in
the borderland between reality and dream - and sometimes they approach true
nightmares.
This project is shedding light not only on the inner workings of the mind but also on the
obscured facets of the world surrounding us. It captures the subtle marvels of everyday
life and the diverse perspectives that time and space yield through the eyes of various
individuals. Markelius leverages the art of photography not merely as a means to
document the external world, but as a powerful medium for unveiling the intricate realms
within human consciousness. These images provide an unconventional lens through
which to perceive reality, emphasizing its multifaceted nature, brimming with manifold
truths rather than a singular narrative.

45
 light and darkness. The initial part, Under
Wood, is connected to the fragility of the
naked skin - a yearning for a protective shield
encompassing both body and mind.
Analogous to the pupa stage of a butterfly, it
reflects a period of growth shielded by a
protective barrier. The second part, What
Happens In The Dark, explores a darker and
also more potent side. This segment explores
the shadowy facets of the human psyche -
intertwined with the external realm, exploring
themes of violence and crime that germinate
within an individual, while also embracing the
sublime aspects of nature - magic - small
lights kindled in the dark.
Could you elaborate on how the natural
Untitled, 2019
C-type photographic print 40x40 cm world influences your creative process and
serves as a symbolic representation?
Your artistic practice spans various Nature was one of the most important
mediums, including photography, digital elements of my childhood. I grew up in the
art, and moving images. How do you outskirts of Stockholm close to a lake and a
decide which medium best suits the forest, and I spent most of my free time there.
concepts or ideas you want to explore in Nature takes the shape of an almost religious
your work? force for me - there is a mystical essence to
I would like to perceive all of my work as be found. In "What Happens in the Dark," I
interconnected. I create a realm that unfolds wanted to illustrate the enchantment of nature,
through different mediums such as imagery, and of the unknown, but nature also becomes
video, tangible installations, and music - every the protective shield in a violent world. A
idea is explored and expressed through a return to childhood and the pure happiness of
multi-dimensional lens. a ray of light touching the roof of leaves above
Your debut book, "What Happens In The you.
Dark," was published in 2022. Can you Your recent projects are delving into
provide insights into the themes and themes of the future and the interaction
narratives explored in the book, and how it between humans and machines. What
complements your visual art practice? inspired this shift in focus, and what
"What Happens in the Dark" is divided into two questions or ideas are you exploring within
segments: Under Wood and What Happens In this context?
The Dark. The themes explored in the book I have had a deep fascination with the human
are those of a contrasting state - a borderland brain and “consciousness” since an early age.
between dream and reality, While my subject of study during my

46
work with “What Happens In The Dark” rather Work with amazing people and receive
was focused on psychological concepts, the acknowledgment from those who appreciate
last few years my research has been drawn my efforts, and I am truly grateful for this. This
towards artificial intelligence as a way of does not change my process - I do not strive
understanding the human mind, as well as the to create something that people will like. But if
emergence of the digital world and the one person enjoys or finds solace in my work,
borderland between our physical world and it brings me much joy.
this new, pixel-shaped reality. These projects
explores rooms beyond the merely physical
sphere - mental, physical and virtual.
Metamorphosis and transformation are
central themes in your work. Can you
share a specific artwork or project where
these themes are particularly pronounced
and discuss the story?
Most of my work until today is connected to
the themes of metamorphosis and
transformation. My most recent installation
project, "The Firebird," for example, illustrates
the transformation from a world marked by
destruction to the emergence of something
new and beautiful, rising like a phoenix from
the ashes of the old world. I believe change is
what makes us move forward and what makes Square, 2020
us alive. Often “weakness” or a moment of C-type photographic print 40x40cm Untitled, 2019
C-type photographic print 40x40cm
decay is needed for something new and
stronger to grow. Reflecting on Andrei
Tarkovsky's analogy of a tree - in its newborn
state, it is fragile yet full of life; as it matures
and becomes hard and strong, it eventually
succumbs to death. Hence, fragility, perceived
as "weakness," and the inevitability of change
are synonymous with life, while hardness, or
stagnation - the absence of change - is the
companion of death.
How has exposure of Fotografiska
impacted your artistic journey and the
evolution of your work?
I have been very happy and fortunate to

47
 Untitled, 2020
C-type photographic print 80x80cm
Can you describe your creative process when tackling complex and multifaceted concepts
in your art? How do you approach the challenge of visually representing abstract ideas?
All my work comes to me in images, as well as my musical work. The image is connected to an
abstract idea, but the image always comes first, and as the next image comes, I am building a
puzzle to finalize my vision of the entire idea. All images together make a full image of the
concept.
As a multidisciplinary artist, how do you navigate the boundaries between different artistic
mediums, and do you find that each medium allows you to convey certain aspects of your
ideas more effectively?
As mentioned before, all the mediums are merged together in one way or another. There are no
strong boundaries. The photographic process is for me almost like that of a poem where colors
and shapes coalesce to illustrate a story, in a rather abstract manner. Video is more complex, it
might allow a deeper understanding of a subject, combining image, sound and written words.
Merging different artistic mediums allows a more intricate and nuanced vision and story to be told.
The text mentions the exploration of personal and societal dimensions in your work. Could
you share an example of a project where these dimensions intersect, and what message or
reflection you hope viewers take away from it?
In “What Happens In The Dark”, for example, the theme of the work can be applied to both
personal and societal dimensions. It explores both the shadows of the human psyche and the
obscured facets of society - occurrences behind closed doors, in the dimly lit streets of a city at
night, or within a hotel room behind a closed door. The interplay of light and darkness mirrors the
contrasting emotions experienced within an individual, as well as the reality of the outer world. In
the observable world, there are events both apparent and concealed in the shadows, nightmarish
situations that unfold without anyone's awareness. This double-sided theme resonates across
much of my work, drawing parallels between our internal struggles and the broader societal
challenges.
Looking to the future, what artistic projects or themes are you excited to explore in your
work, and how do you envision the trajectory of your artistic practice in the coming years?
I am excited to finish the production of my debut full-length movie which I have been working on
for the last 4 years, as well as upcoming exhibitions, publications, and collaborations this and next
year. I believe I will keep moving further into the practice of digital art and moving images, as well
as the use of architectural elements and design in virtual and physical spaces.

49
 Untitled, 2019
C-type photographic print 80x80cm
Tuvstarr, 2020
C-type photographic print 80x80cm
Hannah Mrakovčic Japanese Maple, 2022
Hannah Mrakovčic is a New York City-based photographer and artist. Hannah aims to
embrace science and photography to better understand herself and the world around her.
Hannah tends to experiment with landscapes, nature, and architecture, capturing the
relationship between the natural and the man-made, the ethereal and the mundane. She
is always trying to capture not only what she sees, but how she feels, with her
photographs.

Pillow, 2023
 ‘’These square works are from my various photo walks throughout NYC and DC. Whenever I walk
through the city, I try to find landscapes that stand out from the typical scenery. Whether it's a
stroll through a park or a walk from the subway to work, I aim to shoot landscapes that feel quiet
and desolate, yet comforting in their solitude. I want to avoid the hustle and bustle of the city and
just focus on the things that make me happy here, whether it's finding an interesting tree
formation or catching the way the light falls on a man-made object.’’

Ad, 2022 Magnolia Building, 2023 Roots, 2023

Your artistic approach involves embracing science and photography to understand the
world. Can you share how the intersection of these disciplines influences your creative
process and the themes you explore in your work?
In addition to pursuing a degree in photography, my first undergraduate degree is in biology. I
currently work for the NYC Parks Department, so I spend a lot of time out in the field. I enjoy using
photography to document processes necessary for environmental monitoring, restoration, and
management. Because of this, my work primarily focuses on nature, landscapes, and human
interactions with the natural world.
Your photography often captures the relationship between the natural and the man-made.
How do you approach this juxtaposition, and what message or emotions do you aim to
convey through these connections?
In my time outdoors, I often think of the NYC landscape and how it would appear if not for settler
interference. I think about the forests and wetlands that were predominant in the area, and that are
now mostly replaced by buildings and infrastructure in our industrialized and urbanized world. In
most of my work, you may notice that I choose to omit people from my photos. More so, I seek
spaces and moments where there is little evidence of human interaction and presence. I am more
concerned with and interested in the spaces that humans inhabit and the things we leave behind,
rather than humans themselves, because these are the spaces and objects that will persist if
humans were to disappear from the earth tomorrow.

54
Could you describe an example of a photograph where the emotional aspect is particularly
pronounced and how you translated that feeling into the image?
Living in a city of eight million people can feel pretty lonely most times. A lot of times in my work, I
feel overwhelmed and alienated, and I need to step away to look inward and ground myself. I
force myself to go on photo walks during my lunch breaks to keep myself sane. The photo of the
Throggs Neck Bridge is an example of a moment where I needed a break and stepped out of my
comfort zone to create something that conveyed how I felt. The image is muddy and dark, and
this is how my mind feels when I am stuck in my head.
What attracts you to quiet and desolate landscapes, and how do you capture the sense of
tranquility and solitude in your photographs?
New York City is a very overwhelming place, both audially and visually. I gravitate towards quiet,
serene landscapes to catch a break from all the hustle and bustle of the city. I truly enjoy
spending time alone, and I use any opportunity I have to be by myself in a landscape I admire. My
mind is clearest when the space around me is quiet and clear, so I keep my photos clean and
simple to mirror how I feel.
Can you share a specific moment or experience during photo walks in NYC or DC?
I recently visited a friend from college in DC, and we spent two hours walking on a trail that ran
through the city from end to end. Walking this trail was an interesting way to see the city; we
entered the trail from a McDonald’s parking lot, walked through the forest, and saw apartment
buildings peeking through the trees, as well as man-made sewage pipes and buildings jutting out
from the landscape. The trail was beautiful and serene, even though it ended at a busy boulevard.
I saw the resiliency of nature in a tree whose roots were grasping onto the soil despite recent
erosion as seen in my photo, “Roots”. Seeing how the landscape changed due to urbanization,
yet adapted to the new state of being was truly inspiring.

The concept of avoiding the hustle and

bustle of the city to find moments of
happiness and beauty is intriguing. Could
you discuss the challenges and rewards of
seeking these moments within the urban
environment?
In New York City, it’s hard to find a space that
isn’t co-opted by humans. By exploring the
parks and natural areas of New York City, I
find joy in discovering places that are quiet,
isolated, and uninterrupted by human
presence. I find joy for myself, knowing that
these spaces still exist and that the native
flora and fauna can enjoy them too.

55 Striped, 2023
How does the square format choice affect
the composition and presentation?
I am constantly trying to capture images that
convey how I perceive them, although no
camera in the world can replicate the human
experience. Sometimes I am torn with the
composition of my images: do I shoot
horizontally or vertically? do I omit this from
my shot, or keep it? Shooting in square format
helps me to simplify the framing process. In
my work and in my life, simplicity is key; the
clean, uniform lines of a one-on-one ratio help
pare down my vision to the simplest version of
itself.
As a New York City-based artist, how do
the unique characteristics and energy of
Conservatory Garden, 2023
the city influence your photography, both
in terms of subject matter and style?
Funny how in such a huge, metropolitan city In such a noisy city, I find quiet spaces and
filled with interesting people, my subject moments where I can tune out from it all. The
matter is mostly nature and landscapes, with high energy of the city pushes me towards the
the occasional allusion to people and the built lower energy places I crave to be in and
environment, mostly within the context of their forces me to find beauty in the quiet and
relationship to the natural world. mundane.
Are there any specific photographers,
artists, or movements that have had a
significant impact on your work?
When I was in photo school, my neighbor
once lent me a book of Vivian Maier’s street
photography. Seeing her work changed my
idea of street photography. Her unassuming
photos captured small but impactful moments
that stood out to her as she walked the streets
of Chicago. She photographed people, but
she gave them context and a narrative,
without even having to show their faces.
Whenever I walk around New York City, I
keep Vivian in mind and capture the big, little
moments that capture my eye.

Birdbath, 2023

56
I’ve always been captivated by Stephen that is never actually the case. I’ve had some
Shore’s photos of the mid-Western American moments of memory lapse recently, so I am
landscape, particularly in Uncommon Places. interested in exploring memory, nostalgia, and
His photos of places, spaces, and objects are change in my future work. I am interested in
mundane yet beautiful. His images have documenting how spaces that are sentimental
always spoken volumes to me; similar to to me change with time, for the sake of
Vivian Maier, Shore says so much by posterity. I am looking forward to exploring
capturing snippets of daily life and what he new photography processes, whether it’s
comes across in his travels. I love how he learning to shoot a new film format or
rarely includes people in his photos, and if incorporating other mediums into my work,
they are included, they are turned around or in such as video, sound, drawings, or collages.
the distance. The photos are more about
moments and the spaces people inhabit rather
than the people themselves. The photos are
snapshots and slices of his life, which I enjoy
doing in my work as well.
I have always loved documenting interior
spaces and catching how the light fills the
room at various times of day and through
different seasons. It may seem boring, but I
always enjoyed the solitude of a space or
landscape. I was floored when I recently came
across the paintings of Danish painter Vilhelm
Hammershoi at Statens Museum Kunst in
Copenhagen last year. His paintings of empty
rooms and landscapes (often devoid of
people, save for the occasional woman turned
away from the viewer) capture what I have
been striving for in my photography for years
Throggs Neck Bridge, 2023
now.
Looking ahead, what themes or concepts
are you excited to explore in your future
photographic endeavors, and how do you
envision your artistic journey unfolding in
the coming years?
The city is changing around me quicker than I
ever could have imagined. As a child, I often
thought that things will never change and my
world as I know it will always be the same,
however, as an adult, I know that

57
 Kate Peel
Kate graduated with a 2:1 from Birmingham City University in 2011 and began exhibiting
in shows local to Birmingham for a year or so. The height of the period was being a
competition winner at an exhibition competing with the collaborative art duo, Sparrow and
Castice on the theme of interiors. Facing some financial difficulties she took a break for a
while and completed a Masters in Landscape Architecture at the University of Sheffield.
Working in spatial practices as a day job has been influential in developing her practice
again since then both technically and conceptually.

'Exploring psychological and cultural permutations of space guides the focus of my practice.
When making working I try to think about how changing the context of space can relocate it into a
whole new spectrum of reference. This exploration of context is extended via references of
frames within frames. My work is essentially postmodern however I do have an interest in
Metamodernism and am looking to experiment with it as I continue to develop my work. My work
is deeply embedded in the reappropriation of images and material. I see this as a kind of recycling
of possible meanings and developing a subjective language from images sourced from film, TV,
and the internet.'

Mise En Scene Study 1

Giclee print, 20x20cm, 2023

58
Your artistic practice explores psychological and cultural permutations of space. Could
you elaborate on how you approach these complex themes in your work and what drives
your interest in them?
I think stories are the perfect vehicle to explore overlapping experiences from both cultural and
psychological perspectives. Stories help us look at things from different perspectives but also
bring us together as we all have personal autobiographies. Deconstructing these and putting the
pieces back together again in new ways is a meaningful process for me.
You mentioned changing the context of space to relocate it into a new spectrum of
reference. Can you provide an example of a project or artwork where this concept is
particularly pronounced, and how does it impact the viewer's perception?
‘You Better Run’ and the study ‘Mise en Scene 2’ which informed this work are two examples. I
created axonometric drawings for the spatial aspects of this drawing taken from a Chinese opium
den in a film set in New York in the 1920s. Axonometrics is a technique for making 3D technical
drawings in Architecture and Landscape Architecture. I think it gives the work a spatial sense of
something ordered in a spatial context, which might make us think about the physical reality of
space while weaving in layers of different ways of perceiving experiences within those spaces.
The appropriation of images and material is a central aspect of your work. How do you
navigate the fine line between recycling meaning and creating new interpretations, both
personally and culturally?
It’s about trusting my instincts with a piece of work and not overthinking it. There is a level of
making something sit somewhat comfortably within the layers of meaning and leaving room for
something that feels uncomfortable. I think the mind tries to create links between the elements
that aren’t entirely based on our own experiences and aren’t entirely my own. This leaves room
for a complex relationship to be formed with the work. Do we see what we want to see or do you
see what I want you to see? And if there are contradictions in there, the mind wants to put the
pieces together in new ways. I guess I’m trying to stimulate independent thinking and self-
reflection.
You engage with drawing, printmaking, and digital practices in your art. Can you discuss
how these diverse mediums inform your creative process and contribute to the overall
message of your work?
Drawing for me is related to thought, printmaking to both process and reproducibility and the
digital is about adaptability. I think the interplay of these sends a message about creativity,
criticality, and navigating your way through something enticing or intriguing.
After a break from exhibiting, you've recently responded to open calls in various locations.
What prompted your return to the art world, and how has your perspective as an artist
evolved during this time?
I started making art again as soon as I finished my Masters in Landscape Architecture and I had
the time again. My thinking has developed and progressed and I can now consider a more
socially and intellectually informed practice.

59
Your work has been featured in various exhibitions and publications, including New York
Times Square. Could you share the experience of having your art showcased in such
prominent locations and how it has impacted your career?
New York had a big effect on me but also made me think critically about having more of a
physical local presence, and the cautionary tones to my American Dream series. Dreaming feels
good but reality bites. I try to get things on a level, stay connected to reality, and remember that
not everyone is interested in art. I think New York impacted the way that I think about my career
and what I want from it. I guess it’s about staying connected to other artwork and perspectives
and not getting lost in it all.
Completing a Master in Landscape Architecture is a unique background for an artist. How
does this academic experience inform your artistic practice, and do you find connections
between the two fields?
It’s a difficult territory to navigate but before I studied landscape my work referenced mainly
interior spaces. Landscape broadened my conceptual horizons and made me think about what
my dreams of traveling might actually be like as a reality. Thinking about solving complex
problems based on physical space grounded me and opened up my mind to cross-disciplinary
concerns.
You mentioned health and financial challenges as factors in starting your career as an
artist 11 years after graduating. Can you discuss how these challenges have shaped your
artistic journey and influenced the themes you explore in your work?
My health problems toughened me up and my financial problems made me more inventive in how
I approached art. It was all about finding creative solutions to complex problems. There are a lot
of diverse perspectives now in art and I’ve tried to understand things from others perspectives
while maintaining my own sense of self.
In your recent exhibitions and publications, are there specific projects or pieces that you
feel particularly proud of or that have had a significant impact on your artistic
development?
My work ‘The Business of Living and Dying’ is an important work for me. It has stimulated a lot of
new ideas. I like the simplicity of it and it has a kind of manufactured rawness to it. I’m interested
in that idea.
Looking ahead, what themes or concepts do you plan to explore in your upcoming artistic
endeavors, and how do you envision your role as an artist evolving in the future?
I have begun work on a studio-based series that is pushing me into some interesting territory.
Currently, I see my role as an artist as documenting the times we live in and hopefully generating
a dialogue. I wouldn’t like to speculate at this point about my role as an artist in the future. Things
can change so quickly as we learned from the pandemic. I guess it’s important for me to keep
adapting to things as and when they happen.

60
Mise En Scene Study 4
Giclee print, 20x20cm, 2023
 Mise En Scene Study 2
Giclee print, 20x20cm, 2023
Ksenia
Rybka
Ksenia Rybka, a London-based fine art photographer, pushes artistic boundaries, gracing
global galleries and prestigious publications. Her work delves into life's intricate beauty
and challenges, transforming everyday subjects into evocative, sensory-rich imagery.
Through her thematic, symbolic, and cinematic approach, Ksenia invites viewers to
explore deep emotions.
Beyond aesthetics, her lens confronts social issues—racism, unequal opportunity, civil
rights, and gender inequality. Her photos serve as society's mirror, igniting discussions
and change. With a Ph.D. in natural sciences, Ksenia merges science and art, shedding
light on ecological concerns: climate change, soil erosion, water scarcity, and
deforestation. Her photography becomes a call for a sustainable future.

‘’My photography has always been a window into the labyrinth of personal history. Through visual
storytelling, I delve deep into the emotions, milestones, and the core of identity. I reimagine
treasured memories, capturing fleeting moments that have sculpted the self. With each click of
the shutter, I aim to illuminate the intimate connection between memory and selfhood. My art
becomes a kind of bridge between the past and present, inviting viewers to traverse the corridors
of their memories and embark on a profound journey of self-discovery.’’

Your work is described as pushing artistic boundaries and transforming everyday subjects
into evocative imagery. Can you share a specific project or series where you feel you've
pushed these boundaries, and what were the challenges and rewards of doing so?
"GENius Recombination" was a challenging yet one of my favorite projects. With a team of like-
minded individuals, we created a project that tells the story of human genetic evolution, exploring
themes such as generational and cultural heredity, diversity, mutation, gene modification, and
freedom. Our goal was to present these complex concepts in a simple and engaging manner, so
we worked with two models and a minimalistic yet thoughtful set design. The project received
significant social attention and was featured in international magazines, highlighting my work.
How do you navigate the line between aesthetics and activism in your art, and what
message do you hope viewers take away from your socially conscious work?
My approach involves intertwining the visual allure of aesthetics with the urgency of social
activism, creating a dialogue between the two realms. I use aesthetics to draw viewers in,
employing composition, lighting, and visual storytelling techniques to create compelling and
thought-provoking images. These aesthetic elements serve as a doorway, inviting viewers to
engage with the deeper layers of my work. Once captivated, I guide them toward the heart of
societal issues, aiming to evoke empathy, challenge preconceptions, and provoke introspection.

64
You hold a Ph.D. in natural sciences, and
your art addresses ecological concerns.
Could you discuss how your scientific
background informs your artistic
perspective and how you use photography
to shed light on environmental issues?
Being a scientist means, first and foremost,
implementing a scientific approach in various
aspects of my life, including photography. I
meticulously choose and study my subjects,
carefully plan photoshoots, conduct in-depth
research, and sometimes even carry out field
studies. I integrate scientific data and insights
into my projects, grounding my work in
scientific accuracy and enriching it with a
profound understanding of ecological
processes. Through photography, I illuminate
environmental issues, aiming to inspire action, impact on your art?
foster environmental stewardship, and Long and warm summer day, the sun is
contribute to the global conversation on setting, my younger brother and I are
sustainability and conservation. launching a red kite in a cornfield against the
Can you share a personal memory or vast, high sky… This is one of my favorite
experience that has had a profound childhood memories. Gathering the bright
flashes of my early life, I created a series of
photographic postcards featuring those
almost-forgotten moments of my childhood.
How does photography uniquely reveal the
connection between memory and selfhood
compared to other art forms, in your
opinion?
Photography, unlike many other art forms,
captures specific moments in time. Being
100% authentic and real, photographs serve
as powerful visual triggers for memories.
When we see a photograph, our brain often
recalls not only the image itself but also the
context, emotions, and sensory experiences
associated with the moment it was taken. The
ability to capture these moments in a tangible
form strengthens the link between memory
and the self.

65
Your photography serves as a call for a emotions, trigger memories and facilitate
sustainable future. Can you describe a introspection. Artists use metaphors in their
project where you've used your art to raise work, and viewers interpret them based on
awareness about ecological challenges their own experiences and perspectives,
and the potential impact it has had on your gaining new insights into their lives. Art
audience? provides a safe space for individuals to
My specialization as a scientist is in water confront and process their emotions, including
resources, and it also plays a significant role in past traumas or memories, making it easier to
my photography. For the project 'Polluted understand and cope with them.
Palette,' exhibited in Georgia, I created a
series of images aimed at raising awareness
about the fragility of water ecosystems and the
strong connection between people and water.
I hope to believe that such projects can serve
as strong catalysts for change, inspiring
people to become more environmentally
conscious in their daily lives, join local
environmental initiatives, or even start their
projects to address ecological issues.
As a fine art photographer, how do you
balance the need for technical precision
with the desire to convey emotion and
symbolism in your images?
Before I even pick up my camera, I thoroughly
explore the idea I want to convey. A clear
concept guides my technical choices and aids
in creating images with depth and meaning.
Technical precision doesn't always require
strict adherence to rules. Furthermore,
experimenting with different techniques,
angles, and settings allows for innovative
expression.
Your work invites viewers to embark on a
profound journey of self-discovery. What
role do you believe art plays in helping
individuals connect with their own
memories and personal histories?
I believe in the healing power of art. It
possesses a unique ability to evoke

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Are there any specific photographers, artists, or movements that have significantly
influenced your approach to photography and the themes you explore in your work?
I believe that whatever an artist sees and experiences influences their work. Instead of attempting
to imitate other photographers' styles, I seek inspiration from various forms of art, such as theatre,
cinema, music, and poetry, as well as directly from people and nature. Any small thing like a bird
singing at sunrise or the play of sunlight on the water can trigger my creativity and give birth to a
new artistic project.

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Looking ahead, what artistic projects or themes are you eager to explore in your upcoming
photography?
As my artistic journey unfolds, I am committed to continuous learning and collaboration. I
anticipate collaborating with experts from diverse fields, including historians, architects, and
designers, enriching my projects with multidisciplinary perspectives. Moreover, I am eager to
embrace innovative technologies and multimedia approaches in my artistic practice. Exploring
virtual reality, augmented reality, and interactive installations will enable me to create immersive
experiences, allowing viewers to engage with my art on a deeper, more personal level.

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NOTES
Special Edition | VOL34 | October 2023 | Tbilisi, Georgia