The Purposeful Mayonnaise Volume 1 Issue 5

Page 1


Art • Words • Ideas

Cover art: Vilma Leino, Artificial Weather

The Purposeful Mayonnaise Journal is intended as an online journal that anyone with an internet connection can access from anywhere in the world.

@ 2022 The Purposeful Mayonnaise Copyright for all published content is held by the authors/artists. All rights reserved.

WELCOME A short note from the editor

Welcome to our fifth issue of The Purposeful Mayonnaise Journal! For the first issue of 2022, we wanted to go in the direction of FLOW. From being in the zone, in the "state in which people are so involved in an activity that nothing else seems to matter" (positive psychologist Mihály Csíkszentmihályi, 1990) and all the way to smooth proceedings, flowing lines or bodies of water, we left this theme completely open to interpretation. Again, we received submissions from all over the world, and we want to thank everyone who entrusted us with their work. We begin with beautiful works by Brazilian artist Bárbara Ramo. Dawn M Gaietto, a lens-based practitioner working and living in London, talks to us about anthrodecentric art in the artist interview. We have poetry by Nicole Moen, photographs by Vilma Leino, intricate paintings by Frances Ferdinand, mixed media by Weronika Piórek, collage by Renate Natalja ReLenvie, long exposure film photography by Vhal Sodha, and many more works from very talented artists and writers. This fifth issue also showcases the entire selection of Lavish: In the Depth of Winter group exhibition presented by TPM Gallery between January 10 and February 10, 2022. Our mission is to bring you a new issue overflowing with art, words, ideas. We hope we have succeeded.

Anda Marcu @andamarcuart Co-Founder and Editor-in-Chief


Words • Ideas

Bárbara Ramos 6 Ana Martínez Orizondo 8 Artist Interview: dawn m gaietto 10 Weronika Piórek 18 Vilma Leino 23 Lavillia (Mandy Seyfert) 25 Renate Natalja ReLenvie 27 "Lavish: In the Depth of Winter" group exhibition presented by TPM Gallery 30 Chyenne Rielly 51 Shaharee Vyaas 52 Frances Ferdinands 55 Perrin Marie 59 Lamija Halilagic 60 Alina Hubarenko 62 Vhal Sodha 63 [ART] The Messdeck 65

Nicole Moen 20 Luci Kershaw 26 Kat Trevino 29 Jhane 50 Zoe Sigalou 57 Cindy Thompson 64

* regular contributor


Art & Words Angelica Candido 58


Pulsar, 2020, oil on canvas, 72 x 92cm


Corpo Múltiplo I and Corpo Múltiplo II, 2021, dry pastel on paper, 21 x 29cm

Bárbara Ramos is a 21-year-old multidisciplinary artist from Brazil whose production focuses on the symbolism of her own subconscious narratives and those she observes in her daily life. Her works seek the contrasts between the real and the imaginary, bringing the dreamlike, the non-place, the human connection and multiplicity as recurring themes. I am currently researching expressive human bodies merging, exploring the different forms that can be created with the human anatomy being displaced and deformed, and all the narratives and feelings that can emerge from these interactions. My work is about relationships, corporeal, mental and spiritual. I am influenced a lot by psychoanalytical readings and my theatre experience, trying to bring characters, archetypes, and movement to my works. Website: Instagram: @br.amos PAGE 7 | THE PURPOSEFUL MAYONNAISE


The Lover, 2020, pastels on paper, 50 x 63.5 cm


Ana Martínez Orizondo is a visual artist and writer living in Shelter Island, NY. Ana is fascinated by trees, animism and mystical states of in-betweenness. Her tree stories series explores themes of ecology, spirituality and transformation. Specifically, she sees trunks as bodies, and bark as cosmic memory. She is fascinated by liminal states, development in time, portals to otherness, and amorphous forms. Whether acrylic on canvas or soft pastels on cotton rag paper, Ana dwells in the push and pull of the creative process and its alchemical power. Born in Cuba, raised in New York City with a stop in Miami, Ana returned to the Big Apple in 2017 for an executive position in higher education. After two successful careers as an Emmy award-winning television producer and a non-profit executive, in 2020 she took the big leap of leaving her post to dedicate herself full-time to her art practice. She has exhibited in New York, and internationally online. Her work resides in private collections and has been featured in Orion Magazine, Artist Talk Magazine and The Hopper Magazine. It is her hope that, through her art, she brings awareness to the climate crisis and awaken a sense of intimacy with our living planet. Her artwork calls the viewer to see trees and all non-human forms as beings, as sacred and necessary for the health of our planet and spirit. She holds an MA in Liberal Arts from Florida International University and a BA in Latin American Literature and Communications from the University of Pennsylvania. Artist statement: My work explores themes of spirituality as well as identity and culture through landscape, nature and portraiture. I am fascinated by mystical liminal states of inbetweenness, portals to otherness, and amorphous forms. My art practice is the center of my being in the world, it gives me a sense of oneness with the Universe, of belonging and expansion. Portraiture work is an intimate process that begins with a photo session. I'm most interested in hands and the wordless stories of resilience, time, and transformation they tell. They are deeply rooted in the illusiveness of identity, form and culture. They point toward the abstraction of being, divine energy, and our shadow selves. Website: Instagram @amoexpression.




dawn m gaietto is a lens-based practitioner working and living in London. Her doctoral research, entitled What is happening here? [exploits of the nonhuman] was completed at the Slade School of Fine Art, University College London. Her research is centred on dissecting small components of nonhuman agency allowing for momentary lapses in preconceived notions, the entertaining of a conceptual framework in which the nonhuman acts upon and influences the existence of a human. Recently she has been in residence at LABVERDE in Manaus, Brazil; and recent publications include Moveable Type, Trace: Journal for HumanAnimal Studies, and JAWS. Recent exhibitions include the instantiation of a functional pigeon loft within a gallery space. This intervention allowed for a potential reconfiguring of viewership--creating new formulations of sustainability-both in the art making practices and a wider practice of being-in-the-world. Website:

Tell us a bit about yourself... I grew up in Ohio before moving around the US quite a bit, and then moved to the UK for school and have been here since. I kind of fell into being an artist. I began studying photography and practiced photography professionally a bit before teaching at a community college. From this teaching position, I realized that I was much more interested in critical theory and the philosophies underpinning artistic practice than photography as a professional activity. I don't think I ever wanted to be an artist, so to speak, I am still reticent to call myself one now as I feel unqualified on multiple levels, but I do have an artistic practice. My earliest memories around making art are centred around asking questions, "What am I doing here?" "What does this mean?" "What do others think when they see this?" The practice of questioning is still a primary undercurrent in my work. PAGE 10 | THE PURPOSEFUL MAYONNAISE

What themes or ideas do you pursue in your work? Again, I make work as a practice of asking questions, not seeking to create or provide answers. My work largely centres on questions of how I, as a human, am a part of the larger ecological systems in which I exist and how an artistic practice helps me and others understand these complex and intricate relationships.

Reclaiming a site of function, the North Lodge, UCL.

The Site of Function.

Can you talk about the concept of anthrodecentric art and what has drawn you to explore it? Anthrodecentric art at its base is a process of artistic practice which actively works to de-centre the human in the production and reception of the artwork. Sometimes this means deploying aspects of making over which I do not have control, or it could involve aspects of viewing which create a relational viewing dependent upon the viewer and their approach to the work. For instance, I transformed a historical observatory into a functional pigeon loft on the campus of UCL. The observation of this work would be radically transformed by a visitor's approach. Would they see a functional loft or a blank architecture? This depended on their physical approach and if they would scare away the residents . . . This aspect of relationality in viewing is essential in considering a work of anthrodecentric art.

The material labour of pigeons.


I developed the concept of anthrodecentric art as the basis of my Ph.D. research project, What is happening here? [exploits of the nonhuman]. This was a practiceled research project. I proposed anthrodecentric art to be a relational logic opening a state of re-enchantment for the viewer, allowing for the emergence of visible nonhuman agencies. My development of anthrodecentric art followed two lines of enquiry: 'How can the practice of artwork reveal nonhuman agencies?' and, 'What types of representation are most revealing of nonhuman agency to a human audience?' My practical methodology begins with my working theory, testing representation variations through experiments, generating diagrammatic arguments, enacting these diagrams in space, and developing analytic tools to understand how works impact viewers. I propose that the resulting art objects are not representations of theory but embodiments, extending beyond representation and generating spaces of function—the revelation of nonhuman agencies. I work through modes of non-Cartesian representation, creating a system of connective tissues, conceptual fibres of understanding the relational space between the real/represented through a state of re-enchantment—a space where the real and the represented are equally present/erased. The works presented within the project and beyond are works with animate nonhumans as present and active subjects, drawing from social, political, cultural, and ecological histories to seduce the viewer into a state of re-enchantment with the present and past nonhuman. I propose the viewer is key to the entirety of this project, with the aim of changing perspectives from cultural narcissism to that of a relational and connected existence. The layering of types of representation within each installation of work is intended to destabilize the viewer and allow new ideas and thoughts to emerge— to generate a space of shifting perspectives.

Can you tell us about your process? My practice is led by research and the formulation of questions, then I develop an approach to transform the questions into artistic acts or works. In these stills from Encountering her presence, I had observed a fox's ongoing and deepening curiosity about my dog and my dog's reciprocal responses. These curiosities extended into a sharing of space, creating a long series of video works culminating in this triptych video and poem. My process involves extended questions from thoughts into actions that provoke further questions or possibly proposals, but not answers. In En(act)on, I simply put a sign out into the world and then waited for passersby to act upon the object. I waited to see what would happen next.


Still from Encounters with her presence.

Can you tell us a bit about your Unfixed Consciousness/Positive Unconsciousness project? This project began as an assignment for using Arduino technology. After stumbling around tech-based gadgets and fumbling through coding, I began to ask how the technology could mediate how I photograph landscape? How can time-based approaches to photography go beyond a time-lapse and begin to visualize atmospheric conditions and even perhaps the longer time of microclimate change? Alachua County, Florida, was the perfect place for an intense investigation using this research methodology as the various micro-climates have been so severely impacted by the changes in surrounding lands for agricultural uses. Unfixed Consciousness/Positive Unconsciousness: Pine Flat Wood Forest in July.


To go a bit deeper, the images in Unfixed Consciousness/Positive Unconsciousness are manifestations of the collective agency between the mechanical, technological, and atmospheric elements as well as my own as composer and interpreter. This was done by building an imaging device that triggers the shutter through changes in the temperature and humidity as detected by an SHT11x sensor that queried the environment once a minute. This device was deployed in several archetypical ecosystems throughout Alachua County for an eighteen-hour period, one day in each location. The temperature and humidity measurements were selected as parameters for this project due to their relevance to the shifting climate in North-Central Florida. As wetlands have been drained for development and agricultural uses, humidity is destabilized and lowered. This lowering of humidity allows for a greater fluctuation in temperature, therefore a shifting frost line, which then pushes agriculture, such as citrus farms, farther south. The locations selected for the images are all key archetypal ecosystems that contribute to modifying their local climates, which continue to modify the land through the positive feedback loop. Here, each serial image is constructed of a grid specific to the temperature and humidity variability of the day the images were captured. Each grid places temperature in degrees Celsius on the y-axis and humidity in percent on the x-axis.

Unfixed Consciousness/Positive Unconsciousness: Pasture in August.


Unfixed Consciousness/Positive Unconsciousness: Sand Pine Scrub in July

Unfixed Consciousness/Positive Unconsciousness: Persimmon Orchard in July.

This work draws from the historical lineage of landscape photography, particularly in the relationship of image-making and ownership inherent from the onset of landscape imagery, specifically in regard to European merchants in the late fifteenth century following the introduction of mathematical perspective and oil paints. This use of perspective introduced an ego-centrality to viewing that enhanced the transformation of space into place through picture-making. Borrowing from Liz Wells, I am identifying space as an indeterminate expanse of the unknown and place being that which is named, imaged, and thereby owned. By creating a vertical topology of atmospheric forces, the serialized images abstract place, although the landscape is not returned to the position of space, through the activated collective agencies, notions of ownership are resisted transforming into a non-place. This work explores the problem of anthropocentric positions in viewing environmental issues by vacillating between degrees of constructing situations and harnessing existing phenomena to create work in a way that does not provide preference to humans, specifically in the context of environmental concerns.

Unfixed Consciousness/Positive Unconsciousness: Open Water Preservation Area in August.


Unfixed Consciousness/Positive Unconsciousness: Fresh Water Marsh in July.

Do you actively search for inspiration or let inspiration find you? I think I just stumbled upon inspiration. I try to be engaged and curious as I move through the world around me and understand my relationships within the spaces I move.

Would you say other artists or art genres have influenced your practice? If yes, how? Hmm, this one is difficult. I have engaged with the study of art history and try to take in as much contemporary art as possible. One of the first courses that really captured my imagination was "Art, Water and Ecology" [I think I'm remembering that title correctly, which I took in my first year of graduate school at the University of Florida, taught by Leslie Gamble (I think, my memory is always questionable)]. However, the point is that I have been influenced in general by arts that engage with the broader notions of ecology and how humans are a part of ecology not outside of this system.

What is your dream project? (let's say, in an ideal world where money, time, space were not a constraint) I honestly don't know if I've ever thought in such terms as certain limitations seem to be inescapable. But if I really push myself, I think my dream project would be to have a spacious animal rescue and to spend my time engaging with the animals. My best work has always been inspired by engaging with nonhumans and contemplating their experiences. PAGE 16 | THE PURPOSEFUL MAYONNAISE

Collaboration with Dr Sarah Fortais and Miss Maddie Dog, Continuum Festival.

Tell us a bit about the future. I am currently working on two primary projects. The first is the launch of my business, The Art of Co-species Living. This business stems from my past projects of constructing habitats for feral and domesticated animals. I am working to build bespoke architecturally-integrated pet beds; for more information, please visit Secondly, I am working with Nir Segal on a collaboration based upon our shared birthday and the intersections of our lives before we actually met at the Slade School of Fine Art when we began our Ph.D. course together. We will be tracing the pivotal events and dates in our lives as the basic framework for research around shared experiences and the politics of life driving our collision course to the intersection of our lives. We are particularly focusing upon our parallel timelines and moments of synchronicity, providing visibility to the gaps and overlaps in our lives growing up in the United States and Israel before ultimately crossing paths and living in the United Kingdom. This will be a methodology grounded in the research of coincidence, synchronic and the practice of making meaning. PAGE 17 | THE PURPOSEFUL MAYONNAISE



Weronika Piórek was born in 1991 in Wadowice, Poland. She graduated from the Faculty of Painting at the Academy of Fine Arts in Krakow in 2016 and Art and Cultural Management at International Catalan University in Barcelona in 2021. She participated in many group exhibitions at home and abroad. Scholarship holder of the 2014/2015 Erasmus programme at the Institut des Beaux-Arts de Toulouse, France. There she created her first abstract works on paper and installations in space. Her works include drawing, paintings and collages. Her inspiration comes from her experiences, travels, memories and emotions. Among the artists who are her greatest inspiration are: Pablo Picasso, Wassily Kandinsky, Joan Miro. She currently lives and works in Poland. "My newest series of paintings and collages, Healing from the Chaos, is my expressions of the healing process after experiencing 'Chaos.' This term for me means the transition from my younger self to the person I am today as 'Chaos' refers to my Graduate Diploma from 2016, which I created being inspired by the Ancient Greek description which states that 'it was the personification of the primordial vacuum (the state before the elements of the universe were ordered). It was the primordial state of existence from which the first gods (Earth and Heaven) originated, and was a place without fixed directions where everything falls apart in different directions.' Healing from the Chaos is a series of paintings, collages, and art objects that also refers to the current state of the world. As we grow as humans and as artists, we change and can't identify with our works anymore. I try to show this healing process from our past selves and the post-pandemic world in my works. I use raw materials, textiles. I rip the canvas and sew it again. My works are a consistent continuation and create coherent ones with each other. In terms of technique, I staple the ripped pieces of canvas back together and use different parts of various raw materials to assemble them together in a coherent image. I don't beautify the pictures, showing the imperfections of used uneven scraps of materials, emphasizing their structures by covering them in a layer of paint. The compatibility with the 'Chaos' has been broken; what we see now are more orderly composed and mature images. It is not disordered creativity but rather a well-thought-out composition in which each element has its own precise place." Instagram: @weronika.piorek PAGE 19 | THE PURPOSEFUL MAYONNAISE

WORDS • IDEAS: NICOLE MOEN human being water We are all pouring from one fullness to another. ~ Cynthia Bourgeault

a mayfly may fly but she also skates the surface of this lake glides the tension between water and air grips molecules of uncertainty with short-lived grace and special leg hairs this tiny wing-ed being connective tissue holding the world together mayfly is nigh 80% water water-being-mayfly when she dies her watery essence continues of the cosmic wholeness flowing from one fullness

as drop

to a new fullness

into what now will that water-that-was-mayfly slip a blade of lake grass a cliff swallow a stinky mink you we are all emptying from one fullness to another fullness you are near 60% water human being water into what will you pour PAGE 20 | THE PURPOSEFUL MAYONNAISE

water being human water holed up in a puddle on a road in the middle of town nowhere to drain release a drop of motor oil slicks silvered spectrums on water’s surface waiting for the storm to uplift with one sweep into its fury waiting for the street dog to filch in drink over to the trees waiting for the sun to liberate in breath into the firmament


being human water see that pond there unwrinkled reflecting its rushes now in the pond bob-splashes up overload of decay

a boot buoyed by the oxygen bends reflections

a being human gauntleted grabs chucks the boot into the rubbish heap to burn with the rest ash reintegrates with soil and the pond leaches slowly surely oozing betwine says soil to water: i’ll wash your back if you wash mine

they scrub exchange wholesome bounty and toxins water flows now sparkling rushing over moss stones a greasy road trickling

to build a being

collected drunk


human water

see that pond there

Nicole Moen's poetry focuses on beauty, pilgrimage, nature and decolonization. She has previously published essays in Island Parent Magazine, wrote a column called Everyday Elders in Focus on Women Magazine and has had poetry accepted to the Worth More Standing anthology at Caitlin Press. She lives on lək̓ ʷəŋən Homelands (Victoria, BC). Website: PAGE 22 | THE PURPOSEFUL MAYONNAISE


How Did It Get in Here

Fear of the Balloon


Piano Lessons

Vilma Leino is a Finnish-born, Berlin-based photographer. She was born in 1999 and has been using photography as a medium since 2015. Her work focuses on selfportraiture, which she uses to reflect inner emotions, solitude, memories and personal experiences. She creates female characters with untold stories and experiments with strong colour schemes, composition and the human body. The photographs often balance beauty and horror, and she uses humour to lighten up darker subjects. Her photographs are a one-woman show, where being in control and the fear of losing it are in constant dialogue, forming a story about personal growth, where fears are forming into strength. Website: IG: @vauhtivilma PAGE 24 | THE PURPOSEFUL MAYONNAISE


Rain at the Window, 2021, acrylic on canvas, 50 x 70 cm

Under Water II, 2021, acrylic on canvas, 50 x 70 cm

I started my professional career by studying architecture, as this field combines my interest in technology and art. Later, I completed a correspondence course in interior design and became more involved with colours and materials. Since childhood, I have tried various painting and drawing techniques in my spare time, but it was only at the beginning of 2021 that I discovered acrylic pouring as my absolute passion. Since then, I can't let the colours rest. I like the experimental character of this painting technique, and I feel free to be guided by my intuition when choosing colours. I love to let emotions and energy speak through the colours. Website: IG: PAGE 25 | THE PURPOSEFUL MAYONNAISE


Tide While I watched the life flow from my mother’s body, essence drained from her fingers one by one, I remembered the words she had not long spoken, “we’ve had a good life haven’t we?” And yes, my love, we did. We staggered together quite nicely, thank you, playing Blues to the gaze of the moon.

Luci Kershaw As a visual artist, I focus on socially engaged and collaborative art. Writing is a new exploration for me as a way to express my art. I am currently exploring psychogeography, nostalgia, identity and grief.



Stangeness, 2020


Cross Up, 2020

Tocix, 2020

Renate Natalja ReLenvie I am a Visual Artist and Printmaker from Norway. My love of gold colour, flowers and surreal anchor a lot of my work and genuinely reflect my soul and personality. While I use a variety of materials and processes in each project, my methodology is consistent. I'm interested in expressing basic human emotions – tragedy, ecstasy, doom, and so on. My subject matter tends to be those fragmentary passages that reside within the mundane – the in-between spaces of our lives that we see but often do not notice. As a result, the works are anonymous portraits that represent intersectional identity, alienation, and otherness. I try to incorporate this experience into printed works through collage, paper, and photo stencils. As well, I love to experiment with different materials and acrylic colours. In my abstract artworks, I use burnt-out candles. Candles die from fire, giving light and warmth to people, but they are reborn in my art. Instagram @relenvie PAGE 28 | THE PURPOSEFUL MAYONNAISE


LIKE CLOUDS LIKE CLOUDS – Is Life in ‘passing’ Each form is all its own Each picture we see different Like stars, they stand alone. LIKE CLOUDS – Tides pull you deeper The harder that you fight And shorelines meet horizons In skies where Clouds take flight LIKE CLOUDS – Rising, Flowing Free We choose what course to take Together we’ve been molded Made by the hands of fate

Kat Trevino: When I create, it is a labour of love; every piece has a piece of me in it. No one sees my work the same as another; everyone has their own interpretation. That's what makes Art great. I love creating work that moves people and has them channel their emotions. There is nothing greater than that for me and to share it with the World. Website: PAGE 29 | THE PURPOSEFUL MAYONNAISE


Cindy Ruskin, Off We Go!, 2020, oil on Canvas, 76 x 102 cm


Cindy Ruskin, Little Miss Muffet!, 2022, oil on wood panel, 61 x 46 cm


Brittany Worlinsky, Each Other, 2019, oil paint on canvas, 41 x 51 cm

Brittany Worlinsky, BLM Protest Venice CA 2020, 2021, oil paint on canvas, 41 x 51 cm


Brittany Worlinsky, Selfies in the Bamboo Forest, 2021, oil paint on canvas, 41 x 51 cm

Emily Swierzbin, Upcycled Vacations #17, 2020, embroidery on found photos, 10 x 15 cm


Emily Swierzbin, You Probably Don’t Remember, 2021, analog collage, 23 x 19 cm

Emily Swierzbin, We Can Only Hope, 2021, analog collage, 23 x 20 cm


Camille Theodet, Kitty, 2021, airbrush, acrylic on canvas, 70 x 50cm

Camille Theodet, Deer, 2021, airbrush, acrylic on canvas, 70 x 50cm


Camille Theodet, Einhorn, 2021, airbrush, acrylic on canvas, 70 x 50cm


Jack Eyram Azor, Untitled, oil and acrylic on canvas, 110 x 83 cm

Jack Eyram Azor, Untitled, oil and acrylic on canvas, 90 x 110 cm


Jack Eyram Azor, Untitled, oil and acrylic on canvas, 99 x 65.5 cm


Henni Pfeiffer, Dramatic, 2021, oil on cotton paper, 31 x 41 cm

Henni Pfeiffer, Trouble, 2021, oil on cotton paper, 31 x 41 cm


Tyler Curth, J's Coloring Book, Page 16: Quilt, 2021, ink, marker on paper, 16.5 x 23 cm

Tyler Curth, J's Coloring Book, Page 12: Collector of Distance of Maps of Endings, 2021, ink, marker on paper, 23 x 30.5 cm

Tyler Curth, J's Coloring Book, Page 4: To Become Things You Should Know, 2021, ink, marker, glue, cut paper on paper, 24 x 19 cm


Above left: Larry Wolf, Torn Apart, 2020, acrylic through the back of a silkscreen canvas, 48 x 56 cm Above right: Larry Wolf, Crystal Coastline, 2019, acrylic through the back of a silkscreen canvas, 48 x 56 cm Left: Larry Wolf, Athens on Fire, 2017, acrylic through the back of a silkscreen canvas, 48 x 56 cm


Líath Murdiff, MACALONELY, 2020, acrylic and oil, 42 x 29.5 cm

Líath Murdiff, 2021, Untitled 1, acrylic, 40.5 x 50.5 cm


Líath Murdiff, 2021, Untitled 2, acrylic, 23 x 30.5 cm

Luciana Fabiilli, Autumn Changes, 2020, acrylic, 20.3 x 20.3 cm

Luciana Fabiilli, Colors of Unity, 2020, acrylic, 20.3 x 20.3 cm


Michael Santana Alvarado, Centifolia, 2021, acrylic and oil on canvas, 28 x 35.6 cm


Michael Santana Alvarado, Mirada al silencio, 2021, acrylic and oil on canvas, 28 x 35.6 cm

Michael Santana Alvarado, Retrospectiva, 2021, acrylic and oil on canvas, 28 x 35.6 cm


Above: Sarah Landau, 2020, Life Lessons, analog collage, 46 x 61 Left: Sarah Landau, Home, 2017, analog collage, 28 x 35.6 cm

Sarah Landau, 2017, What Are We Waiting For, analog collage, 28 x 35.6 cm


Above: Jing Qiu, The Solid of Desolation, 2021, mixed media sculpture, 6 x 6 x 50 cm Right: Jing Qiu, Web of Desolation, 2021, mixed media sculpture, 36 x 20 x 36cm


Terry Dugger, Kaleidoscope Morning, 2021, mixed media on paper, 28 x 35.6 cm

Terry Dugger, Say Hello to Blue Skies., 2021, mixed media on paper, 28 x 35.6 cm


Terry Dugger, Roses, Roses., 2021, mixed media on paper, 28 x 35.6 cm



The Current Submerged in water Fighting the current Not drowning, but sinking Holding my breath Counting the minutes slowly Hair floating around me Eyes flutter – opened then closed Little bubbles appear then disappear Am I here Is this real Clear blue becomes darkness Maybe this is how it ends Maybe it already ended Maybe it never began Head above water Going with the current Not swimming, but floating Taking deep breaths Making moments count Wet hair on the back of my neck Eyes wide open Peaceful sounds all around me I am here This is real Darkness becomes clear blue Maybe this is my beginning Maybe it’s a fresh start Maybe it’s a chance at redemption

Jhane has a B.S. in Literature, Media, and Communication. She has self-published a poetry book, "Compositions: Sinking, Floating, Sailing," and been published in Wren's Nest, Blood Moon Poetry Journal, Feed Me With Words and more. Keep up with her @quotedbyjhane on IG. PAGE 50 | THE PURPOSEFUL MAYONNAISE


Merging, 2019, Ink on paper, 40.5 x 25.5 cm Knotted, 2019, graphite and charcoal on paper, 46 x 37 cm

Chyenne Rielly I am a mixed media artist whose work often explores the themes of mental health and queer identity through whimsy, self-portraiture, and satire. My paintings and drawings aim to captivate and comfort those who are not innocent but nevertheless embrace vulnerability as a form of interpersonal, cultural, or artistic growth. The theme of FLOW best pertains to some of my early work that utilized meditative doodling and artistic concentration to better understand the physical effects of my anxiety disorder during that period. In these artworks, I was able to release, be present in my body, and let whatever came to the surface manifest on the page without judgment. Website: Instagram: @chygummybear PAGE 51 | THE PURPOSEFUL MAYONNAISE

ART • IDEAS: SHAHAREE VYAAS The Zone. These paintings - a 5-panel installation - bring together a formal investigation into colour and line, with social issues of power, history, and personal and cultural identity formation in the globalized world. The paintings occur in an intangible no-place: a blank terrain, an abstracted map space that I call The Zone, a metaphoric, tectonic representation of the no man's land between the noosphere and the individual. I want to connect The Zone into time and space to the five alchemistic elements: earth, water, air, fire, and ether. In this globalized world, most people focus on the outside and too few focus on the inside. These paintings invite people to internalize their experiences and map them by reflecting on the following issues.


The Ethereal Sombrero (2020, acrylic on canvas, 76 x 76 cm) The Ethereal Sombrero is the keystone of this experiment that connects The Zone to the five alchemist elements earth, water, air, fire, and ether. The background of the painting symbolizes the chaotic nature of the universe and, by extrapolation, human society, the background against which the process of civilization occurs. The sombrero is a metaphor that scientists use to describe the Higgs Field. The Higgs Field is a field of energy thought to exist in every region of the universe. The field is accompanied by a fundamental particle known as the Higgs boson, which the field uses to continuously interact with all other particles. The Higgs Field's sociological counterpart is called the noosphere, a postulated sphere or stage of evolutionary development dominated by consciousness, the mind, and interpersonal relationships. In the middle of the sombrero, symbolizing the Higgs Field is a schematic representation of a Higgs particle gaining mass. There wouldn't be any reality or even gravity without the Higgs field because there wouldn't be any mass. The evolutionary analogy is that there can't be any civilization without a noosphere. The particle in the middle of the circle symbolizes civilization accelerating through the noosphere. Both processes play against a cosmic horizon that emanates the laws of nature (symbolized by the hands) that govern all cosmological processes. Just like the cosmos, the process of human civilization is governed by its own imperatives. Since the beginning of humanity, the envelope of civilization has been jumping around the globe, depending upon what culture and environment were best suiting its needs.


The Earth Porcupine (2020, acrylic on canvas, 76 x 76 cm) This painting, symbolizing the Earth aspect of The Zone, emerged from the image of a porcupine. A shipwrecked boat lays at the bottom, symbolizing the way civilization made landfall. This accident incited the newly arrived humans to build a city that lies there like a war-bristling porcupine. Schopenhauer observed in Parerga and Paralipomena: "In the same way the need of society [i.e., love, friendship, companionship] drives the human porcupines together, only to be mutually repelled by the many prickly and disagreeable qualities of their nature...By this arrangement the mutual need of warmth is only very moderately satisfied; but then people do not get pricked." Porcupines evolved with the forests and are part of a system of forest replenishment. Trees damaged by porcupines provide critical habitat for dozens of other species. These trees then become part of the nutrient cycling essential to forest health, the same way a well-conceived civilization sustains its habitat. It works as a capillary tissue that ensures the constant and benevolent exchange between the environment and human society.

Shaharee Vyaas is a cryptomathician researching the synergies between science, art, and religion. Since 2019 he has been working on a project that brings together music, visual arts, literature, and science, centring them around a vision that has been developed in his manifest "The All is an Egg." Website:



The Iris and the Skull, 2021, acrylic on canvas, 61 x 61 cm


It's All in the Game, 2020, acrylic on canvas, 91 x 91 cm

Snakin, 2019, acrylic on canvas, 76 x 76 cm

Born in Colombo, Sri Lanka, Frances Ferdinands is an artist primarily based in Toronto. As a young immigrant to Canada, raised in a traditional South Asian household, an awareness of these two very different cultures was a constant backdrop in her search for identity and place. Identity, 'otherness,' cross-cultural differences and fertilization are themes found in her paintings. Ferdinands holds degrees in Visual Arts, Education, and an ARCT (Piano). She was commissioned by the Royal Canadian Mint to design the Solid Gold 2019 Multi-Cultural coin, celebrating "light and diversity." Ferdinands has exhibited her paintings in solo and group exhibitions for over three decades in such art centres as London, New York, Paris, Bogota and Honolulu, as well as across the Continental USA and Canada. She is the recipient of many artist grants, and her paintings are held in private, major corporate, and museum collections. In 2015 and 2017, under the auspices of an Arts Council grant, Ferdinands returned to her homeland to be mentored in traditional arts and crafts that are culturally at risk. This experience enriched Ferdinands' understanding of her Sri Lankan heritage and her sense of place within it. The experience also spawned new work, including the "Atomizer" collection - a series of 10 works purchased by the ROM (Royal Ontario Museum). In 2019 she travelled to Spain and Morocco to visit important Islamic sites and was awarded a Chalmers Grant to travel to London, England, to study Islamic patterning. The knowledge gained found its way into more recent paintings and added another dimension visually and theoretically in exploring cultural differences, belief systems and cross-cultural fertilization. In March 2020, Ferdinands had her first solo exhibition at the Noble Sage Art Gallery in London, England. Website: Instagram: @francesferdinands PAGE 56 | THE PURPOSEFUL MAYONNAISE


Ten Out of Nothing In another life I have a house with a garden in Kypseli. In another life you’re my cat. In another life I go out on the balcony with roller on my hair and I read tarot cards. In another life I’m the old lady with the garden at Chora with the 73 plastic jelly jars turned into pots. In another life we dance at Playa Paraiso in Cuba while the bar nearby plays La Bayamesa. In another life you’re the crisp skin on my win-burn lips that doesn’t leave till I pull it and start bleeding. In another life we play vagabond. In another life you collect Yogi Tea papers and we stick them in the fridge. In another life I’m a geranium. In another life you’re the child that picks me up when I fall down and kiss my palms and knees.

I'm Zoe Sigalou, an Athens-based performer who uses various art forms to explore the connection between her dreams and real life. I'm a performer, scriptwriter, director and producer. I studied Translation and Interpreting at the Ionian University and Dramatic and Performing Arts at Arhi Drama School. In 2020 my short film "The Beast Who Walks Like a Man" won the award of Hellenic Television at Olympia International Film Festival, my script "Corona Australis" got an honorary distinction at TIFF, 2020. In 2022 my play "The Perseids or How to Party Hard" will be performed at the Maxim Gorki Theatre in collaboration with the Goethe Institut. Website: Instagram: @zooey.sigalou PAGE 57 | THE PURPOSEFUL MAYONNAISE


Angelica Candido is a painter and illustrator who lives and works in Canada. Her art pieces are inspired by art history, semiotics, nature, and her emotions that are expressed through sketches, paintings, or poetry. She is currently on track for obtaining her bachelor's degree for Drawing and Painting at OCAD University. Website: IG: @mystiq_ink PAGE 58 | THE PURPOSEFUL MAYONNAISE


A nomadic artist with humble beginnings and a grateful future, Perrin Marie has enjoyed success in her young career and is published globally as a model and photographer. Just six months ago, Perrin had her first solo exhibition, Art & Body, and now excitedly awaits her second as a selected artist of Soliloquy International Art Festival in Barcelona, Spain. Following her Barcelonian adventure, the multitalented artist will be travelling to Athens, Greece, to complete her second residency. Artist Statement: Artists have a social responsibility to use their medium and platforms to provoke thought while doing no harm. Combining my social responsibility as an artist, human and environmentalist, I've created a photo project entitled "The Doll House Collection." The self-portrait collection is home to several series accomplished with fashion and photosets from recycled materials. Inspired by the collective blind eye of world leaders and community members regarding global warming and waste, it is my hope that the collection will provoke viewers to reconsider, reuse and recycle. Website: Instagram: @theperrinmarie PAGE 59 | THE PURPOSEFUL MAYONNAISE



All images: Letters - Work Waste Series, 2019

Lamija Halilagic (b. 1991) is a visual artist working in painting, collage, video, and installation. In recent years she developed a more interdisciplinary approach to her artistic endeavors. Her latest work is associated with collage, digital work, sound, and the production of recycled art books. She's been working in collaboration with other artists and artistic groups, in the past two years, nationally and internationally, creating experimental zine publications and developing methodologies regarding art in public spaces. Her works are coming from deconstructing and subverting the relations between meaning and imagery. With collage she explores matters of ownership and inclusion, making recycled green books out of discarded materials and waste. Halilagic is interested in the way we perceive reality within different contexts and how the image, digital or not shapes our understanding of memory and intimacy. She has an MA degree in painting and art theory and was rewarded with the Grand Prix for the best young artist in 2018, Sarajevo (BIH). Her work has been shown in numerous solo and group exhibitions and was published in various art publications (Berlin, Bologna, Panevezys). She is currently working in Belgrade (Serbia). Website: Instagram: @secret_room03 PAGE 61 | THE PURPOSEFUL MAYONNAISE


Hypnosis at Adria, 2022, oil on canvas, 100 x 100 cm

Alina Hubarenko: I am a Ukrainian-German artist, born in 1991 in Kyiv and grew up in Germany near Kassel. I have spent my life between these countries and absorbed their diverse cultures, giving me a broader perspective on different things. Although I studied medicine, I painted my whole life, and now I am making art professionally. I paint hyper-realistic water paintings because of my huge admiration of seas and oceans and a psychological concept of mindfulness. Nowadays I live and work in Bad Arolsen, Germany. Despite living in the middle of the continent, I am always attracted and enchanted by the sea or ocean. It is the place of beauty and extreme energy; it is the material form of liberty and power. With my paintings' naturalistic and hyper-realistic style, I pursue to recreate the presence of a seaside unattached to the actual geographical location. The flow is essential in my art. This is what I am showing in my painting, the calming and almost hypnotizing patterns caused by the flow. Website: Instagram: @alinahubarenko PAGE 62 | THE PURPOSEFUL MAYONNAISE


Vhal Sodha is a documentary and a fine art photographer who uses photography as a tool of social commentary and an instrument of introspection. "These long exposure shots are accidental, they are a result of my anxiousness since it was the first time that I was documenting a protest, yet the series accurately encapsulates my state of mind during that time, which was of uncertainty, but clear about the reasons for the uncertainty. They do not describe the world without, as much as they shed light on the world within. All the photographs have been taken on an analogue camera, and as a result, I did not have a real time preview of the final form of my ideological foundation. As I developed the film roll, I was surprised yet satisfied; I did not see the protests in the photographs as much as I saw my state of mind during the protests." Website: Instagram: @vhaljpeg PAGE 63 | THE PURPOSEFUL MAYONNAISE


Childhood-Clouded Memories The cool summer day beckons me to my backyard to flop my aging bones on the ground, gaze at the clouds still making formations I remember from my youth ... a cirrus dragon, definitely a dragon; a cumulonimbus whale, a stratus poodle. Memories of those halcyon childhood days flit in and out my mind like the lightning bugs I caught in jars. Hide and seeking, roller coaster riding, Red-Rover-come-over days. Drippy popsicle afternoons spent merry-go-rounding at the park until I fell over in sheer joy. Running from house to house to play with cousins who teased me relentlessly. Snagging candy and hugs from aunts and uncles who smiled and loved me unconditionally. Then, in an instant, the sky darkened. The clouds and memories disappeared slowly. Then they were gone, a magician’s vanishing act, and me questioning if they ever really existed. Only the nostalgia remains.

Cindy Thompson, an internationally published writer, is a coal miner's daughter descended from Italian immigrant grandparents. She does poeting at a mile high in Lakewood, Colorado. Digesting new words, riding her horse, staring at the night sky, and reading poems to her feral cat bring her delight. PAGE 64 | THE PURPOSEFUL MAYONNAISE


R. Drada, Intervention, 2018, oil on canvas, 40 x 50 cm


R. Drada, Woman Before a Mirror, 2021, oil on canvas, 23 x 30 cm

R. Drada, Woman with Paranoia, 2018, oil on canvas, 40 x 50 cm


Nic Galloro, Untitled, 2022, 195.6 x 30.5 x 20 cm


Joseph Reyes, Snakes and Ladders, pen and ink, 21 x 29.7 cm


Joseph Reyes, Amusement Park, pen and ink, 21 x 29.7 cm


Maria Kazvan, photograph


Khushboo Shah, CHAOS, 2021, acrylic and gold leaf on canvas

Bari Wieselman Schulman, Rosa, 2021, acrylic on paper, 23 x 30.5 cm


Andrii Chenko, River

Bari Wieselman Schulman, Garden Path, 2022, acrylic & oil pastel on paper, 23 x 30.5 cm

Ana Kim Top: Dee(a)r Woman Bottom: Under


Mary-Jo Adjetey, Pose No. 1, Pose No. 2, Pose No. 3, Pose No. 6, 2020, acrylic, ink on cold pressed watercolour paper, 22.9 x 22.9 cm


Marko Milić Top: Agony, photograph Bottom: Dancing Phantom, photograph


Siham El kandoussi, US, acrylic on paper 70 x 50 cm


Rikardo Druskic, painting


Rikardo Druskic, painting


Emel Çevıkcan, Portrait: Wrıter Orhan Beşikcı and Şanslı, watercolour, 35 x 50 cm


Eylül Öcal, Willow, 2020


Eylül Öcal, Schiele, 2020


MESSDECK ARTISTS Mary-Jo Adjetey (ArtishByMJ) is a contemporary artist, data analyst and manager of a candle shop living and working in Accra, Ghana. Born in 1992, she spent her earlier years drawing over her bedroom walls. At Syracuse University, she studied Math and Art, then obtained an MSc. in Data Analytics at the University of Warwick, U.K. During her break from the traditional art medium, she continued to hone her skills as a graphic designer. She decided to pursue art professionally and return to painting during the COVID-19 quarantine period in 2020. Website: IG: @artishbymj

Andrii Chenko I am a Ukrainian conceptual artist, who now lives in the Czech Republic. I work with acrylic and oil paints on the canvas and mirror. My art is a direct reflection of my personality (a philanthropic dreamer, an idealist who was formed in conditions of poverty and war in the country). IG: @chenko_art

Siham El kandoussi Keen on the stillness, movements, limitless creations, endless flourishing emotions, spirit expressions, humanness, wholeness & the mysterious universe within my soul, I choose myriad R. Drada. uninhibited colours and mediums to portray the R. Drada (b. 1986) is an American artist based in Berlin, paradoxicality and beauty of "AFFECTIONS." Germany. She began her artistic education at the Art Students Website: IG:@sihamsartcreations League of New York and continues to pursue her art education with the esteemed artist Kirstine Reiner Hansen. She has nic galloro exhibited her works with the Con Artist gallery in New York. Despite recycling as much as possible, individually and Her work has also been featured in Entityy Magazine and working with a community-based litter gathering program, I Outcryer Magazine. see plastic waste continues to clutter the environment. So R. Drada's images are about the other side of power – those much more needs to be done. To bring awareness to this run over by power and the seedy viciousness and weird situation, I use my strongest voice: art-making. humanity we give to power and money. Figures contort themselves in misery. Women look up with eyes broken up by Maria Kazvan paranoia at the viewer or look entrancingly at us, though they Born in 1989. Based in Lviv, Ukraine. Started practicing are fully covered in soot. Resentment, paranoia, anger radiate photography 15+ years ago as a portrait photographer. the atmosphere around her figures or overtake the landscape. Slightly turned her practice into conceptual, fine art R. Drada's violent exuberance is formulated by a vocabulary photography, then to videography, stop-motion, practiced by those regularly ignored. These images are performances. electrified by the colours of figures and even landscapes that Website: do not want to comply. Colours are selected not for their Instagram: @mariakazvan playfulness but follow the rule of the jungle– the brighter the colours, the more poisonous. Daring, dragged paint signifies Ana Kim the refusal to comply and suggests the exasperation at being Ana Kim (b. 1995, South Korea) is an individual artist or required to comply or contort oneself into tortuous forms. R. painter. She received her BFA from the University of Illinois at Drada brings the viewer to look at the effects of the Urbana-Champaign in 2018. She is now working as an artist nonsensical being aggressively and silently imposed on in Seoul and Chicago. women. Ana calls herself an artist who creates a new genre and Website: IG: @rdrada7 translation through miscellaneous rearrangement of animals and nature, and her practice is pursuing modern surrealism Rikardo Druskic with the theme of diversity. Using animals and nature, she I am a 32 years old painter from Sarajevo. creates a different atmosphere by arranging subjects Website: together, which does not usually go along together. She wants to go beyond the notions of life, nature, and Emel Çevıkcan everything by breaking the habitats. She is trying to open up The artist expresses her love and passion for nature in her her own and her audiences' perspectives. Creating new works with the language of painting. She is currently a member order is her way of communicating through art and of the association IWS Watercolors' Turkey. She is working in challenging herself against norms. İZMİR as an art teacher at the Ministry of National Education. Website: Websiteçevikcan IG: @anakim_art IG: @emelcevikcanpaintart



Marko Milić Marko Milić was born in Croatia in 1998. Since 2019, he has been at the helm of the art company for making functional sculptures. Marko was given the first opportunity to use a DSLR camera in 2020 to promote sculptural works. However, he soon fell in love with the photographic medium itself and the opportunities it provides. By investing more and more free time in photography, he discovers new passions and views of the world, among other things, through macro lenses. As a young photographer, he now counts his participation in several international exhibitions, some of which have taken place in Stockholm, Amsterdam, Berlin, Athens and Rome. He expresses entities as animalistic shapes or pure energy full of life, motion and meaning. In his abstract work, the artist captures tree bark or melting ice that changes its structure every second and is about to disappear. He freezes it for one last time, but this time, permanently, into his DSLR and to the photo paper. Interestingly, every individual viewer sees something else in this eccentric abstraction, whether it be an animalistic shape or pure energy that sparks their eyes. Website: IG: @marko_milic_photography Eylül Öcal Eylül Öcal was born in 2003. They are preparing for art school. IG: @gothgfhunter Joseph Reyes I'm a Canadian artist currently working in Seoul. My work has been featured in exhibitions in Korea and Canada. I often exhibit under pseudonyms, with each pseudonym and made-up biography reflecting a different body of work. I find that each body of work needs an environment separate from the artist. On a few shows, I hired actors to play the artist's part. I think it's interesting to see how the audience interacts with the pretend me. I grew up in Winnipeg and graduated from the University of Manitoba's School of Fine Arts with Honours. I was interested in both sculpture and drawing during my university years but later focused on drawing. My drawing style consists of images made up of smaller images and text. It is a visual diary that allows an intimate window into the artist's psyche for those who are physically able. I enjoy exploring this need for public expression versus personal privacy. I think the style also gives the viewer a sense of accomplishment and satisfies their inner voyeur. Website: Khushboo Shah I am a self-taught artist and a fashion graduate from NIFT (INDIA), always finding ways to challenge and develop my creative skills. There is no set or a specific style to my work as I like to get inspired every day, and restricting myself to a set style, takes away the sparkle and charm of learning and discovering new ideas. IG: @artpad_by_khushboo


bari wieselman schulman Immersive journeys into color, contrast, and texture within the context of mental and physical spaces, Bari's modern abstract paintings, living canvas art, and photography explore the dynamic between edges, layers, and forms and the fluid relationship between what we see and feel and our own evolving experience and sense of self. Bari's process is deeply intuitive, her works characterized by a visual & tactile intensity that sparks an exquisite tension. the desire to touch the colors and marks is almost irresistible, with the result that the observer is as immersed in their experience of the pieces as she is in the process of creating them. Drawing from the artist's background in psycholinguistics, design, and writing, her pieces urge the viewer to unreservedly engage with this rich sensory narrative and transform from curious observer into dialogic participant, with color as the lingua franca. Bari holds undergraduate degrees in psychology and Spanish from the University of Rochester and a PhD. in psychology from the University of Chicago. Her background in the fields of language and human behavior provides a unique window into the relationships between people, objects, and spaces, and is a critical frame of reference for her work. Recent & upcoming exhibitions and events include: The Other Art Fair, April 21-24, 2022, Chicago; New Artist Exhibition, February 4-10, 2022, Boomer Gallery, London; In View 2022, January 7-29, 2022, The Art Center Highland Park, Illinois; and gallery popup, August 20-22, 2021, rethinkreframe mixed-media studio. Website: IG:@rethinkreframe

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