The Purposeful Mayonnaise Volume 2 Issue 2

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THE PURPOSEFUL MAYONNAISE A L I T E R A R Y & A R T J O U R N A L V O L U M E 2 • I S S U E 2 A U G U S T / S E P T E M B E R 2 0 2 2 Art • Words • Ideas

Cover art: Pyus Chan, Yellow Playground, 2022, mixed media collage, 22.9 x 30.5 cm

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.


This time we wanted to go in the direction of FLOURISH, and we would like to thank everyone who entrusted us with their work. From thriving, achieving success, or making bold gestures to sudden bursts or finishing details, we wanted to see what flourish means to our contributors. We begin Issue 2.2 with a bold installation by multimedia sculptor Ringo Lisko. For the artist interview, we have with us Dariya Kanti, a contemporary artist from Uzbekistan. We delight in images and words from Pyus Chan, Lăcră Grozăvescu, Mau Samayoa, Stephanie Powell, Armando Cabba, Daisy Nefatari, Vian Borchert, László Gálos and many other accomplished artists and writers. Our mission is to bring you a new issue overflowing with art, words, ideas. We hope we have Co-Founder@andamarcuartAndasucceeded.MarcuandEditor-in-Chief

A short note from the editor Welcome to The Purposeful Mayonnaise Journal Issue 2.2!

CONTENTS P A G E 5 | T H E P U R P O S E F U L M A Y O N N A I S E Art Ringo Lisko 6 Delta N.A. 8 Pyus Chan 13 Lăcră Grozăvescu 15 Artist Interview:Dariya Kanti 18 Shanell Papp 24 Jenna Sedlack 26 Mau Samayoa 27 Sari Majander 32 Niamh-Erin Cusack 33 Amine Naima 35 Helen Ziga 39 Erin Williams 40 Armando Cabba 42 bari wieselman schulman 44 Daisy Nefatari 45 Kela Portee 46 Olivia Juett 47 Shanze Zohreh 49 Hope Jordan 51 László Gálos 52 [ART] The Messdeck 56 *about the artists 71* Words • Ideas Stephanie Powell 10 Erin Lorandos 37 Tohm Bakelas 48 Art & Words Vian Borchert 29

P A G E 6 | T H E P U R P O S E F U L M A Y O N N A I S E ART: RINGO LISKO Tin Can Telepathy (Delilah), 2021, mild and stainless steel, bronze, silicone rubber, epoxy, human hair, 15.2 x 12.7 x 12.7 cm

P A G E 7 | T H E P U R P O S E F U L M A Y O N N A I S E Ringo Lisko is a multimedia sculptor focusing on issues of sensuality, identity and femininity. She received her Bachelor of Fine Arts degree from the University of Alabama in 2020, and continued on to work as a foundry specialist for UA's Department of Art and Art History. She will be attending the Maryland Institute College of Art's Rinehart School of Sculpture in the fall to pursue her MFA. Website: Instagram: @rrlisko Tin Can Telepathy (Delilah), 2021, mild and stainless steel, bronze, silicone rubber, epoxy, human hair, 15.2 x 12.7 x 12.7 cm (detail)

P A G E 8 | T H E P U R P O S E F U L M A Y O N N A I S E ART: DELTA N.A. Consacré a l'art, 2020, oil on canvas, 80 x 100 cm

Delta N.A. are a couple in life and in art working together with a painting technique in unison. They learn from each other and share a creative flow that pours into their artworks as a common language and that makes each artwork realized by two pairs of hands look like a single artist's creation. In love and collaboration, they find the key to face and accept differences crumbling the boundaries separating human nature from freedom. The artworks signed by the duo are present in numerous public and private collections and have been exhibited in solo and group shows across Europe, U.S.A. and Asia.

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Instagram: @delta_na


Eden, 2021, oil on canvas, 60 x 50 cm

When its train is erect, the back feathers are pillowy, like soft dust, a draft beneath the final painting. It is the wrong way to look at a peacock. From the backend the eyes face forward, the ocelli points in same directionlike watching a hand flex and curl outside of its skin.

The peacock’s arse wiggles underneath a bishop’s hat of feathersa canvas to staple on a blue and green crown.


Promenading with full force, each tip quivering, that intuitive chancecloseroutdancingEachandswaying-lustybottomlow.handsomestepallrivals,totheofsex.

The dance

Junk mail The cat’s eyes hold the room, melting the flat edges. I see my floating self turn and pour also into the black and yellow Passingdilation. through the other side, along the optic

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theWashingcat-brain.translatedSplintering,nerve.mis-bytogethernavycouch,the Turkish rug, the sea-green frost of my jumper, the joints of a slipping universe with no compass. In the clang of the mail slip – a contraction, I collect the paper menus, stick them to the Thefridge.structure of this new world fails. The cat disappears through the open door, everything plummets back into place.

The river meets the day The heat of the day is in his forehead. It sets at the corner of the eye where the pupil rises, a copy of the moon. The birch tree of his ribs dig-in over the funeral of entrails and balloon-shaped organs. I find a city at his heels, the crevices, the blisters, the working day soldered into the pads of his feet, the gutters of his toes.

I can only be the river that runs alongside it. Out of breath from the pace of the water running at the beach of his hands.

Stephanie Powell writes and takes photos. Her collection Bone was published by Halas Press in 2021. She is the recipient of the Melbourne Poets Union Poetry Prize, 2022. Her work has also appeared in Ambit Magazine, Ink, Sweat and Tears, The Moth, Dream Catcher Magazine, Cordite Poetry Review and Bad Lilies.

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Website: Instagram: @theatticpoet

P A G E 1 3 | T H E P U R P O S E F U L M A Y O N N A I S E ART: PYUS CHAN - WHIMSICAL PLAYSCAPE Sea Land, 2022, paper collage, 25.4 x 28 cm Voyage, 2022, paper collage, 15.2 x 17.8 cm

Pyus Chan is an Indonesian multidisciplinary artist currently based in Ithaca, New York. She graduated with an Advanced Diploma of Multimedia and a Bachelor's degree in Fine Arts. She held her first solo exhibition at Esplanade Theatre by the Bay, Singapore in 2013 and has participated in group exhibitions locally and internationally since 2008. She is also actively engaged in art education and community art workshop. Using vibrant colour and child-like form as aesthetic language and approach in her works, Pyus Chan enjoys creating a body of works that invite dialogue in the playful methodology, inspire imagination and convey a meaningful experience to the viewers.

Website: Instagram: @bypyuschan

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Whimsical Playscape is a series of experimental collages and an upcycling project that utilizes found objects and recycled materials. Using vibrant colour and child-like form as aesthetic language and approach, Whimsical Playscape seeks to celebrate the colourful stories of our mundane lives. Giving unused materials a second life represents the idea of giving someone or something a chance. The process of artmaking that involves playing and experimenting symbolizes the life journey that we go through in the attempt of constructing beautiful architecture. The notion of exploration, play and trusting the process is the main keys that I embrace in making the works throughout. There is a back and forth interaction and conversation with the works - taking the scissors for a dance across the materials creating a variety of geometric and organic shapes cut out, experimenting with spaces and colours, building layers and arrangements into a unique composition of collage.


P A G E 1 6 | T H E P U R P O S E F U L M A Y O N N A I S E The Shortness of Time The Unbearable Lightness of Being

Lăcră Grozăvescu is a Romanian visual artist who focuses on documenting space and the feeling implied by that space. Lăcră expresses her vision of the world using mediums such as photography, painting, drawing, collage and film. She explores the connection between the external and internal and the transition from material to spiritual, from human to divine. Her work reflects personal experiences, analyzing topics such as anxiety regarding life and death, human existence and the pursuit of meaning. "

Starting with 2018, I began to document how people act on the street and how they adapt to living in a big city. A recording of everyday life. I look for diversity in my chosen subjects, using darkness and shadows to emphasize solitude, fear, sadness, and isolation. It's a whole process of discovering, experimenting, understanding and learning. Human emotions are expressed in a lyrical way of seeing the world, focusing on the details of ordinary life. There is frequent isolation of humankind in an urban environment that can be observed universally."

Above left: Everything Is on the Point of Decline

Above right: In Search of Lost Time I Feel as if I Might Vanish Today

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What themes or ideas do you pursue in your work? Are your works purely visual, or is there a meaning behind them? I love to mix different topics. There is not only one problem I'm interested in and trying to discuss through my art—ecological issues, difficulties of connection in society, modern life narratives, and sometimes anti-utopian mood. But the primary theme is women's rights and the problems a modern woman faces in Central Asia.

Tell us a bit about yourself...

I'm from Uzbekistan. I was born in Tashkent, the capital of Uzbekistan. As a teenager, I travelled a lot: mainly in Asia, spending three years in Tokyo. At the moment, I'm back in Tashkent. I think I never became an artist; I believe I was born this way. I mean, what I remember and what my mom is saying - that I was a real home kid and 90% of the time, I was drawing. Back in childhood, I was really into drawing clothes designs, but my mom showed me a Raphael art book, and I totally forgot about clothes.


DARIYA KANTI Dariya Kanti is a contemporary artist from BornUzbekistan.inTashkent, Uzbekistan, she received her bachelor's degree in 2016 from the National Institute of Arts and Design. K. Behzoda (Tashkent), Faculty of Fine Arts, Department of Easel and Book Graphics. In 2018, she received a master's degree from the St. Petersburg Art and Industrial Academy A. L. Stieglitz, Faculty of Monumental Decorative Art, Department of Art Textiles.


I don't have a studio at the moment I work in my room So typically, I wake up, have breakfast and work as long as I can

Can you tell us about your process?

What does a typical day in the studio look like?

How did you choose your medium?

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I always wanted to be a painter, in the classical sense of the word. As a teenager, I used to work with oil a lot. Then I discovered tattoo art, and when it was time for me to go to university, I had only tattoo sketches. At the exam, the university staff told me I couldn't go to fine art and could only do graphic materials. So I went to the book art faculty and discovered a new world of techniques and materials I had never heard of before. To my surprise, I fell in love with those new materials, so I didn't want to go back to oil.

As for most creative people, everyday life gives me tonnes of ideas to work on. Sometimes it's horrifying, like the war which is happening now, cases of domestic violence or violence against animals All these events are simmering in my mind and mixing before coming out on paper

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Women are making an appearance in most of your works. Would you like to tell us more about this? As with Michelangelo, for whom men were an inspiration, for me, it is the female The most inspiring woman for me is my mom I admire her inner power, beauty and humanity How she can be strong in challenging moments of her life, still be the most loving mom, and just be a big heart person.

I always try to learn new things: new media and new ways to show my ideas. I try to grow and push my skills to a new level, and I think it's also critical to grow as a person. Then your art will grow, change and develop with you, and it will show in your art. I hope it shows in mine.

I think there are always some things that will inspire you no matter what, but inspiration doesn't just come. I think it's a myth of inspiration coming from nowhere. At least for me, it's not working that way. The more I work, the more inspiration comes to me.

How did your practice evolve or unfold over the years?

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Do you actively search for inspiration or let inspiration find you?

I call my genre figurative - surrealism. I believe these two genres changed how I see art in the first place. I can't really explain how it works. But when I was a child, I had two favourite art books, one with works by Raphael and the second with works by Dali. I just felt like I knew what they were talking about in their art. They're far apart in everything, but somehow, for me, they are the same. I hope it makes sense.

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What is your dream project?

It will be a project I've had in my mind for some time. The main idea of this project is domestic violence in Central Asia. It's a massive installation with a mirror and one large artwork in the centre of it. I really hope I will be able to implement this idea pretty soon.

Would you say other artists or art genres have influenced your practice? If yes, how?

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Shanell Papp maintains an isolated and intensive art practice, working in textiles, sculpture, photography, and drawing. Papp's work has earned a large following online, shared widely and viral multiple times over. The work blurs/redefines the boundaries of textile craft and fine art. At times grotesque, horrific and other times painfully funny. Their work can mesmerize with its charming laboured oddness.

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Website: Instagram: @s.b.papp

Instagram: @Somethingornother

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ART: JENNA SEDLACK Focusing on both painting and sculpture, Jenna Sedlack graduated from The School of the Art Institute of Chicago with a BFA degree in 2017. Jenna's practice explores the visual and psychological play between the inherent complexities of fabricated structures and the interaction of lines, tension, and the newly constructed resulting space. Her varied references to common objects invite accessibility to a space of inaccessibility.

Things I Continue to Keep, 2017, oil on canvas


P A G E 2 7 | T H E P U R P O S E F U L M A Y O N N A I S E ART: MAU SAMAYOA Birthday Cake, 2022, sculpture with Fabriano Artistico 300gsm paper, 34 x 38 cm (detail)

Instagram: @mr.samayoa Daisies III, 2022, sculpture with Fabriano Artistico 300gsm paper and color pencils, 20 x 27 cm

I am a Salvadoran artist living and working in the UK. My work is made primarily with paper, which I use to create abstract structures on the surface using surgical-like techniques that are usually applied on art restoration. My pieces, mainly monochromes, keep the paper "white" to generate a series of patterns and textures visible through the interaction with light and

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P A G E 2 9 | T H E P U R P O S E F U L M A Y O N N A I S E ART & WORDS: VIAN BORCHERT The Flowers whispered to the meadows and the valley echoed "I love you!" Floral Mist, 2022, acrylic on canvas, 76.2 x 38.1 cm

P A G E 3 0 | T H E P U R P O S E F U L M A Y O N N A I S E And just like that the flowers understood how to embrace nature. Over Fields, 2022, acrylic on canvas, 76.2 x 38.1 cm

In my latest floral landscape paintings, my intent was for the work to look pensive, romantic and deep while remaining engaging and contemporary. As an expressionist artist, I describe my artwork as a form of visual poetry. The floral landscape paintings present imagined landscapes of romantic fields filled with flowers. Through the art, I wanted the nature depicted to tell stories of faraway lands where lovers caressed each other and where flowers danced in the gentle breeze.

Instagram: @vianborchert


I stood there overlooking green heights and how the flowers shook at every heart beat. Highland Moor, 2022, acrylic on canvas, 76.2 x 38.1 cm

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Vian Borchert is an award-winning poet, expressionist artist, and educator along with being a Notable Alumnus of Corcoran GW University. Borchert exhibits in galleries in cities such as NYC, LA, London, along with coverage in publications. Borchert had her artwork exhibited in prestigious places like Times Square – Broadway Plaza, the United Nations Gallery, NYC, Art Basel Miami Beach.


Sari Majander is a visual artist and printmaker working in Helsinki, Finland. She received her MFA at the Academy of Fine Arts at the University of Arts Helsinki, Finland, in 2021 and a BA in Fine Art Printmaking from the University of Brighton, UK, in 2018. @sarimajander Future Feelings, 2021, fine art woodcut prints on paper



P A G E 3 3 | T H E P U R P O S E F U L M A Y O N N A I S E ART: NIAMH-ERIN CUSACK The unseen, Daylight Constellations, Stargazing in Taughmaconnell, 2022, acrylic, oil on untreated canvas, 210 x 150cm

Niamh-Erin Cusack moved to Berlin amidst a fast-growing contemporary art scene showcasing visual art in a unique and empowering way. During this time, she continued exhibiting a body of work that combines science and fine art practices in an interdisciplinary way. After her first couple of months in the city, she became fascinated with the structures from the metropolitan landscape around her and began recording the city's colourful contemporary patterns and designs through painting, photography and literature. Her findings from astronomical research, along with documented visual representations of Berlin's landscape, flourished as the prominent concept of her work. In relation to her creative process, it is the empty space that represents a lack of knowledge of the greater aspects of our Solar System; however, with her continuous research, that empty space has become less and less. The use of light, vibrant colours illustrates her curiosity for a space that has yet so much more to unfold. Niamh-Erin will continue to identify the world beyond our sky through her visual representations - a world that contains many unanswered questions, flourishing her artistic practice to a place of research and

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oil,acrylic,2022,Swing,FullinTransitionsUnseen,The 100cmx100canvas,treatedgessoclearonmarkerfelt


Niamh-Erin Cusack (b. 1996 in Galway, Ireland) is an abstract visual artist who completed a Bachelor of Fine Art & Visual Culture studies at the National College of Art and Design, Dublin, in 2019, along with a one-year International Curatorial study at Bauhaus University Weimar from 2017 to 2018. Currently, she works as a freelance artist and part-time event manager and is a collective member of the TURBA Factory Studios in Berlin, Germany.

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Untitled.20, 2021, acrylic on canvas, 60 × 60 cm Untitled.21, 2021, acrylic on canvas, 120 × 90 cm

Amine was born and raised in Safi, in a creative environment, where he was introduced to pottery practice and its aesthetics since his childhood. This has left a lasting impression on him. After studying scenography at ISMC Ouarzazate, he obtained a professional degree in cinema at Cadi Ayad University Marrakech He has worked as a decorator for music events and interiors, and has also developed a pictorial practice in the pottery arts, as well as a keen interest in audio-visual media.



"My paintings are inspired by the geometric grammar of my Arab-Berber and African culture and ancestral endogenous practices. These abstract patterns inspired by mathematics reflect my state of mind and result from my professional experiences in scenography and staging of the performing arts. I also practice meditative painting, the fundamentals of which I learned from traditional pottery artisans. This multiplicity of subjects and mediums comes from my childhood in Safi, rich in symbols, techniques, and appropriate knowledge from the master potters of the city. These reminiscences of my childhood feed and unite the whole of my multidisciplinary Instagram:practice."

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Untitled.19, 2021, acrylic on canvas, 60 × 50 cm


monsoon rain I close my eyes and see her, yesterday / a tiny pink waterproof hood covering her dark curls / feet, bare, probably stuffed inside the boots with a frog face / she carries an umbrella when I saw the forecasted rain / our first monsoon in the desert / I immediately pulled out my tattered copy of the tales Christopher Robin and his bear / and we read all about honey and bees and little black rain clouds we spent that afternoon jumping in puddles that never formed, and practicing our British accents, tut, tut, looks like rain… envisioning the calm but soaking rains we knew back home when it finally came, it was raw and powerful / a deluge when we planned for drops / a second lesson learned but, I will forever hold that image of her, yesterday / marching across the patio / umbrella swinging / tut tut, remember the rain

P A G E 3 8 | T H E P U R P O S E F U L M A Y O N N A I S E your dark room a womb faces floating in the amniotic stop bath, who developed the formula, that captures yesterdays, me? Originally from Wisconsin, Erin Lorandos is a librarian and writer living in Phoenix. Some of her recent poetry can be found in Drifting Sands, The Avocet, the 2021 Poetry Marathon Anthology, The Purposeful Mayonnaise, The Bagel Hole, The Bluebird Word, and Dissident Voice.

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Kick Start, 2022, acrylic on paper, 20.3 x 25.4 cm

Instagram: @helenzigastudio

Moving Up, 2022, acrylic on paper, 20.3 x 25.4 cm


Helen Ziga is an Atlanta-based artist working in a variety of media including painting, drawing, fiber arts and graphic design. Her small-scale art is an intimate statement about women, the locus of our individual existences and our connections to each other and the greater

P A G E 4 0 | T H E P U R P O S E F U L M A Y O N N A I S E ART: ERIN WILLIAMS Want More, 2022, cyanotype on fabric

Left: Choose Happy, 2022, cyanotype on fabric Right: Me over We, 2022, cyanotype on fabric


I'm Erin Williams, a Black artist and creative. I specialize in drawing, abstract acrylics, and printmaking, and I am currently earning my MFA in Illustration and Visual Culture program at Washington University in St. Louis. My work has been featured in various newsletters and sites, and showcased in several galleries online and in person across the country including the U.S. Botanic Garden and the Birmingham Botanical Gardens. From 2018-2021, I produced my podcast "In Which I Talk To Artists," where I interviewed women artists about their work and inspiration. Printmaking (including cyanotypes), is a process that I have heavily gravitated towards in expressing myself and making my work, and it has unlocked a new sphere of creativity after exploring acrylic abstracts and drawing. I like making memories and honoring moments in my life through art, as a way of self-preservation, unlocking beauty, and pure enjoyment. In creating each work, I am most inspired by preserving floral beauty, creating abstracts, and communicating messages. The impressions that come through, like a Polaroid photo, really speak to me, and have permeated my psyche in a way that creates the most unique and transformative type of work. With my cyanotypes, I am captivated by the x-ray aspect that they show off, as well as the ethereal nature each image creates. Cyanotyping is a process where chemical-treated fabric is exposed to sunlight and then rinsed in water to bring through various hues of blue.

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One is never and can never be the same person twice. The self-portrait captures a moment beyond a physical depiction of the artist. It's a record of one's state of mind that projects a glimpse of their temporary identity. As much as an emotion can reoccur, the way we experience it is never duplicated. The resulting work grants the viewer a glimpse of who the artist sees reflected back at him. Produce 70

Reunion Obstruction

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Born in Montreal, Cabba earned his BFA from Concordia University. He was then accepted into The Florence Academy of Art the following year where he attended briefly before opening his own studio in Italy. Armando's work is held in private collections in the United States, Europe, and Canada. After a few years working independently in Italy, he's moved to Paris where he currently continues to create.

Website: Instagram: @armandocabba SilverAbove:Eye, Abide, Heel 3,Right:Funnel

A self-described creative + analytical mashup, Bari is an artist + writer (+ lapsed behavioral scientist) obsessed with color and fascinated by self-expression through style and space. Chicago-born and rooted in Madrid, Bari and her husband, James, founded their mixedmedia studio, rethinkreframe, to explore the intersections of art, style and ideas, and connect discerning art lovers with Bari's bold distinctive work.


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Pushing boundaries with color, contrast, and texture is a common thread across Bari's work; she is consumed by the sensory and psychological intensity itself and the demands it places on both creator and observer. Immersive journeys that delve deeply into the interplay between the mental and the physical, Bari's modern abstract paintings, living canvas art objects, and photography provoke exploration of the fluid relationship between what we see and feel and our evolving experience and sense of self. Drawing from the artist's background in psycholinguistics, design, and writing, her pieces urge the viewer to unreservedly dive into this rich sensory and intellectual narrative and transform from curious observer into dialogic participant, with color as the lingua franca.

Instagram: @rethinkreframe Star-Crossed, 2022, acrylic & oil pastel on vellum, 21.6 x 28 cm The Light at the Front Window, 2022, oil pastel on vellum, 21.6 x 28 cm




"I am an analog photographer who enjoys taking double exposures on film. I've been working through the grief relating to my father's terminal illness and these images will be in my zine at the end of the year titled In Bloom. They portray my healing journey through the Website:grief." @blossombay_


Kela is a mixed media artist creating predominantly as a film photographer, painter and motivational writer. Bringing her work together through conveying the essence of nature with an emphasis on mindfulness and harmony; specializing in concept, composition, atmosphere and sensation. She is passionate about improving our individual and collective evolution as humans and contributes by stimulating the intrinsic joy, love, peace and freedom that lives within each one of us.

Website: Instagram: @keladreams photographyfilm35mmGlow,ComplexWaterMe,35mmfilmphotography

I am a multidisciplinary illustrator and maker based in Glasgow, Scotland, working primarily with analogue and print processes. Much of my work draws attention to fleeting atmospheres; driven by observation, I explore how unexpected events are experienced, understood and remembered. Colour, texture and materiality form the basis of my practice as I work across 2- and 3- dimensions to create immersive narrative experiences. I am interested in exploring how the tactility of print can be combined with other sensory stimuli and conduct my research through seeing and making; gathering and combining.

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acrylic and monoprint on paper

Website: Instagram: @oliviajuett


i heard the highway. realizing i had no clean underwear, i got up and started the laundry.

Tohm Bakelas is a social worker in a psychiatric hospital. He was born in New Jersey, resides there, and will die there. He is the author of 18 chapbooks and several collections of poetry, including "The Ants Crawl In Circles" (Whiskey City Press, 2022). He runs Between Shadows Press.

WORDS: TOHM BAKELAS called out at 12:38am i called out of work, for which i was expected to report to in 7 hours and 22 minutes. at 7:30am i awoke without an alarm and without the cat screaming. sunlight penetrated through closed curtains and given the current circumstances, i was all right with it. i rolled over and looked at the empty bed, only cat hair and cat litter and me. i stretched and stared at the white ceiling, feeling around the outside of my hairy chest, feeling around to remember what was once there. all i could feel was a hole with nothing inside, just a nothing hole with ininside.nothingthedistance

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Instagram: @flexyourhead / @betweenshadowspress


P A G E 4 9 | T H E P U R P O S E F U L M A Y O N N A I S E ART: SHANZE ZOHREH A lot of negative emotions are bottled up due to multiple reasons such as the pandemic, work, home, heartbreak, health, etc. Wearing bright socks has helped me through; they are 'a sudden burst of joy.’ cm38.1x25.4cut,woodandmarblingilkm2022,I,Joy

I am a professional printmaker, fashion designer (eastern bridal wear) and motif developer currently teaching at the National College of Arts, Pakistan. My work focuses on ideas, from generation up to the final execution. This can be achieved through various materials in printmaking and other media, as well as in every day, elementary behavior. I aim to develop my vision in such a way that every step can be transformed into art. I base my work on the careful observation of daily encounters. I explore everyday realities and express them as aesthetic ideas. In my works, there is an ongoing fascination with mundane objects that conceal within them a multitude of experiences that could work as any sort of narration or interpretation. This practice is illustrated through the breakdown of the material, the impairment of its function and exploring its passage into abstraction. The aim is to extend and break through the limitations of technique and material.

Instagram: @shanzezohreh Joy II, 2022, milk marbling and wood cut, 25.4 x 38.1 cm Joy III, 2022, milk marbling and wood cut, 25.4 x 38.1 cm

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P A G E 5 1 | T H E P U R P O S E F U L M A Y O N N A I S E ART: HOPE JORDAN As an artist, my passion for intuitive two-dimensional art has me painting almost daily on most any durable surfaces within reach! Even though I graduated in 1995 with my Bachelor of Fine Arts degree from Western Carolina University, there was still much more to learn about developing my own 'art language.' I am an intuitive abstract artist. I view my creative process as an altered reality. Staying true to the commitment of intuition, I will myself switch from brushes to palette knives and other unconventional creative tools as traditional practices try to surface or dominate my time at the Instagram: @hopejordanart Feminine Expanse, acrylic on Yupo and paper, 50.1 x 24.7 cm cm50.8x61board,canvasonacrylicExpansion,intoHealing

Virtual – Projections: Loop of Model A, 2020 ambrotype (wet plate collodion on clear glass) 18x13 cm



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Virtual – Projections: Layer of Model F, 2022 plexitype (wet plate collodion on clear plexiglass) 18x13 cm

Virtual – Projections: Layer of Model A, 2020 ambrotype (wet plate collodion on clear glass) 18x13 cm

he explores the relationship between subjective and objective reality. Since 2015 he has almost exclusively been using wet plate collodion in his photographs, testing the limits of perception and cognizance. His works have been part of thirteen solo exhibitions and over seventy group exhibitions in Hungary, Belarus, Italy, Lithuania, Mexico, Netherlands, Spain and the USA.

Every year since 2017, he won the creative scholarship of the National Cultural Fund of Hungary. In 2017 and 2019, he won the main prize at the Szentes Nude Photography Biennale. He is a member of the InstArt Group and the L1 Independent Artists Association of Public Utility. He has been living in the Netherlands since 2021.

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Virtual – Projections : 793 Nudes : Full Layer on Model F, 2022, ambrotype (wet plate collodion on clear glass), 24x18 cm

Virtual – Projections : 793 Nudes : Full Layer on Model F, 2022, ambrotype (wet plate collodion on clear glass), 24x18 cm

Between 2015 and 2020, my main subject material was the human body. Not the human being, only the body. It is the corporeal, the physical part of the complex and elusive structure of what we call human, which perhaps no one fully understands. At least I definitely don't. Although I'm not a person who really cares about individuals. I am more interested in our place, my place in the universe. Both materially and spiritually. Therefore, I photographed not individuals, but strictly only bodies, using them as a means of expression, sometimes as a reagent. By using the material, I tried to approach the elusive. By every meaning: my images are also physically existing objects. I used digital photography only as a raw material to create ambrotypes. They are both complex and elusive, yet materially existing, one-time and

Virtual – Projections: 793 Nudes : Full Layer on Model A, 2022, ambrotype (wet plate collodion on clear glass), 24x18 cm

Virtual – Projections : 793 Nudes : Full Layer on Model F, 2022, ambrotype (wet plate collodion on clear glass), 24x18 cm

Virtual – Projections: 793 Nudes: Full Picture-loop on Model A, 2022, ambrotype (wet plate collodion on clear glass), 24x18 cm

Virtual – Projections: Loop of Model F, 2022 plexitype (wet plate collodion on clear plexiglass), 18x13 cm

Virtual – Projections: 793 Nudes : Full Layerloop on Model A, 2022, ambrotype (wet plate collodion on clear glass), 24x18 cm

unrepeatable objects as ourselves. And due to the instability of the wet collodion, this similarity is created not only in the material but also in the spiritual plane in a wellsucceeded glass image. But by 2020, physical reality has lost its relevance – perhaps permanently. The expansion of virtuality has a decades-long history, but COVID has made it permanent and even inevitable. At least the restrictions made it clear that to communicate, work, and have fun to live – exclusively in the universe of mathematics is no longer a matter of choice. Everything we create not only enters the digital space but exists almost exclusively there.

I decided to visualize this transformation using highly automated tools and extremely automatized, dehumanized algorithms that make up digital reality. I capture and convert the signal stream to an analog image – mostly by projections (literally, figuratively and technically) – without the illusion of equivalence. I'm not showing the picture, but the transformation of how individual ambrotypes that originally carried triple attachments flow back from digital space into human reality as a single stream – creating a third reality.

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Digital sounds and images represent our culture equally with reality. Yet the transformation of material into virtual does not "preserve" reality at all. This process is not equivalent and reversible at all. Everything digital: inhuman, ephemeral – and impersonal. Including all my ambrotypes: I digitized them myself. Knowing that this is the only way I can physically introduce them: as a messenger, I forwarded their digital stream to colleagues, curators and galleries to arouse interest in real objects. But for the vast majority, the files themselves have become the reality. They function as a sign instead of a marker. They are transforming all the relationships that an ambrotype carries: the imprint of the interaction of the photographer, the model, and the chemical/physical world, and, of course, its perception in the consciousness of the recipient.

Of course, the nine nude models I've worked with all these years have become not only colleagues but at least good acquaintances, almost friends. Contrary to my original intentions, this obviously appears in my images and disappears when the images turn into a sign. What the meaning is the relation between two-two persons and the 5 years in collodion working together in the virtual world, I'm going to show with recreating into physically existing photography of the integrated digital signal existing picture. I added all the scanned ambrotypes, silver gelatin prints and polaroids, made with the same model, into Photoshop's automated image enhancement program and turned them into a single digital montage. I also created an eight-minute video loop for each model, in which each image appears for the same amount of time. I asked the models to place themselves in a pose that best describes our joint photos, then projected the montage and the loop onto their naked bodies separately and made a video of this event. Then I screened those videos in the darkroom and made the wet plate collodion glass and plexiglass sheets, i.e. ambrotypes and plexitypes off the projections. These series (Projecting layers and Projecting loops) are the summaries of the digital transformation of these five years of analog photographizing and also the transformation of

human relationships. The material of Projecting is so impersonal that it is unnecessary to name the participants. Model A-H is perfectly enough. It's not even a problem that two of my colleagues no longer take nude photos. Other "new" bodies are just as fine as projection screens – along with a doll head to indicate that Model X1 and X2 carry someone else's Then,images.once all the human divergences were over, I also tried to photograph the impersonality of the digital world. I stitched together the nine montages from the Projecting layers into a single loop and also made a loop out of all the nude photos I have taken over the past five years, including the digital photos used as raw material. I automated these 793 Nudes into a single image – this became my first fully digital, and even primarily algorithmcompiled "photograph." I also used these three files for projecting videos on models – but this time, I no longer used typical poses and whole human bodies, just torsos. By then, three of the nine original models had had to be replaced. Which has become completely irrelevant. Moreover, it brought a new opportunity: it made sense to shoot and transform safety videos, what is to say, Backups with Model X4 in preparation for any eventuality, as the backups, although not exactly the same as the originals, are basically interchangeable – just like the models, in fact: just like all of us, the cogs of the human society.

The dehumanization of mankind, which has been transformed into virtual reality, is embodied in the 56 ambro- and plexitypes created by video projection and the giclée print of the digital montage exhibited with them.

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At the end of the Projections, I went through the whole process again during the exhibitionopening performance: made an ambrotype – digitizing it – projecting it back onto the model – made and projected a video about it – made an ambrotype off the projection. That is, the last picture of the exhibition was made at the opening. This time, however, I no longer completely excluded the human from the picture. After all, everything I perceive as "dehumanization" may be just a step toward a new worldview. What human is still a part of –just differently than before.

The final image, the ambrotype version of the 793 Nudes, was re-created with a living human: I projected the new video onto Model A And again, based on our personal story: as a second series, the second most characteristic pose of our common works - sitting on knees. It can mean both giving up and waiting, depending on the situation or how we interpret that situation.

Another glass image contains the 794 photos and the 12 videos I used for the projections. That's the same size as the 793 Nudes digital montage print: 50x50 centimetres. And most importantly, it's just as hard to interpret as its algorithm-generated counterpart.

PS: Eventually, there is something that is missing from the wet collodion: movement and sound. That is why I added a unique video installation to the exhibition that best characterizes the atmosphere of wet plate imaging: the involuntary sounds and images of endless waiting. And because of this, it becomes necessary to add ambrotypes made from this installation.

P A G E 5 6 | T H E P U R P O S E F U L M A Y O N N A I S E ART: THE MESSDECK Karolina Zglobicka, Valencia 21-22, 2022, oil, spray on canvas, 81 x 100 x 2 cm

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Lisa Einkemmer, Moulded (left) and Noise (right)

P A G E 5 8 | T H E P U R P O S E F U L M A Y O N N A I S E Jenny Brown, Night Corals, 2021, pen, ink, and collage on antique cabinet card photograph, 10.2 x 15.2 cm

P A G E 5 9 | T H E P U R P O S E F U L M A Y O N N A I S E photography04,LandscapeJungmann,AlešClarissaCervantes,FullForce,photography

P A G E 6 0 | T H E P U R P O S E F U L M A Y O N N A I S E Kaloyan Ivanov, Le bonheur de vivre #7, 8, 9, 12, acrylic on paper

P A G E 6 1 | T H E P U R P O S E F U L M A Y O N N A I S E Christoph Eberle, Forest, 2021, oil on canvas, 40 × 120 cm

P A G E 6 2 | T H E P U R P O S E F U L M A Y O N N A I S E cm60x50media,mixed2021,Afternoon,PeacefulALi,LinpaintingGuys,Romanova,Elizabeth

P A G E 6 3 | T H E P U R P O S E F U L M A Y O N N A I S E cm101.6x76.2canvas,onacrylic2021,Burst,Vida-Moore,HeatherHeatherVida-Moore,MorningWarbling,2021,acryliconcanvas,40.6x50.8cm

Jonathan Brooks, Blossoms, Botaniscopes series

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Jonathan Brooks, Red, Botaniscopes series

Jonathan Brooks, Tangerine, Botaniscopes series

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P A G E 6 7 | T H E P U R P O S E F U L M A Y O N N A I S E Andrea Blumör, watercolour

P A G E 6 8 | T H E P U R P O S E F U L M A Y O N N A I S E Britta Fluevog, Nude Holding Reinforcing Mesh, 2021. alpaca, cable, mesh, nettle, rope, silk, sisal, wire, wool, 110 x 145 cm

Violet Maimbourg, Inescapable Self, silicone, fiberglass, human hair, resin, earrings, acrylic nails

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P A G E 7 0 | T H E P U R P O S E F U L M A Y O N N A I S E Mohamad Hadi Danesh

MESSDECK ARTISTS Andrea Blumör Identity is not an intrinsic quality; it is fluid and takes place within and beyond cultural boundaries. The body is subject to transience, its dependence and instability. Waving goodbye to bourgeois limits of identity, social behavior and appearance a crack opens and the little light can make way for a luxuriant growth Flourish! But never forget Website: www andreablumoer com IG: @andreablumoer studio

My Botaniscopes series focuses on botanical life in nature, particularly plants and trees of the South I use botanical photography to pair together the exact mirrored reflections of the photos The new work is a project of imagined images that are simultaneously modern, contemporary, abstract, surreal, and take on a kaleidoscope and/or Rorschach test feel Through the influence of life, science fiction, and fantasy, I aim to enhance a viewer's perception of our environment and our relationship with nature.

Website: IG: @jonathanbmiami

With a focus on visualizing the most lush & ethereal phenomena of the natural world, her collages and drawings are celebrations of the ongoing physical and spiritual evolution of our universe Jenny studied art at Bennington College and received her MFA from the School of Visual Arts in New York in 2005 She currently works with galleries in New York City and metro Boston, and recently finished collaborations with Hudson Chatham Winery in Ghent, NY and The Wayfinder Hotel in Newport, RI

Christoph Eberle Christoph Eberle, hyperrealist painter, born 1969, lives and works in Zurich His hyper realistic oil paintings are created in the confrontation between tradition and the present Light as the medium of visual perception is the main element in his work

Jonathan Brooks was born and raised in Miami, Florida Brooks graduated magna cum laude, with a double major in Advertising and Fine Art Photography and a minor in Marketing, at the University of Miami He worked for Eastman Kodak during their transition from analog to digital His photographs have been published in numerous magazines, anthologies, and periodicals. His photos have been featured in major movies (Mike & Dave Need Wedding Dates, and Uncle Drew), the Emmy nominated short film series celebrating the 50th anniversary of the National Endowment for the Arts United States Of Art, and television shows (Oprah Network's David Makes Man, Bravo TV's reality show Southern Charm, The CW's The Vampire Diaries, and Germany's Only Love Counts) His work has been exhibited in Miami, NYC, Amsterdam, France, Germany, Greece, and the UK This includes Art Basel, the Louvre, and the biggest billboard in Times Square

Website: www jennybrownart com IG: @jennybrownart Clarissa Cervantes Clarissa Cervantes is a poet, photographer, physical therapist, and researcher Clarissa strives to create meaningful images and articles to inspire and uplift readers as an open invitation to see the world with different lenses. Mohamad Hadi Danesh

Jenny Brown Jenny Brown is visual artist working in Providence, RI, whose primary mediums are drawing & collage.

Jonathan Brooks

Website: www christopheberle ch IG: @christoph eberle Lisa Einkemmer I am a self taught painter from Innsbruck (Austria) mainly working in acrylic and/or oil on canvas Many of my paintings center portraits of women, often combined with colorful patterns or organic forms and structures Despite the figurative content of my work, my goal is to look beyond what is visible and I care most about creating a certain mood and atmosphere in my paintings. IG: @lce.artist

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Facebook: www facebook com/yessskart Aleš Jungmann I understand landscape photography as an exploration of an unknown space beyond my intimate and civilized experience. On the border of the city, modernity, technology and progress. The original space of the landscape, where perhaps the key to understanding events and relationships was once more easily accessible, is now lost and forgotten for good, the bond is broken, the senses weakened. I stand in the landscape, in awe, overwhelmed by a superfluous and unreadable mass of sensations and information. I'm trying for a reduction leading in a direction where I haven't gone yet Ordo ab chao Gentle and careful clearing in the hope of getting closer Lin Li Lin Li is an independent artist, born in Nanjing, China; she likes both the texture of sand and stone and the mottled feeling of watermarks, so she has been researching how to simultaneously present the simplicity of texture and the fluidity of watermarks in the picture She hopes her style lies in seeking a balance between concrete and abstract She tries to find a strange harmony in this contradiction and finds a space of balance between Western classical sculpture and Eastern traditional artistic conception. , Violet Maimbourg Violet Maimbourg is a visual artist from Cleveland, Ohio. She attended Pratt Institute in Brooklyn, NY for Film/Video in 2013 but changed paths towards wanting to create physical sculptural work. Violet graduated from the Cleveland Institute of Art in 2021 with a BFA in Sculpture and Expanded Media. Her work was recently featured at Studio Montclair in Montclair NJ and had an installation at Lake Erie College, OH as part of a regional LGBT Exhibition in 2021 Website: www violetmaimbourg com IG: @violetmaimbourg Elizabeth Romanova I remember myself in art from a very young age, and have always strived to bring my worldview, thoughts, experiences to canvas In my works, everyone sees the meaning differently, but do not try to find the "true" answer There is none Born in Washington DC, trained in animation courses and career guidance courses for directing feature films Studies at the Anglo American University in Prague in visual arts More than two years engaged in photography and painting.

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Instagram: @romashkadoessomething Heather Vida Moore Heather Vida Moore is a visual artist from Hamilton, Ontario, Canada. She gravitates towards abstraction, often taking inspiration from the natural world, and her work tends to feature complex, organic patterns and forms She has studied art at the University of Western Ontario, Dundas Valley School of Art, and completed her final year of McMaster University's BFA program in 2015

IG: @britta fluevog radical weaver Kaloyan Ivanov Kaloyan Ivanov aka K was born in Sofia, Bulgaria in 1986 In 2009 Kaloyan graduated with a Bachelor of Fine Art in Painting from Pratt Institute, Brooklyn Kaloyan works in painting, performance and installation Website: yes k com

Britta Fluevog Through the lens of social justice and intersectionality, Britta Fluevog’s work investigates capitalism, globalism, and colonization. She uses weaving, ceramics, performativity and process to expand the discourses of textiles and political art. Decorative elements are employed to subvert traditional occidental devaluation, particularly in relation to craft and women’s work. Website:

Website: hvidamoore com IG: @hvidamoore Karolina Zglobicka (b 1988) originally Polish, lives and works in Valencia, Spain Moving from Poland to England and then to Spain, inspired her to explore the theme of relocation, changes that confront the familiarity of the space we live in, things left behind and those that adapt to travel with us continuously. IG: