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…the greatest wisdom consists in enjoying the present and making this enjoyment the goal of life, because the present is all that is real and everything else merely imaginary. “ “
Arthur Schopenhauer
Excited to present the third edition of the Art & Culture on the Rock Magazine, our beloved publication has undergone several new changes! With double the content, and double the fun, our magazine has bumped up in size just in time for this seasonal issue three!
On-boarding fresh new voices, themes, and topics of discussion, issue three is jam-packed with rich and intriguing content. From articles which explore the performance art of Marina Abramovic and the Dark Arts to commemorate Halloween, to interviews with local artists such as Ambrose Avellano, in an exploration of his existentialist-driven creations and most recent projects. Delving deeply into the broader ‘cultural’ side of the magazine, we explore music, theatre, photography, film and literature as well as some fantastic Q&As with highly prominent figures in the current cultural climate, such as Taschen’s Editor Jessica Hundley, MTArt Agency’s Founder Marine Tanguy, and Landscape Artist of the Year Monica Popham.
In an attempt to explore the sublime in a world filled with art, culture and creativity, issue three pushes the boundaries with its careful selection of exclusive content. In preparation for the Christmas season, the magazine also highlights some of the best winter exhibitions to visit during this time of year, and delves into the world of religious iconography in art during the Italian Renaissance.
Not only does the content explore this pivotal re-birth experienced in history, but the magazine itself celebrates a re-birth of ideas, content and imagery, just in time to enjoy a mouth-watering hot chocolate cosied up on the sofa with your Art & Culture page-turner!
Wishing all a peaceful festive season ahead, and a very happy new year.
With love always Tammy x Editor-in-Chief tamara@outsideinmedia.com Click here to find out more about Art Space gallery.
EDITOR-IN-CHIEF
Tamara Bell tamara@outsideinmedia.com
MAGAZINE DESIGNER
Emma Long Graphic Design emmadesign@btinternet.com emmadesign.co.uk
CONTRIBUTORS
Tamara Bell
Francesco Scalici
Petra de Letras
Amber Williams
Kassidy Spight
Anthony Loddo
Ben Lemmon
Sophie MacDonald
Jo King
Ian Law
Chloe Chilvers
PHOTOGRAPHY
Artist photography supplied by the artists
Stock photography by Shutterstock & Unsplash
Leni Mifsud images supplied by GCS Government Art Collection
Jessica Hundley image by Justin Aversano
Bookgem images by Katie & Danica at Bookgem Gibraltar
COVER IMAGE
Artwork by Sannib
ART&CULTURE ON THE ROCK
Published by Outside In Media a trading name of Art Space Ltd, 120a Irish Town, Old Police Station, Gibraltar, GX11 1AA.
Printed by Roca Graphics Limited, 21 Tuckey’s Lane, Gibraltar GX11 1AA.
Copyright © 2024. All rights reserved.
The name Art & Culture on The Rock is a mark of Art Space Ltd, used under exclusive licence. No part of this publication may be reproduced without written permission from the publisher.
Art & Culture on The Rock places great importance on the accuracy of the information contained within this publication but cannot accept responsibility for any errors or omissions. Views expressed by contributors and/ or correspondents do not necessarily reflect those of the publisher. Neither Art & Culture on The Rock nor Art Space Ltd is responsible for any claims made, or material(s) used in advertisements.
For permission to copy cuttings for internal or client use, please contact a&c@outsideinmedia.com
What a painter inquires into is not the nature of the physical world but the nature of our reactions to it. “ “
With this statement by E.H. Gombrich in mind, the Post-Paradise Man series by Ambrose Avellano encapsulates the existentialist notion of the human condition as a complete form of choice. Allowing the viewer to interpret the collection with freedom of will, not only does Ambrose explore the concept of how “existence precedes essence”
(Sartre) in his visual representation of human anatomy, but also in the manner in which it is perceived by the public.
Created as part of his final exhibition at the Preston Lancashire Polytechnic in 1987, Ambrose began by sketching the human figure whilst waiting to catch the train. As stated by the artist
himself, “simple standing figures led to the pondering of questions such as how do they live, where are they going and what are they thinking?”. His spectral companions were soon to become his “fellow travellers in the journey of life” underpinning his later colourful compositions.
At the Gates (shown on this page) resonates with the philosophies elucidated by Sartre in the 1940s. The philosopher’s intellectual impetus gave way to the widespread exploration of isolation and meaninglessness of human existence during the Second World War. Such futility was represented in existential motifs by the Abstract Expressionists, as is evident in the work of Ambrose.
With humans being perceived as trapped by their own freedom, the elongated figures in the composition mimic the structure of the gate which confines them. With their emaciated bodies resembling the enclosure’s vertical struts, it brings to mind the renowned sculptures by Alberto Giacometti which serve as a metaphor for the dehumanising effects of warfare. As is demonstrated in
Giacometti’s life-size bronze sculpture Man Pointing , the image of a walking man also preoccupied the renowned artist for the remainder of his career.
In Post-Paradise Man , one is reminded of the greatly controversial painting of PopeInnocentX by Francis Bacon. The highly contemporary reinterpretation of Velazquez’s version is heralded as a canon in Western art. Ambrose gifts the viewer with an optical sensation of harrowing events in the staring eyes and hollow cheeks of the figure, splintered by textured turbulence and illusionistic dynamism. Alluding to the strong sense of emotion the Expressionists felt towards their dystopian reality, Ambrose showcases the agony of human existence and inner turmoil in his photograph and throughout the series. The astute use of chiaroscuro enhances the stoic
primitivism of fragmented human anatomy and sheds light on the troubles of mankind. Likening the skull-like figure to Munch’s 1895 lithograph titled The Scream , the gravitas is palpable as Ambrose aims to reveal an honest representation of his own emotions carried by unwavering faith.
Indeed, one can feel the weight of the History of Art in Ambrose’s compositions. His ability to capture the essence of stagnant time in a neoexistential manner is unequivocally novel. His figures manifest a plethora of philosophical realisations which leave the viewer questioning whether “Life has no meaning the moment you lose the illusion of being eternal” (Sartre).
By Tamara Bell
Click here to find out more about Ambrose Avellano.
Tell us about your most recent artistic project & the medium you have used to create it
Following my most recent solo exhibition, Pandemonium , I have been working on two projects; one project is based on a religious theme Death & Resurrection and comprises of two large scale hardwood panels in oils. The second project which has been ongoing for a while now, is entitled The Body as a Burden where I am looking at the human body as an appendage. Currently this collection is made up of numerous studies in my search to find a suitable metaphor for creating a masterpiece. I began researching this subject in 2018 and have already completed 7 works and am currently working on the 8th piece using a multi-media approach. Because of the esoteric nature of this huge concept, I am not leaving any stone unturned in my search for the perfect vehicle of expression and am working with lead for this piece.
What has inspired you to work on this project?
The themes of Death and Resurrection have a long and distinguished pedigree in the canon of western art, these two themes have been undertaken by countless artists over the centuries. Today in the 21st century I think we have to review the presentation of these two timeless
subjects. For Death I have chosen a much loved mascot as a metaphor for the protagonist on the painting. For Resurrection I have chosen to present the protagonist in a stark unadorned manner. As these works are in progress I would rather not divulge anymore information at this time. The Body As Burden is a concept that I have been musing on since 2018 and wondered if there was any way to make it a subject for an artwork. “Cogito, ergo sum” said René Descartes, translates to “I think, therefore I am”. Therefore, if thinking constitutes the person, where does the physical body fit in? After much thought I have come to the view that I
am an entity/being encased in a body. If this is the case then my body is an appendage and therefore a burden to be carried around.
What meaning are you trying to convey with your current project?
With Death and Resurrection I have portrayed two of the three most important events in human history, (the third being Birth). Death deals with the destruction of an innocent man. Resurrection portrays the awesome manifestation of the rising of a man from death. With The Body As Burden I am trying to capture the sense of conflict that accompanies living in a body of flesh, e.g. the bodily functions, the care and attention required to
be presentable, body image/issues, sicknesses, disabilities, and mental health coupled with todays’ social media pressure.
Tell us about your soon to be published autobiography ElNiñoTieneAlgo!-TheMakingOfAn Artist tells the story of my trajectory as an artist from 1962 to 2022. I trace my early beginning when I attended the art classes given by local artist Leni Mifsud. My move to London in 1973 and my astonishment at seeing the works of Modern Masters in the flesh, after only having known about them in books. My determination to dedicate my life to art, and my search for my artistic voice and above all to discover for myself
what it really means to be an artist in the 20th/21st Century. After all the task does not come with a job description! I am hoping to publish in 2025.
When are you hoping to have your next exhibition?
I have two exhibitions in mind:- The first; Two paintings by Avellano and secondly, The Body As Burden. I don’t like to set myself a time scale. Creativity has its own timetable and I have now learnt that patience is as valuable as inspiration; for me it’s foolish to rush a work to meet a deadline.
By Tamara Bell
I have come to the view that I am an entity/being encased in a body. If this is the case then my body is an appendage and therefore a burden to be carried around. “ “
Those who read further need to remember that curiosity killed the cat. “ “
We’ve just passed Samhain and hopefully your end of summer harvest was bountiful, your feast was merry and you’ve warded off the evil spirits that surround us for yet another year.
But what of those that are surrounded all year round by that which haunts them, memories of the horrors they’ve witnessed or even committed. Voices that tear into their very souls?
Hopefully they can find a creative outlet such as writing or painting, they can always try fighting their demons with bright, colourful characters prancing across a canvas or they could create something darker, something creepier, something that would shock the average viewer…
Some hear ‘dark art’ and think of witchcraft and demon worship, and that’s part of the reason it is still considered to be underground. But that’s quite far from the truth. The truth is much more natural than that…
…As a species we take comfort in beauty as expected by mainstream society: peaceful, colourful, loving and safe. Most can forget that we have a close connection and relationship with the chaos and indiscriminately violent nature of the universe. We are anxious bald little primates hurtling through space on a rock held together by momentum and deep down we know how fragile we are. Dark art taps into this and although it frightens some, confuses others and disgusts many, there are some that find solace in the knowledge that they’re not alone in their morbid curiosity.
The art of depicting the darkness of our existence isn’t limited to any one form of art or historical period
but rather it opens itself to every style and every century. It doesn’t even necessarily have to have a gruesome undertone, there’s plenty of dark art which is simply a rebellion against expected norms. Dark art can be full of lessons. Lessons on life, depictions of events, what to do, what not to do, what happens if you do what you shouldn’t and sometimes asks: “what if?”. It can be a simple expression of the artist’s feelings or even have no deeper meaning and be just for fun. The scope is endless.
Dark art was inevitable and started as soon as we realised we could mark the surfaces around us. For some the depiction of hunters killing animals or even other hunters would have been shocking and distasteful.
Some credit Sandro Botticelli’s work on the 1480s edition of Dante Alighieri’s DivineComedy as the beginning of the dark art movement. Depicting Dante being guided through the nine circles of Hell and illustrating the absolute horror of the Underworld and the torment of any soul worthy of being committed to the depths.
Hell is a popular subject especially in the earlier years of history. Jan van Eyck’s Crucifixion and LastJudgement tapped into the nightmare-scape using a personification of Death as the tormentor of souls.
Sometimes the demons leave their Hellscape and enter our world just a little: Henry Fuseli’s The Nightmare shows a woman fast asleep in her bed with an Imp sitting on her chest, staring menacingly at the viewer. Other times Hell breaks out fully to lay siege to the surface world, William Blake created the GreatRedDragon works which showed us destruction on a biblical scale.
War is hell and dark art has had its part to play in helping to visualise the absolute horror of war and the effects it has on its victims and survivors alike. Joseph Wrights’ The Dead Soldier shows us a mother holding a baby and crying over the loss of a dead soldier, we can only assume that the body is that of her infant’s father. Gassed and Wounded by Eric Henry cleverly uses light and shadow to show us the pain and sorrow of survivors. Alan Moore also uses light in his painting BlindMan in Belsen , a dark and gloomy painting that shows survivors and mourners dressed in black wandering, crying and standing in quiet contemplation in a field of white corpses.
Gore is often used to punctuate the gruesome, life ending devastation caused by bloodletting, especially by the removal of heads. Judithbeheading Holofernes by Caravaggio shows the exact moment Judith murders Holofernes the leader of their enemies. You can see the conflict on Judith’s face, the shock on Holofernes’ and the stoic determination on Judith’s maids face as she approaches with a sack to carry the soon to be separated head. I must mention Théodore Géricault and TheSeveredHeadsfrom his series Raft ofMedusa . I won’t go too far into it here but if you’ve ever felt like your morbid curiosity is possibly too much: take a little look for yourself at Theodores research style. Paul Delaroche went for a slightly different approach and depicted the moment leading up to execution in The Execution of Lady Jane Grey . He does a great job of leaving the moment of execution to your own imagination.
The unknown can create a crippling level of fear. How many of us have been scared by a piece of clothing catching just enough light in the darkness to petrify our hearts for an instant? Some artists play on these fears and others show the moment of fear. Der Schrei der Natur (AKA TheScream) by Edvard Munch. Edvard wanted to show us his own anxiety at what he was witnessing around him and in doing so tapped into the fear of the human condition. Francisco de Goya’s Saturn Devouring His Son gives us a glimpse at the worst consequences of fear: murder. Saturn eats his own son just in case he decided to overthrow him at any point. British artist ‘everywh3Re’ released a series titled Fear of the Light , comfort in the dark where they reversed the fear of the dark stating that in the darkness your imagination can play tricks, but light shows you the true horror that waits for you.
We’ve barely scratched the surface of the incredible depths dark art reaches but I hope this helps you see it in a different light or makes you feel a little less weird for liking it. Just remember we’re all in this together to the inevitable (and sometimes sticky) end…
By Ian Law
LAST JUDGEMENT (LOWER RIGHT DETAIL)
Serbian Conceptual and Performance artist Marina Abramovi´c takes an unsettling and sinister twist in most of her art exhibitions. Aiming to unlock Pandora’s Box and explore a world of endurance art, the internationally acclaimed artist defies the limitations of the physical and mental realms of the human body. Experimenting with the relationship between performer and audience, the ‘Grandmother of Performance Art’ pioneers a new notion of identity by “confronting pain, blood, and physical limits of the body” (Cristina Demaria).
With Abramovi´c’s first ever performance taking place in Edinburgh in 1973, the artist explored elements of ritual and gesture. With twenty knives splayed across from her on a table, the artist drew upon the Russian game in which she rhythmically tried to avoid jabbing her fingers. With every cut, a new knife would be selected from the row before her. Recording every wince and sound, Abramovi´c’s twenty jabs were replayed and repeated in an attempt to replicate the accidental jabs in merging past and present. Setting out to explore the physical and mental limitations of the body, Abramovic began to consider the performer’s state of consciousness, as “once you enter into the performance state you can push your body to do things you absolutely could never normally do”Marina Abramovi´c.
With Rhythm 0, Abramović developed one of her most challenging and highly acclaimed performances. Adopting a passive role in her performance, she welcomed the public to become the driving force of her art piece. The artist placed seventy-two objects on a table and invited the gallery goer to use their chosen object on the artist in any way that they liked, with a sign informing them that they would not be held liable for their actions. These objects included a rose, a feather, honey, a whip, olive oil, scissors, a scalpel, a gun and a single bullet. During a six-hour period, members of the public held her life in their hands. They were able to manipulate her body and actions without consequences.
Begging the question of whether man is born evil, this put to the test man’s moral compass, and raised issues concerning to what length human beings will go when their actions have no consequence. With an initial passive resistance among the crowd, Abramovi´c’s performance was soon to turn sinister and concerning. By the end of the six hours, the artist was left stripped of her clothing, physically attacked, and devalued into what she described as a “Madonna, mother, and whore.”
In Abramovi´c’s own words, “what I learned was that... if you leave it up to the audience, they can kill you... I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly six hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”
Indeed, her renowned performance begs the question; were people running away from confronting the artist, or their own actions?
Initially performed at the Venice Biennale in 1997 and winning the Golden Lion Award, Abramovi´c’s Balkan Baroque paid homage to the Bosnian war. The artist “vigorously scrubbed thousands of bloody cow bones over a period of four days, in reference to the ethnic cleansing that had taken place in the Balkans during the 1990s”.
Serving as a blatant political protest to the horrors of warfare, the artist incorporated unsettling interviews into her piece with members of her family recorded in the form of clips. Aiming to communicate to mankind that “blood can't be washed from bones and hands, just as the war can't be cleansed of shame”, Abramovi´c’s belated piece provided an extremely candid and stark political message for all to see.
Facing fifty years of ridicule, death threats and conspiracy theories, Abramovi´c has been deemed a ‘cannibalistic satanist’ as a member of the liberal elite. Between the five-pointed star pentagons in her artistic portfolio, symbolism from her communist childhood, dark clothes, long black hair, and gruesome subject matter, the artist describes herself as “an artist, not a satanist, and as true perfection to fit a conspiracy theory!”
By Tamara Bell
Click here to find out more about Kirsty Stutter.
By Kirsty Stutter
Mixed media layers of screen-prints, collage and acrylic on paper.
Suffolk based artist Kirsty Stutter specialises in screen-printing; a mechanical process involving stencils, photography, UV light, ink, paint and collage. Her highly tactile sculptural wall hangings are three-dimensional and a stripped back amalgamation of textural experimentation.
Love Your Demons , located in the Art Space Gallery Gibraltar, is one of Stutter’s most controversial and outrageous pieces. Depicting a central gauntly figure in the centre of the composition, the artist immediately creates a shock-factor and highly unsettling reaction instilled in the viewer when viewing the piece for the first time.
The figure blankly stares at the gallery-goer and most recognisably, has horns which twist and turn as they make their way down behind the figure up to her shoulders in a spiralling sinister manner.
The contrast between the petite female figure and aesthetically pleasing patterns and textures which substitute the figure’s skin, are juxtaposed with the blatant words “Love Your Demons”. Her skin is substituted by various patterns, which contribute to her alien-like body, thereby creating a harrowing image. The blood-orange tones in the background carry the symbolism of anger, rage, fire and blood, thus bringing to mind a hellish place.
By Kirsty Stutter
Multiple screen-prints and spray paint, finished with soft pastels and silver metal leaf.
Stutter’s Day Dreamer is yet another display of the artist’s textural experimentation. The central figure is placed in profile with closed eyes, and seemingly enjoying the sensation of dandelions floating across her face.
The silky silver tones of her skin, and blue and green colours of the background and her curled ram-like horns, remind us of mythical creatures such as mermaids, and other-worldly fantastical beings.
While the figure in Stutter’s artwork is an idealised female nude, an unsettling quality still remains, as the figure is not human, and horns are typically representative of divinity, being used to represent the gods, strength, power and even fertility in religious icons stemming from the ancient Near East and Mesopotamia.
Click here to find out more about Guy Denning.
LOVE ME FREELY
By Guy Denning
Original.
By Guy Denning Original.
Born in North Somerset, Guy Denning has had a flare for virtual art since childhood. Learning all about the technical aspects of oil painting, Denning simply taught himself how to be an artist. Home to the Art Space Gallery in Gibraltar, several Guy Denning Originals are on display in the gallery, and make for the perfect addition to those smaller wall spaces around the house.
Denning’s drawings explore darker and sinister themes. Much like Stutter’s work, Denning brings to light highly realistic depictions of harrowing creatures with horns in monochromatic tones. His 20182021 series of drawings explores a mysterious and unsettling darkness which shatters the notion that “good art is a pretty picture on the wall”.
Indeed, Denning presents the gruesome, emotional horrors that defy this notion. His Original Save Your Breast and Point the Arrow on display at the Art Space Gallery, depicts a black and white portrait of a nude female figure delicately holding the cross; a religious symbol of Christianity. The purity associated with the cross is juxtaposed against the black and white unsettling texture of the image scratched into the figure’s body. While the cross represents the redemption of Christ’s passion and death, Denning’s artistic expression of this thematic concern is purposefully dark, gruelling and stark.
Denning’s Love Me Freely depicts a male and female figure holding hands whilst running along towards the forefront of the image.
The composition comprises of monochromatic tones of black, white and grey, with the lighter hues emanating from the sky above, and the darker colours placed towards the ground.
While the image may seem like a simple depiction of two figures in love as gathered by the title, Denning again creates a somewhat unsettling, sinister and controversial undertone here as an element of doubt begins to surface the more that one observes the painting.
It begs to question whether this partnership is a happy and mutual love affair in which two individuals are playfully running along, or whether the larger male figure at the forefront is forcefully dragging his partner along by the hand, thus suggesting certain controversial and explicit concerns which the viewer is left wondering about.
By Tamara Bell
With his interests laying in contemporary modern art, The Trunk of Funk incorporates unique elements only to be seen once on each individual piece.
Residing in the North of England, Gareth Tristan Evans is notorious for his Butterfly Pieces celebrating his father and the nostalgia of magical moments in one’s private family life.
The artist’s skatedecks housed at the Art Space Gallery, showcase a traditional image in a contemporary framework. They encapsulate a soft and idealised notion of femininity set against a backdrop of gold leaf in which the artist seeks to enhance the natural and soft glow of the female body.
I see each piece as a ‘time capsule’ connecting my father to specific periods in his life and at the same time connecting me to my childhood. “ “
The term ‘wabi-sabi’ is a Japanese archaic word that has pulled itself forward into the collective consciousness of the contemporary world. However, it’s concepts can be explained in many ways.
Often associated with rustic elegance, understated refinement and a sense of melancholy or solitude, ‘Wabi’ refers to the beauty found in simplicity, humility, and imperfection.
Finding beauty in the natural processes of decay, weathering, and change, ‘Sabi’ refers to the beauty that comes with age, the wear and tear of time and the impermanence of things.
A visual metaphor, which poetically expresses one of the philosophies of wabi-sabi (impermanence) is the cherry blossom tree. Every spring the delicate cherry blossom tree blooms for about a week. Sudden rain and wind blow its soft pink petals away. A brief window of time to enjoy it’s prime. Once the petals have shed, it’s splendour is no longer visible. This natural cycle attracts thousands all over the world to gather, turning parks and gardens into sites of mass outdoor celebration. This event is called, Hanami. Wabi-sabi is a liberation from the betrayal of youth’s fleeting beauty, cultivating a sense of gratitude for age, decay and the momentary nature of life, the ethos of Hanami. Wabi-sabi’s relationship with time is a romantic one. Much like Kimchi can only happen through fermentation Wabi-Sabi is nature’s way of using time and the elements to slowly weather and transform.
In the current art world, wabi-sabi’s influence resonates deeply. Artists are now exploring themes of authenticity, sustainability, and mindfulness. Deriving from a close affinity with nature,
wabi-sabi aesthetics influence contemporary art by promoting minimalism, organic forms, and the changes created by the passage of time. Beauty does not necessarily mean flawlessness; inspiring a shift towards embracing the beauty of impermanence, imperfection and the incomplete.
In art, design, and everyday living, the spirit of wabi-sabi may manifest as asymmetry, aged material, simplicity, and modesty. Objects that embody this Japanese aesthetic often have a sense of quiet beauty, a connection to nature, and a story to tell through their blemishes. The recent impact of its infectious principles has swamped the minds of western creatives. From architecture to design and open spaces it’s effect can be seen through a plethora of topics on all social media
platforms. Companies such as Muji have enamoured Europeans with their organic materials, subdued colours, and meditative understated nature. The exploration of decay, renewal, and the passage of time has become a staple in the art world creating art that evokes a sense of nostalgia, tranquillity, and emotional depth.
Wabi-sabi aesthetics have inspired a shift towards minimalism, simplicity, and a focus on the essence of things rather than their outward appearance, finding beauty in objects that bear the marks of time, weather, and use. This approach challenges traditional ideas of flawlessness and invites viewers to reflect on the transitory nature of life.
Overall, Wabi-sabi’s impact on art and creativity lies in its ability to foster a deeper appreciation for the imperfect, impermanent, and authentic aspects of life. To “Pare down to the essence, but don’t remove the poetry” (Leonard Koren, Wabi-Sabi for Artists, Designers, Poets & Philosophers). By embracing wabi-sabi principles, artists and creators find new ways to express beauty, evoke emotion, and connect with audiences on a profound level.
Wabi Sabi could be our human attitude towards the beauty of the fleeting moment.
Okakura Kakuzo expressed this attitude beauty in his own reflective works. ‘Those who cannot feel the littleness of great things in themselves are apt to overlook the greatness of little things in others.’
By Petra de Letras
“ “
Those who cannot feel the littleness of great things in themselves are apt to overlook the greatness of little things in others.
Okakura Kakuzo
It’s no secret that historically the female form has been a subject of desire and a source of inspiration for portrait artists.
People often think back to masterpieces such as The Birth of Venus by Italian artist Sandro Botticelli, Hylas and the Nymphs by John William Waterhouse or Venus Rising by Jean-Léon Gérôme to name a few. Something that was so natural and expected in the past has raised controversy in these modern times. Despite being admired and adored by a large population, others began to question the intention behind these x-rated depictions of women. One group being The Guerrilla Girls.
The Guerilla Girls are a group of feminist activist artists, who use shocking visuals combined with humour and deadpan banality to bring the gender bias and ethical corruption in media, art and culture to light. In 1989, the group designed a billboard for the Public Art Fund in New York which displayed a statistic stating that “Less than 5% of modern artists are female, but 85% of nude portraits are women”. Indeed, a large portion of the population admires such creations on the basis that it is a display of recognition and appreciation for the female form. Such images are used to
highlight the power of women. However, once realising that these paintings are predominantly painted by men, it can leave a bitter taste as it calls into question whether these artists are glorifying them or stripping them of their modesty. Instead of appreciating the female form, there exists a blurred barrier in which one can easily slip into an inappropriate sexualisation of women as an object of desire.
The Guerilla Girls aimed to criticise the institution for under representing female artists and enabling and encouraging the exploitation and objectification of women.
By Kassidy Spight
Less than 5% of modern artists are female, but 85% of nude portraits are women. “ “
Hidden beneath the rumbling train tracks of Waterloo Station lies a 300-metre celebration of urban culture: the Leake Street Banksy Tunnel.
This authorised graffiti area is the perfect place to witness astonishing live art creations, with occasional appearances by street-art idols. The tunnel blooms with a constantly evolving series of graffiti masterpieces, making each visit a unique experience.
Without the lively art scene, the eight former railway arches would be left filthy, faded, and fatigued. Now, the ground shakes with foot traffic to their independent restaurants and bars that capture the essence of urban culture. These vibrant venues contribute to the dynamic atmosphere, drawing in both locals and tourists who come to enjoy the eclectic mix of food, drink, and artistic expression.
Often only stumbled upon by locals and spread through word of mouth, Leake Street has developed a website to showcase their dining options, entertainment nights, and art workshops. This online presence has helped to broaden the tunnel's appeal, attracting a diverse audience eager to explore its unique offerings. The website serves as a hub for information on events and activities, making it easier for visitors to plan their trip and fully immerse themselves in the Leake Street experience.
Several renowned street artists can be spotted in action, including Blek le Rat and Mason Newman. Visitors can even interact with Marc Craig, the acclaimed artist in residence,
who guides participants in the art of spray painting. Through easy-to-learn educational street art workshops, both tourists and locals are given the opportunity to master spray painting techniques and create their own masterpieces directly on the iconic walls of Leake Street. These workshops provide a hands-on experience, allowing participants to connect with the art form on a deeper level and gain a greater appreciation for the skills involved.
The London Graffiti Tunnel was founded by none other than Banksy. Initially, it served as his private sanctuary, where he could create undisturbed, driven by his vision to transform the “dark forgotten filth pit” into “an oasis of beautiful art.” In 2008, Banksy opened the tunnel to the public, and since then, graffiti artists from around the world have flocked to leave their mark on its walls. Unfortunately, none of Banksy's original Leake Street artwork remains. However, if you head to Shoreditch, you can join the highly rated TripAdvisor Banksy Street Art
Tours to view more of his recent works. These tours offer a comprehensive look at Banksy's impact on the London street art scene and provide insight into his creative process.
Artists of Leake Street unite annually for positive charity causes. Each year, Paint Jam, a London-based art events and workshop group, gathers at Leake Street under the #DOONECANCER campaign to raise awareness and collect donations for cancer support charities. The campaign began in 2015 after a close friend of the founder was diagnosed with cancer. Since then, it has grown from 30 street artists to over 100 participants, painting in multiple locations from London to Nepal. To date, they have raised over £12,000 for various cancer support charities. This inspiring event highlights the power of art and community in making a difference and supporting those affected by cancer.
Art enthusiasts of the world, come and witness the magic for yourself – you never know what masterpiece might be created before your eyes.
By Chloe Chilvers
Stephen is a Suffolk based artist with a background in architecture. He focuses his art on city skylines to help capture and preserve important places and memories for people.
Primarily using acrylic paint on canvas to create iconic skylines, the artist ensures that each painting is a story of something, some place, or someone who changed a person and made them who they are today.
At times, his skylines are relatively literal and straight forward, capturing important places that mean something for his customers or himself.
Other times they're more abstract to represent the way we experience a place differently depending on our state of mind.
What inspires your artwork?
Click here to find out more about Stephen Watkins.
My inspiration comes from the built form around me and my passion for architecture and colour. To me art is in the detail and I want people to get lost in my paintings and get drawn in.
I also worked as an architect for many years so am very inspired by the older ways of hand drawn architectural plans which have been lost over the years.
What is the process & medium you use to create your art?
I mainly paint in acrylics. Usually my paintings start or finish in very bold colours. The bulk of the painting process is concentrated on the architectural style detail. This takes a lot of preparation and time. I usually work up a pencil background as a base and then with a fine paint brush to give it that architectural style that is distinctive in all my paintings.
Places, landmarks and buildings can generate many happy memories to different people. “ “
To me art is in the detail and I want people to get lost in my paintings and get drawn in. “ “
Who are your biggest artistic influences?
There are so many talented artists out there that inspire me, my list could go on and on. A lot of my influences are from artists I see on social media. It’s incredible to see how many talented people there are out there still waiting to be discovered. Any artists with strong architectural drawing techniques definitely are big influences.
What reaction do you wish for your art to incite in the public?
I want people to get lost in my paintings and I want to draw them in and study them. My paintings become more meaningful the closer you get to them with the level of detail. I also want to give permanence to those special memories and significant, life-shaping events to people. Places, landmarks and buildings can generate many happy memories to different people.
What difficulties have you encountered when creating your artworks?
Honestly, I have the opposite to artistic block. I always have so many ideas of painting concepts in my head but not enough time to do them. I find it difficult to work on more than one painting at a time as I like to put all my focus on one piece.
What motivates you to create art?
My biggest motivation is the reaction to collectors when they connect with a piece of my art. It makes me incredibly happy to know that a piece so personal to them will remain on the walls and remind them of a lifetime of memories.
How has your style changed over time?
I've definitely become a lot more detailed over time. A lot of my early skylines were quite simplistic and over the 25 years I have been painting I've become a lot more intricate and experimental with different techniques and colour.
What do you think of the Art Space gallery and having your artwork exhibited with us?
It is a great honour to have my work exhibited in such a beautiful space. Art Space Gallery really has the spacial atmosphere to give the artwork the prominence it deserves and a great relaxed atmosphere to give you the time to appreciate all the works being exhibited.
If you could describe your art in 3 words, what would you say? Architectural, Contemporary, Skylines.
Do you have a favourite gallery or museum?
On a large scale I do love the Tate Modern in London just for its diversity and use of space. Locally for me The W Gallery in Woodbridge in Suffolk UK has a good range of contemporary artists from affordable to high end.
Over the 25 years I have been painting I’ve become a lot more intricate and experimental with different techniques and colour. “ “
Architecture, in its most profound form, is a blend of art and engineering, embodying human ingenuity and creativity. Around the world, remarkable structures stand as testaments to our quest for beauty, functionality, and innovation. From the quirky and unconventional to the grand and majestic, these architectural wonders captivate and inspire. Let's embark on a journey to explore some of the most fascinating buildings across the globe.
The Pompidou Centre, Paris
In the heart of Paris, the Pompidou Centre stands as a bold statement of modern architecture. Designed by architects Renzo Piano and Richard Rogers, this building defies traditional design norms with its inside-out approach. The Pompidou Centre’s exoskeleton of brightly coloured pipes, ducts, and structural elements creates an industrial aesthetic that contrasts sharply with the classical architecture of its surroundings.
Visitors are immediately struck by the building's vibrant exterior, where colour-coded systems for ventilation (blue), plumbing (green), electrical (yellow), and circulation (red) are all
exposed. This radical transparency extends to the building’s interiors, where vast open spaces provide a versatile environment for exhibitions, performances, and cultural activities. As a hub of modern art, the Pompidou Centre houses the Musée National d’Art Moderne, one of the largest collections of contemporary art in Europe.
The Dancing House, Prague
In Prague, the Dancing House stands as a whimsical addition to the city’s historic skyline. Designed by architects Vlado Milunić and Frank Gehry, this building is also known as "Fred and Ginger" due to its resemblance to a pair of dancers. The dynamic, curvaceous forms of the structure contrast with the more traditional architectural styles that dominate the Czech capital.
The Dancing House’s innovative design features two main parts: a static tower symbolising Fred Astaire and a glass tower that twists and sways, representing Ginger Rogers. The use of non-traditional shapes and materials, such as the undulating glass façade, gives the building a sense of movement and fluidity. The Dancing House is a testament to the creative possibilities of deconstructivist architecture, challenging conventional notions of form and structure.
The Sagrada Família, Barcelona
In Barcelona, the Sagrada Família stands as a testament to the visionary genius of architect Antoni Gaudí. This basilica, still under construction since 1882, is a synthesis of Gothic and Art Nouveau styles, infused with Gaudí’s unique organic forms and intricate detailing. The Sagrada Família’s towering spires, adorned with colourful mosaics and sculptures, reach toward the sky, creating a striking and otherworldly presence.
Gaudí’s design incorporates elements inspired by nature, with columns that resemble tree trunks and façades that evoke the rugged contours of mountains. The interior of the basilica is bathed in a kaleidoscope of colours, thanks to the stunning stainedglass windows that fill the space with light. The Sagrada Família’s ongoing construction continues to capture the imagination of visitors, making it a living work of art and a symbol of Barcelona’s architectural heritage.
In New Delhi, the Lotus Temple stands as a serene and contemplative space, drawing visitors from around the world with its striking lotus flower-inspired design. Designed by architect Fariborz Sahba, this Bahá'í House of Worship features 27 free-standing marble-clad petals arranged in clusters to form the shape of a lotus blossom. The temple’s tranquil beauty and harmonious form are complemented by its serene surroundings, including nine reflecting pools that enhance the sense of peace and spirituality. The interior of the Lotus Temple is a vast,
open space, devoid of any images or statues, inviting visitors of all faiths to meditate and reflect. The building’s design and construction embody principles of simplicity, purity, and unity, making it a profound symbol of the Bahá'í faith.
From the avant-garde exteriors of the Pompidou Centre to the organic harmony of Fallingwater, and from the dynamic curves of the Guggenheim Bilbao to the soaring spires of the Sagrada Família, the world is filled with architectural wonders that push the boundaries of creativity and innovation. These buildings not only serve functional purposes but also inspire awe, provoke thought, and enhance our understanding of the built environment. As we explore these remarkable structures, we are reminded of the limitless possibilities of architecture and its power to shape our world in extraordinary ways.
By Amber Williams
The building’s design and construction embody principles of simplicity, purity, and unity, making it a profound symbol of the Bahá'í faith. “ “ <
Walking through the streets and alleyways of Gibraltar will take you on a journey through history via the distinctive architecture that is evident from times gone by.
From the invasion in 711 when military Commander Tariq ibn Ziyad left the north coast of Morocco and led Berber forces in a successful invasion of Gibraltar through to the Spanish and British occupation, you can witness a rich tapestry of architectural styles throughout the Rock.
In 1309 Gibraltar was captured by the Kingdom of Castile after a short siege, but Muslim control was restored in 1333 after another siege. The city subsequently underwent a major expansion and refortification. A number of buildings and structures from this period still exist, including the Moorish Castle, parts of the Moorish walls, a bath-house and a subterranean reservoir. The most prominent of these
is the Tower of Homage, the largest surviving remnant of the Muslim fortifications.
Although these grand fortifications and colonial buildings dominate Gibraltar’s skyline, many of the buildings highlight the blend of unique cultural influences, as witnessed particularly in the Old Town where a blend of Genoese, Spanish and Portuguese features can be seen. In 1784, the Italian stonemason Giovanni Maria Boschetti travelled to Gibraltar to build military facilities but he is also renowned for bringing to Gibraltar the green wooden louvred shutters that grace the exterior of many of the buildings. In the narrow streets, where buildings are tightly packed, these shutters help regulate the interior climate of homes and provide privacy in a densely populated urban setting.
One of the most recognisable features of Gibraltar’s architectural landscape are its ornate ironwork balconies often made from wrought iron and featuring highly decorative patterns. They project from the façades of homes and public buildings along Gibraltar’s winding streets and became popular during the 18th and 19th centuries.
The town reflects the classic British colonial aesthetic, particularly in the Georgian and Victorian buildings that line Main Street and the surrounding areas. The Governor’s Residence, known as ‘The Convent’ is a prime example of this blend, with its 19th century red brick facade and iconic balcony that was added in the late 1800s. These buildings, with their sash windows, red brickwork,
and decorative cornices, could easily be mistaken for parts of a small English town, were it not for the Mediterranean climate. Sometimes a glimpse of the iconic Andalusian style patios with their colourful tiles and lush greenery can be spotted through an open door.
The Garrison Library in Governor's Parade was built by architect Captain Fyers (afterwards Major-General) of the Royal Engineers between 1800 and 1804 with a new wing added in 1867. The building stands on a slope above Main Street and is built from white stone set amid grounds which had once been grazing land for the Governor's horses and cattle.
Cities are often defined by their cathedrals and Gibraltar is no different.
Following the Reconquista, when Spain recaptured Gibraltar from the Moors in 1462, the architectural landscape shifted once again. Spanish rule introduced elements of Renaissance and Baroque styles, leaving their mark on many of the religious and civic buildings in the territory. Perhaps the most emblematic of this era is the Cathedral of St. Mary the Crowned, originally a mosque that was converted into a Catholic church in the late 15th century. Holy Trinity Cathedral, located in Cathedral Square, built from 182532 is notable for its Moorish revival architecture, particularly in the use of its horseshoe arches.
Other buildings of architectural note include City Hall, the building presently used as the office and parlour of the Mayor of Gibraltar, and Number 6 Convent Place which is the location of the headquarters of His Majesty's Government of Gibraltar and Office of the Chief Minister.
As Gibraltar continues to modernise, the architectural landscape has evolved accordingly. In recent years, contemporary buildings have begun to appear, often characterised by sleek glass façades and modern materials. These new structures, primarily commercial and residential developments, seek to balance the need for growth and
modernisation with the preservation of Gibraltar’s historic fabric.
One such example is Ocean Village, a luxury marina and residential development that blends modernist architecture with Mediterranean influences. While the sleek, modern design of Ocean Village contrasts sharply with Gibraltar’s older buildings, it is a testament to the territory’s growing economy and evolving identity. Efforts to preserve Gibraltar’s architectural heritage remain strong, with many of its historic buildings and fortifications carefully maintained and restored. These efforts are not just about preserving the past but about ensuring that Gibraltar’s unique architectural landscape continues to tell its story for generations to come.
Finally, home to the Gibraltar’s new contemporary Art Space Gallery situated at 120 Irish Town is the old Police Station, a charming example of Victorian architecture and an important heritage building. Constructed in the mid-19th century it is one of the only brick buildings left in Gibraltar. The ornate details, red bricks and white Corinthian columns are in stark contrast to the other styles of architecture in Gibraltar and lend a sense of grandeur to the building. A classic example of the old encompassing the new.
By Jo Ward
An accidental impression - the story of
Having a natural talent and flair isn’t enough to become a success, you also need to be determined and committed.
Elena Mifsud was exactly that. Against her father’s wishes she would practice her craft in anyway she could, which sometimes meant painting on windows and wiping away her creations to start again. Elena (or Leni as she became more popularly known) would use any spare pieces of glass or wood she could lay her hands on to be creative.
Leni developed her distinctive impressionist style after an argument with her sister, she was so flustered and annoyed that without thinking Leni applied the paint straight from the tube forgetting to mix with turpentine or oil as she normally would. Leni liked the result so much that she continued to paint like this until her death.
Leni didn’t just paint with oils though, watercolours and pastels found a home in her paintings too.
She also did carving, printing and worked leather which would lead to her eventually studying sculpture and arts at the Colegio de Bellas Artes in Madrid in the early 1930s. Her father wasn’t supportive of her choices believing that being an artist was not suitable for a young lady, especially in that time period but he still funded her travel. He didn’t agree but he still loved her. This did mean that Leni funded her own education by selling her car, doing some commissions and selling postcards and frames. Eventually she was awarded a Spanish scholarship which helped to fund her studies. Indeed, she would later use these same tough lessons in her own teachings.
She always respected her father even if they didn’t agree all the time and so she kept her eccentric and rebellious
nature to a minimum not wanting to upset him too much. However, after his passing in 1936 Leni let her true colours fly. She started publicly smoking, wearing trousers and even cut her hair short (in the mid 30s that was still pretty risque behaviour).
Even being evacuated to Maderia in 1940 couldn’t stop her. Leni continued creating art even holding a successful exhibition in Funchal Portugal and worked for the church restoring and creating paintings of the Virgin Mary.
Eventually Leni was able to return to her studio on Horse Barrack Lane and continue her own body of work. At the much-loved Calpe Institute on Main Street, she began teaching art and even did some restorations around Gibraltar.
Leni was definitely determined to be creative no matter the state of the world or her own life, she just kept pressing on, taking opportunities when and wherever they arose.
She used her own home for exhibits and had regular exhibitions all around Gibraltar but even that wasn’t enough, she needed to push further afield and approached galleries around Spain. Spreading her love for art and growing a following, she would finally consider herself a successful artist. Leni thought she’d reached her pinnacle of creativity, but then in 1976 she was awarded the Governors Certificate and Badge of Honour.
Elena Mifsud passed away at the beginning of 1989 at 82 but this didn’t stop her fame or the love the art
community in Gibraltar has for her.
A building in Edinburgh Estate was named after her in 2005 and one of the much sought after prizes at the annual Gibraltar International Exhibition carries her name.
So, if you ever feel like you’re too different or times are too hard to continue following your passions, remember Elena Mifsud and realise that if you’re committed and determined anything is possible!
By Ian Law
Leni let her true colours fly. She started publicly smoking, wearing trousers and even cut her hair short (in the mid 30s that was still pretty risque behaviour). “ “
can visit
How have Gibraltar’s streets become a canvas for creative expression?
‘Street Art’, often described as an open-air gallery, has grown from its rebellious roots into a celebrated form of artistic expression worldwide.
Characterised by bold aesthetics and bright colours, it transforms urban landscapes into vibrant pieces that reflect cultural diversity, social issues and artistic innovation. Among the many countries and cities where street art thrives, Gibraltar stands out as a unique and flourishing hub.
Street art encompasses a variety of mediums, styles including graffiti, murals, and installations. As an underground movement, artists like Cornbread, Banksy and Basquiat have revolutionised this new and unique form of artistic expression. It has gained global recognition in big cities like New York, London and Berlin which have become famous for their thought provoking and interesting messages to the public. These urban galleries offer more than visual pleasure. Instead, they are riddled with meaning and the focal point of political, social or economic conversation.
Seeing this innovative, inspiring and unique artwork in Gibraltar makes me feel like a tourist in my own home. The level of artistic prowess among so many of our artists should be celebrated and praised, as some details can leave even the most cultured individuals speechless. The narrow streets and historic architecture of Gibraltar provide a perfect backdrop for this modern art form, creating a blossoming juxtaposition of old and new. For example, the Battle of Trafalgar mural at Ragged Staff reflects Gibraltar’s rich military history, whilst the tunnel connecting Irish Town to Chatham Counterguard hosts the “Make A Wish” mural, embodying real world struggles that affect people from all corners of the
globe, regardless of their background. The rise of street art in Gibraltar can be traced back to local initiatives and international collaborations. The Gibraltar government and various cultural organisations have actively supported street art projects, recognising their potential to enhance the surrounding environment, along with touristic attraction. The artwork often incorporates elements of the territory’s natural beauty, historical landmarks and diverse population, making each piece a narrative that speaks to visitors and locals alike. Another example is the distinction between the mural of John Lennon and the Gustavo Bacarisa series, depicting everyday people at work or leisure.
The recent surge in street art has had a profound impact on new emerging artists. One of the Gibraltar shaped barriers in Casemates Square had been painted over depicting a grandfather lifting his young grandchild at the closed frontier. As I strolled through town I noticed this new mural that hadn’t been there the last time I passed by. As soon as I was home, I was surprised to see that this very mural was popping up on my social media feed. People were buzzing about the new addition to Gibraltar’s growing street art scene, sharing photos and praising the artist's work. It was interesting to see how quickly it had become a talking point, and almost like a mystery trying to figure out who created the piece. Kyrane Lia came forward on her socials and announced that she was the ‘mystery’ artist behind these murals. Her idea for this project is to highlight important events throughout Gibraltar’s history.
In conclusion, Gibraltar’s street art scene is flourishing, with recent projects adding depth and diversity to our cultural landscape. What began as scattered murals and small projects has grown into a significant movement that enhances our urban environment. As the scene continues to develop and grow, Gibraltar is poised to become an even more prominent destination on the global street art map, where history, culture and contemporary art converge in a unique and compelling way.
By Anthony Loddo
People were buzzing about the new addition to Gibraltar’s growing street art scene, sharing photos and praising the artist's work. “ “
Gloria Anzaldúa was a Chicana-American essayist of feminism, cultural and queer theory. Her book auto-theoretical Borderlands/La Frontera was seminal for the articulation of border cultures and identities along the Texan border between Mexico and the US.
Blending prose and poetry, Anzaldúa’s book traces the multitude of borders placed on her identity as a mestiza; heteronormativity, colonialism, the patriarchy, and language are figured as spaces for negotiation, as existing in-between planes. Anzaldúa gives voice to in-between, hybrid cultures that straddle borders and limits; she is a voice with which Gibraltarians can find comfort. She encourages people to take ownership of their heritage and culture; to embrace their languages and find solace in the liminal. Similarly to Gibraltarian writers increasingly moving towards incorporating Llanito/Yanito in their writing, Anzaldúa writes Borderlands in Spanglish. Like in many other ways, Anzaldúa’s use of Spanglish was ahead of her time: it fits with the contemporary trend in Chicano art and literature to adopt translingualism to emphasise the fluidity of identities. Translingualism signifies a conception of code-switching as moving across and within linguistic boundaries: it presents languages as existing on a spectrum in the multilingual mind. Mixing languages in art and literature has, therefore, become a way to defy borders.
Through language, she reflects the identity-tug she feels: she is
[…] neither Hispana, india, Negra, Española
Ni gabacha, eres mestiza, mulata, half-breed
Caught in the crossfire between camps
While caught carrying all five faces on your back
Not knowing which side to turn to, run from;
Using Spanglish, she compares her translingual poetic persona to a crossroads and feeds into the extended metaphor of her body as a borderland that runs throughout her book. Anzaldúa describes her body as a ‘1,950 mile-long open wound’ as a
stalking fence [that] rods in my flesh, splits me splits me me raja me raja
In a visceral description, Anzaldúa portrays the border as creating an open-wound that runs down the length of her body; as dividing her identity. Interestingly, Anzaldúa explores notions of identity-dismemberment through different mediums: her blend of literary styles by mixing prose and
poetry communicate an attempt to show that identities, like literature, can be figured in different ways – however, a lesser-known artistic method of Anzaldúa’s articulation of multiple identities in her drawings.
Writing, for Anzaldúa consists of composing fragments, placing them together, changing them, and fleshing them out: as if she is dismembering herself before putting herself back together. She describes identity as a cycle of death and rebirth for both author and work, as a process which is ‘Nepantla’, a Chicano term for passing between worlds. Like the wound that splits her entire body, her writing process is a painful one. She insinuates that the border does not allow the body to choose its pieces, instead the blood spills over to both sides.
There is also something surrealist about reconstructing pieces to form a new body. In her own commentary on primitivism, Anzaldúa remarks that ‘modern Western painters have
Click here to see some of Anzaldúa's drawings.
borrowed, copied, or otherwise extrapolated the art of tribal cultures and called it cubism, surrealism, symbolism’, words reminiscent of Frida Kahlo’s pleas to critics to stop describing her art as surrealist instead of simply ‘Mexican’.
In this way, there is an indication that Anzaldúa’s drawings refer to being appropriated by the West and erased by Anglo-American cultures: she is the dreamwork, the surreal. It is interesting, then, that Mexican surrealist artist, David Avalos conveys palimpsestic depictions of Chicanx identities in 484-Year-Old Mestizo.
Avalos’s painting shows the shadows of identity burgeoning through the glass table. The solid chair seems to have an open wound itself, one that reflects downwards
484 years. This layering of the mestizo identity reinforces Anzaldúa’s hybrid identity that bears the burdens of and spans history. The mestiza identity is generational, its palimpsestic.
Similarly, Anzaldúa asks her reader to stop importing Greek myths and Western views onto her roots. Instead, she asks readers to root themselves in the mythological soil and soul of the American continents. She asks readers to look to indigenous mythologies to understand the Americas.
Interestingly, André Breton, the pioneer of Surrealism, who described the movement as an attempt to resolve the contradictory conditions of dream and reality into an absolute superreality. This was a super-reality that Kahlo claims appropriated Mexican indigenous culture. Thus, when
Anzaldúa expresses that
She has this fear that she has no names that she Has many names that she doesn’t know her names She has This fear that she’s an image that comes and goes Clearing and darkening the fear that she’s the dreamwork Inside somebody else’s skull
Anzaldúa indicates that she is the dreamwork, that her identity is being co-opted by borders and her body wounded by its wires. She is a hybrid of all her identities: within her, the histories of the Americas mingle. By Sophie Macdonald
There is an indication that Anzaldúa’s drawings refer to being appropriated by the West and erased by Anglo-American cultures: she is the dreamwork, the surreal. “ “
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Richard Prince is an American contemporary artist and photographer who made a name for himself in the mid 1970s with his use of mixed media collages incorporating both photographs and drawings to create them.
Despite the plethora of controversy Richard Prince has faced over the last 40 years, he continues to explore and create new art by using re-photography and appropriation. “ “
However, Prince’s controversial take on art began to develop shortly after. His untitled image depicting a cowboy is a photographic reproduction of Sam Abell’s photography combined with the appropriated use of a cigarette advertisement, which sold for more than $1 million at a New York auction in 2005. The artist altered this image to convey the traditional American archetype and to deconstruct it into a basic depiction of society’s desires at the time.
Prince took inspiration from Jackson Pollock, the American abstract expressionist, stating “I was very attracted to the idea of someone who was by themselves, fairly antisocial, kind of a loner, someone who was noncollaborative”. His interest in this can be seen in his artwork, as he strives to create something new and different in art which has the tendency to not be widely accepted by the general public. He classifies himself as a ‘loner’ in the art world, recognising that his work is ‘pretty reckless’ and blatantly controversial.
Being no stranger to controversies, one of his more recent acts of defiance took place in 2014 after Prince appropriated an image that model Emily Ratajkowski had posted on her Instagram feed without her consent, and included it in his exhibition titled New Portraits displayed in New York’s Gagosian Gallery. Ratajkowski was highly vocal about how the event had
taken the authority of the image away from her, deeming herself a symbol for the importance of women taking back their power and their right to receive compensation for its usage and distribution.
To create this exhibition Prince took screenshots of Instagram posts from both celebrities and unknown individuals, and altered captions and comments to create a more unbelievable reality thereby initiating commentary on vanity, copyright and traditional portraiture.
Despite the plethora of controversy Richard Prince has faced over the last 40 years, he continues to explore and create new art by using rephotography and appropriation. The idea of appropriating photography has been a concept that gained popularity in the early 80s with artists such as Louise Lawler, Barbara Kruger
and Vikky Alexander. In modern times, this technique can be compared to how a large portion of the population who are active on social media, alter their photographs. Platforms that have gained popularity and have become normalised in recent times, are the applications Facetune and FaceApp which allow the user to alter, retouch and transform their photography into completely new and idealised images of themselves. Reality stars such as The Kardashians have been more notable and consistent users of these features, often being found to alter the width of their waist and face, and use different tools to smooth their skin thereby appearing more youthful. They release these photos on platforms such as Instagram and X (formerly known as Twitter) and market them in a way to have them appear as original photography.
Conclusively, the idea of altering generated images as a way to create a more favourable reality is something that has been happening for decades, and is now developing and expanding into everyday habits. Although this has been normalised in recent times, people are still found to hide away when they have made use of these features, in an attempt to maintain the legitimacy of the reality they actively choose to create online.
By Kassidy Spight
The use of comedy and satiric elements in art is nothing relatively new in today’s contemporary landscape. There are a plethora of artists discussing, reviewing and commenting on social, economic and political problems of today.
When I think of comedy and satire, my mind immediately goes to wall street and the political spectrum. Caricature artists invested in using comedy with exaggerated and cartoon-like features to highlight an individual’s greed and obsession about a particular event. I think my mind goes to caricature because of how upfront it is, it’s art that is not trying to be anything but comedy and satire. The same can be said for artists such as Banksy, a very well-established artist whose focus is on exploring topics of social, economic and political struggle. Yet, Banksy’s work is sometimes clouded in mystery, it’s hard-hitting and presents the shock factor that many find to be an important part of his display. But in some cases, his work does have this hidden meaning, his choice of character or set of objects is very deliberate and he forces the audience to think a little bit more about what this could mean. I especially like his piece titled: Happy Choppers, prints (shown left) depicting US attack helicopters adorned with pink bows below their blades.
Comedy and the hidden meaning are also something which can be seen throughout the Pop art genre. Artists like Roy Lichtenstein and Robert Rauschenberg’s use of political commentary with a light-hearted approach to print is an interesting duality. The pop art scene focused a little more on the political spectrum and in many cases using figures of state, famous actresses and individuals to present a critique of some kind. One piece in particular
which intersects this notion of pop art and satire is Keith Haring’s untitled 1982 ink drawing of Mickey Mouse with a love heart. A piece that on the surface is a simple adaptation of a famous cartoon character, yet Haring’s approach to the famous mouse was tweaked in acknowledgement to Warhol’s contributions to pop art and Haring’s admiration for him. The now Andy Mouse as it’s titled is seen as a critique on consumerist culture while on the left of the image we have the duality of love, a big red heart between two people and the gamble of having one’s heart broken. The use of love and smaller hieroglyphs across much of his work are again Hearing’s reference to elements of life, religion, death and more. His comedic and light style do make his pieces very approachable and friendly to much of the artistic and non-artistic audience, yet, Haring’s interest in activist culture meant that much of his work didn’t shy away from a social and political commentary! Famous for his sausage dog sculptures and provocative poses, artist Sebastian Burdon’s use of comedy is slightly more deliberate and up-front. His print series titled: ‘Gone ’ depicts various characters from Burdon’s childhood in a very haunting and sombre way. Characters from Disney, the Simpsons, the Looney
It’s showing our childhood heroes reaching out to us with an extended hand and saying: ‘Hello, I’m still here, do you remember me?’ “ “ Sebastian Burdon
Toons and more are showcased as black and white individual prints with all characters holding one hand up to what seems to be a glass of some kind. The characters themselves take on a completely different persona and Burdon’s attempt of showcasing them in a different light works nostalgically as they evoke the feeling of something that has been lost or forgotten… As Sebastian himself states: “It’s showing our childhood heroes reaching out to us with an extended hand and saying: ‘Hello, I’m still here, do you remember me?’. Or if those are fading memories, they are saying goodbye.” In this case it’s more than just comedy and satire, but an attempt to transmit something more personal and on an individual level.
By Francesco Scalici
David is a British artist whose abstract artworks are featured in art fairs & galleries across the United Kingdom. David aims to represent his ideas about life, humanity and freedom in a contemplative visual manner.
Click here to find out more about David Kirkman.
After a short interview with David, I have discovered that his passion for diving informs the sense of space in his art. As he strives for his art to immerse and capture the viewer’s attention, his compositions become a vivid, immersive, balancing energy of spontaneity, chaos and emotion.
What inspires your artwork?
My work is inspired by the exploration of our thoughts, they are about life, humanity and freedom - of a state of mind; of excitement, and contemplation - full of contrasts. My passion for diving also adds an intriguing layer to my work, it expresses a lot of what I do within my paintings - the space to breathe when underwater, where nothing but your senses and breath matter… the quiet and the tapestry of the underwater, the unknown.
To put yourself at the mercy of the ocean is to feel humbled and free. I draw inspiration from wanting to capture these feelings in paint. To create excitement through the brushstrokes, movement, contrast and colours and at the same time find peace within the moments they create. With each breath or mark you are embracing your own vulnerabilities and turning them into positive experiences. Whether under the water or on land, our world is colourful and chaotic but also mesmerising.
What is the process & medium you use to create your art?
I work with a variety of mediums to create my mixed media artwork. These include, acrylic paint, spray paint, inks,
pens, gold leaf, fabrics and textured pastes. My process is one of freedom and spontaneity. I use paint to explore new forms which will ultimately carry emotional weight. For this to be successful I paint in the moment, not anticipating the next move but letting my creative eye and feelings guide the process.
I want my paintings to immerse and capture you in the space between uncertainty and acceptance. “ “
I want my work to make people feel good or create a space for reflection and encourage self confidence. “
HAPPY VIBES
Who are your biggest artistic influences?
I am inspired by the freedom of Gerhard Richter and the bold colours used by David Hockney. I also want my work to be expressive and immersive like Basquiat, his work was a commentary on class and race, giving it deep meaning. I want my work to promote conversation around self belief, power of thought and mental health.
JOY UNLEASHED
In a world of struggle and judgement I want you to become lost searching for meaning allowing the colours, movement and contrast to take you on a journey. “ “ “
What reaction do you wish for your art to incite in the public?
I aim to bring escape, meditation and positivity, to create a thinking space for the viewer, to allow them to immerse themselves and escape from the everyday. In a world of struggle and judgement I want you to become lost searching for meaning allowing the colours, movement and contrast to take you on a journey. I want my paintings to immerse and capture you in the space between uncertainty and acceptance.
What difficulties have you encountered when creating your artworks?
My process allows for complete freedom however this creates its own difficulties. I typically decide on a colour palette before I start but then every other decision is made subconsciously. One of the biggest challenges I have is not to prescript or lose my confidence in the process, to just clear my mind and start painting. My process is forcing me to embrace the unknown.
What motivates you to create art?
I went through a period of time where I struggled with depression and anxiety, art became my escape, a way to lose myself, a vessel for positivity. I now create pieces with the intention of empowering people. I want my work to make people feel good or create a space for reflection and encourage self confidence.
How has your style changed over time?
My style does change due to the nature of my process however my pieces will all use colour and contrast to create energetic, bold pieces.
What do you think of the Art Space gallery and having your artwork exhibited with us?
It is an honour to have work in Art Space Gallery, it’s a fantastic space. As an early career emerging artist it gives me an incredible platform in Gibraltar.
If you could describe your art in 3 words, what would you say? Bold, Colourful and Immersive.
Do you have a favourite art gallery or museum?
The Tate Modern art gallery.
My process is forcing me to embrace the unknown. “ “ the end
Sylvia Plath was at her most prolific during the years 1959-1965, a period which coincided with great political tension for the United States: The Cold War.
Concordantly, The New Yorker , to which it was Plath’s practice to send her poetry, experienced an editorial shift, from light-hearted pieces to ones laced with Cold War paranoia, such as Rachel Carson’s Silent Spring and Hannah Arendt’s Eichmann in Jerusalem . William Shawn edited The New Yorker from 1952-1987, and the Cold War was the impetus for his change of editorial direction. Shawn was a deeply paranoid man: he was severely claustrophobic and afraid of elevators – he would not set foot in an elevator without an attendant. Neither would he stride into the office in bell bottoms of tie-dye. Instead, he was a notoriously reserved, middle-aged man who wore sweater vests. Besides lacking the quintessential sixties look, however, his paranoia would filter into the magazine and give the magazine an oblique political consciousness. This was the political paranoia off which Plath’s poetry and fiction would feed: the magazine, like her poetry, rose to the apocalyptic occasion and reflected the fraught social tensions that infected Cold War America.
The New Yorker would become an institution for Plath, one that allows us to re-evaluate and revisit the afterlife of her writing. Famously, Plath has been remembered through her marriage with Ted Hughes and the psychobiographical cult of her suicide, and her work disregarded as a romanticisation of it. Plath’s relation to The New
Yorker , however, reflects the influence of contemporary politics, economics, and periodical culture on her writing. The New Yorker was not simply a magazine she submitted pieces to, it's very pages would become tools for collaging her preoccupation with the Cold War.
The Cold War rhetoric emphasised by politicians such as Eisenhower included the idea that women should consider their roles as housewives as a civic duty. “ “
In her famous collage, made up of clippings from New Yorker magazines, Plath glaringly places Eisenhower at the centre, and ironises the arms race by combining an advertisement for ‘Electric-Scale Model Racing’ with an image of a missile pointing to the womb of a woman in a swimsuit. The Cold War rhetoric emphasised by politicians such as Eisenhower included the idea that women should consider their roles as housewives as a civic duty, to teach the next generation about the ideological weight of American values. This is highlighted by the sticker Plath places next to the woman, which states
that ‘every man wants his woman on a pedestal’.
Cleverly, Plath also replaces one of Eisenhower’s hands with one of a card dealer and suggests that he is directly responsible for the cards women and other Americans have been dealt with during this conflict. Nixon also perpetuated the idea that the US’ strength came from its family values, and positioned the middleclass home as a symbol for protection against nuclear attacks. Politicians were drawing battle lines in the home and Plath perceptively displays this in her collage.
The relationship between motherhood and politics is explored in Plath’s novel, TheBellJarand underscores the translatability between Plath’s reality and fiction. In TheBellJar , Eisenhowerfaced babies beam up at her through an issue of Baby Talk . These babies, she describes, are growing ‘step by step, into an anxious and unsettling world’. Interestingly, similar language is reflected in a letter Plath wrote to her mother on the 7th December 1961; as she worries about the ‘warlike talk in the papers’, she begins to wonder ‘if there was any point in trying to bring up children in such a mad self-destructive world’. The textual similarity here underscores the lapsing translatability between Plath’s fact and fiction. There is an overwhelming dread about the world children will be brought up in post-Cold War in both her letters
and fiction – in this way, one wonders whether there is much difference between the way Plath weaves politics into her New Yorker pieces and the Plath who is merging the political and the fictional.
Plath often reflected on the influence of politics, economics and periodical culture in her fiction, essays and journals: it is in one such essay, ‘Context’, that Plath clearly lays out her approach to writing the political in her fiction. ‘The issues of our time which preoccupy me at the moment are the incalculable genetic effects of fallout’, she claims. ‘Does this influence the kind of poetry I write?’ she poses to the reader, ‘yes, but in a sidelong fashion’, she claims.
Plath disguises the nuclear in the suburban: suburbia becomes, for Plath, a ‘sidelong’ instrument of paranoia, as the threat the Cold War poses to her own personal freedom as a woman in the 1960s. Plath’s Eisenhower collage is certainly striking, it demands a re-evaluation of Plath’s writing, considering how it presents as ‘sidelong’ in her work. Such a collage even suggests that Plath’s infamous collection of poems, Ariel , could hold a ‘sidelong’ meaning. In 1962, upon publication, Ariel would have sparked a multitude of meanings: most notably, it is an allusion to the spirit in The Tempest, but it was also the name of the first Anglo-American telecommunications satellite, which
was damaged by the US setting off a nuclear bomb in space two weeks after its ascension.
Plath’s collages encourage her readers to view The New Yorker as an institution for her work and also returns to her a degree of control over her writing, which has dissipated in a critical afterlife dominated by her relationship with Ted Hughes and psycho-biological arguments. Her collages invite readers to reflect on how the issues of her time inform her stylistic approach, as opposed to a launching point to scrutinise her marital affairs.
By Sophie Macdonald
F. Scott Fitzgerald’s experience in Hollywood would not be as well-received as his book, The Great Gatsby has been. In fact, his experience as a screenwriter in the late 1930s was largely unavailing: he found it difficult to ingratiate himself with studio executives and received a large pile of rejection slips.
However, while he didn’t exactly breakin to Hollywood, Fitzgerald would use this experience to write one of his lesser-known, unfinished triumphs, The Last Tycoon . Not only is The Last Tycoon linguistically cinematic, it also prosaically employs visual film techniques; mingling camera angles with metaphors, Fitzgerald opens a dialogue between the aerial ‘shot’ and the emergence of Technicolour in his work. Fitzgerald captures the ability of young-Hollywood to expose new patterns and perspectives for the human eye. In his book, Fitzgerald uses what P. Amad has termed ‘cineareality’, a combination of cinema and the
aerial, as a tool to both transform the verbal into the cinematic, and to explore the position of the viewer as an outsider.
Despite MGM Film Studios terminating Fitzgerald’s contract in January 1939, he remained socially engrossed in Hollywood as a freelance writer, and observed the implementation of new technical methods, such as Technicolour, that would take over the film industry by storm. Contemporaneously to his work in Winter Carnival, MGM’s The Wizard of Oz emphasised the ability of Technicolour to draw in the masses to an otherwise black-andwhite screen. Drafts and ideas for The
LastTycoonwhirled amongst Dorothy’s swooping hurricane; beginning by portraying a black-and-white Kansan landscape, it is not until Dorothy is lifted and dropped into Oz that the world becomes colourful. The film’s cinematographer, Hal Rosson, applied a ‘boom-like shot’ to show Dorothy’s home swirling in mid-air, which is followed by a montage of characters in motion in the hurricane. The Wizard of Oz highlighted the connection between the aerial and colour as a symbol for modernity. This depiction of Dorothy’s home highlights the ability of flight to lift one into other worlds and patterns – to lift one into colour. This creates a meta-referential scene, where the impact of the aerial view is magnified to add layers of viewing: the audience watches Dorothy on a screen who, then, watches the hurricane through her screen. It is almost as if, by adding layers, the view of the hurricane shrinks, almost mimicking a birds-eye view for the audience – as if they are watching from an aeroplane window.
Fitzgerald describes an aerial scene at the beginning of his book, where, on a flight, ‘they slid off the endless dessert […] dyed with many colours’. Fitzgerald affiliates flight with the ability to view colours – indeed, the adjective ‘dyed’ evokes the process of Technicolour, whereby dye-transfer techniques are used to produce a colour print. It seems
that this connection is intentional: his choice of ‘slid’, contrasted with the ‘peaks’ of mountains to describe the movement of the plane also mimics the upwards and downwards movement of the popular ‘boom-shot’. There is a suggestion that Fitzgerald’s plane ride resembles a Hollywood-scene: Fitzgerald scans the landscape from the outside with the buzz of Hollywood resting within him – he is both repulsed by the banality of the industry and attracted to the uncanny mechanics of its illusion.
Stahr, the main protagonist in the book, also uses a ‘boom-shot’ as a mechanical tool: ‘I’ll shoot up at him […] let him go away from the camera’, Stahr directs. It’s even suggested that Stahr might use a crane to capture the shot – the ‘literal sky was the limit’. Fitzgerald adds a kinetic effect to his writing, it moves up, with Stahr, into the air and demands the reader to visualise the scene from a height.
Crucially, in objectifying the landscape, the aerial view not only makes what is below it vulnerable, but it is also vulnerable to what is below it. In the 1930s, aerial photography was a new phenomenon, which coincided with Hollywood’s ability to screen in colour. The aerial inspired other Modernist writers, like Gertrude Stein, to compare the aerial view to Cubist paintings: she describes going over America made ‘anyone know why the post-Cubist painting was what it was’, she saw ‘the wandering line of Masson […] the mixed line of Picasso’ on the ground. For Ernest Hemingway, the aerial made the earth seem as if it had been ’cut into brown squares, yellow squares, green squares, and big flat blotches’ which ‘helped him to understand Cubist painting’. The aerial, like the Cubist, becomes a palimpsest for reality: writing the aerial is a response to the body’s sensorium when flying among mechanical vibrations, engine noises
and changing gravitational forces. As Fitzgerald makes clear, it is not just the effects on the visual, but the bodily, that illicit a literary response.
By Sophie Macdonald
As Fitzgerald makes clear, it is not just the effects on the visual, but the bodily, that illicit a literary response. “ “
+350 200 50202 info@sailing.gi allabroad-sailing-academy.co.uk
Visual art and literature have always been intertwined, each influencing the other in a sophisticated dance of creativity. Drawing inspiration from poetry’s rich imagery, profound emotional resonance, and lyrical beauty has been a tradition among artists.
Words take on new dimensions and transcend linguistic barriers when they are placed on paint, allowing viewers to experience poetry through sight, texture, and colour. The impact of both the written and the visual is increased by this blending of media, which creates a dynamic dialogue between them.
Despite their obvious visual distinctions, poetry and artworks are intrinsically linked through their emphasis of expression through emotions, and how they evoke raw thoughts and emotion in their presentation. Artists will often utilise poetry for inspiration as poems are capable of distilling wildly complex concepts and feelings into brief, vividly rich language.
William Blake
One of the most well-known artists who effectively bridged the gap and removed boundaries between poetry and visual art is William Blake. Blake was a visionary painter and poet whose paintings reflect the seamless integration of the two mediums when combined. His illuminated works, including Songs of Experience and Innocence , blend his ethereal
poetry with elaborate, frequently eerie pictures. In these works, Blake’s personal mythology and spiritual visions are made tangible through both the written word and his unique artistic style. An obvious example
of this is The Tyger, in which Blake’s poetry is presented in synchronicity with a portrait of a sprawling, towering tree, with each branch separating the stanzas, and a proudly positioned tiger standing beneath the poem.
John William Waterhouse
One of the most recognisable and visually stunning renditions of a poem in art history is John William Waterhouse's 1888 painting The Lady of Shalott . Inspired by the narrative poem The Lady of Shalott by Alfred Lord Tennyson, Waterhouse portrayed the eerie tale of a cursed woman who is alone in a tower, creating a magical web, only to meet her terrible end as she looks out her window. The pivotal moment when the Lady of Shalott embarks on her tragic trip down the river to Camelot is shown in the picture, and creates a foreboding and ominous image that leaves the viewer wondering what happens next.
Hana Shahnavaz
Some of these visual interpretations can be more explicitly apparent, especially in poetic works that vividly describe a scenario, allowing for artists to produce an image that assists readers in forming their perception of a poem. An example of this is Hana Shahnavaz’ A Spark in the Emerald Forest (2019), which is a depiction of a specific moment in the story of Khosrow and Shirin, specifically a scene of two souls connecting whilst surrounded by nature. The painting depicts a lush forest that sets the stage of the following passage: ‘On the way, he finds Shirin unclothed bathing and washing her flowing hair; Shirin also sees him; but since Khosrow was traveling in peasant clothes, they do not recognise one another’. The artist is inspired by the distance this failure of recognition places on the two individuals, and uses the shimmering river and emerald land to convey this sense of separation.
By Ben Lemmon
Clickhere
to see Hana Shahnavaz's ASparkintheEmerald Forest
Artists will often utilise poetry for inspiration as poems are capable of distilling wildly complex concepts and feelings into brief, vividly rich language. “ “
California based artist Craig Alan first recognised his creative drive when he used crayons on his parents’ walls.
After excelling in an introductory drawing class in school, Craig continued to develop technically and conceptually through his own diligent studies while always planning to pursue a formal art education.
To help sustain his education he found financial support and enjoyment in driving to New Orleans on his weekends and creating portraits for passers-by on the streets. This endeavour helped him perfect his flair for replicating the human figure.
Futurism was an early 20th-century avant-garde art movement that invoked the spirit of innovation, technology, and modernity.
The movement originated in 1909 by the Italian poet Filippo Tommaso Marinetti, and it sought to depart from the classical and historical artistic notions that were prevalent at the time, instead embracing the rapid advancements of the industrial age — dynamism, speed, and the energy of modern life. Futurism represented an audacious separation from the past and an optimistic acceptance of the future, reflected through art, architecture, literature, music, and even fashion.
A reason behind the extensive denunciation of the past is because of the significance of Italy’s belief of their oppressive past culture. Marinetti writes in his manifesto that ‘we will free Italy from her innumerable museums which cover her like countless cemeteries’. Futurism was therefore iconoclastic in its expression, with futurists voicing an immense disdain for classical literature and art, viewing them as remnants of a decaying period of the world that were unfit for use in the modern era.
The actual artistic style of futurism reflects an advancement of society through its faster, more energetic motions and aesthetic. The goal of futurist art was to portray energy and movement. They held the view that both objects and life were in perpetual motion rather than being static. To portray speed and energy, they also employed overlapping images, diagonal lines, and fractured forms. Giacomo Balla's DynamismofaDogonaLeash(1912), for example, depicts a dog and its owner's legs moving quickly together to give the impression of movement.
A heavily renowned trope of the Futurist movement is the emphasis
on machinery, factories and modern technology, typically used to symbolise progression and advancement in society. The art generally attempts to convey this machinery in a way which is reminiscent of heroism and optimism, to further the association of modernism as a positive force. An example of
this is Umberto Boccioni’s sculpture Unique Forms of Continuity in Space (1913). This sculpture encapsulates a fluidity of constant motion, suspended in space and engaging with the forces and dimensions acting upon it, all with the intrinsic link to modernity through the material of the sculpture being reminiscent to steel and industrial elements.
By Ben Lemmon
The goal of futurist art was to portray energy and movement. “ “
Isis and Coco are pioneering the way for young artists in Gibraltar to express themselves and become who they were born to be.
What inspired you to start performing in drag?
Coco began by stating that it was a “natural progression” during their teen years where they were “experimenting” with fashion, hair and make-up. The “explosion of the internet” provided them with the freedom to simply be themselves. Isis then goes on to explain that the beginning of the “Drag Race” franchise spoke to them on a very personal level, as they “felt like we were doing drag without knowing it”. It was when they moved to Brighton in 2011, where they felt that they were “finally able to channel their love of cosmetics, clothing and accessories” to their lives.
Isis brought up some very compelling points regarding how their positive exposure to the drag community in the UK has facilitated “the expression of my gender in a way that I never thought I could before”. Isis identifies as a trans woman and has therefore faced a variety of obstacles and challenges on her journey to self-realisation. It all boils down to the internal need to live as your true self around those who share and support your ideology.
I then asked them how they developed their drag persona, and what it means to them. Coco responded that it was “a natural extension” of who he already was. “For people, drag is very much like a job, and there is a part of
my identity embedded in my artistic point of view”. He has developed his drag persona by “using [his] beard in modern drag” to go against societal norms, gender-nonconformity and, most importantly, “self-love”.
Isis proceeded to explain how her influence was more from the “goth, punk theme” due to the fact that it seemed to be the only “acceptable” platform to express her interests safely. This was mainly due to the fact that, at the time that goth and punk rock were at an all-time high, it was the norm for males to “wear eyeliner” and be more “experimental” with their makeup to achieve a certain look. It is the “most empowered [she] has ever felt in their build-up to their life as a drag performer”.
How do you balance the elements of costume, make-up and performance in your drag?
Both performers agreed that it “all depends on the audience, the type of music they’re into, the artists they’re into and the general theme of the event”. It was obvious from the tone of the conversation that Isis and Coco were going into regarding their extensive attention to detail on their performances, that they strive to achieve the best possible experience for themselves and their audience, particularly through their professionalism, intellect and dedication that enables their efforts to reflect their success.
How do you see the role of drag in the LGBTQ+ community and beyond?
Coco replied with: “As we said before, drag can be considered a jack of all trades. They tend to be the lighthouse of the community, in the sense that they grab attention. There are obviously many opinions about the crossover between drag and trans”. Isis then added on with her view that “drag is a pillar in our community”. They have felt that “drag performers are the first target a lot of the time”, but they both continue to pioneer the acceptance of drag in Gibraltar and their local communities. It was mutually agreed that drag performers have faced a lot of criticism and abuse from people who may be ignorant to the subject and not wish to inform themselves entirely on the matter. However, “this is why drag performers tend to be the leaders in pride events, they are the most visible and leading the march”. Coco then adds to the relevance by stating that “it is all about peace”. It is ultimately about “giving the support and love back to those who support and love you”, as Isis continued to add.
Both performers have stated that the youth in Gibraltar has impacted them in a huge way, and it has also provided Isis, Coco and other aspiring drag performers to silence the negative “rhetoric” surrounding drag performers, trans people and the LGBTQ+ community in general.
By Anthony Loddo
Drag performers tend to be the leaders in pride events, they are the most visible and leading the march. It is all about peace. It is ultimately about giving the support and love back to those who support and love you.
“
There can’t be many people who haven’t seen an image of Marilyn Monroe, one of the most photographed women in history and arguably the most recognisable of the twentieth century. Born Norma Jeane (with the ‘e’) Mortenson but renamed Marilyn Monroe by 20th Century Fox, the actress was celebrated amongst the illustrious stars of Hollywood, famed for her roles in classic films like ‘Gentlemen Prefer Blondes’ and ‘Some Like It Hot’.
This icon transcended generations and history, immortalised not only by photographers but also capturing the imagination of artists, as can be witnessed by the silkscreen canvases of Andy Warhol, the Godfather of Pop Art Sir Peter Blake’s depictions of her and now the modern digital renditions including that of Banksy who reformulated Andy Warhol’s Marilyn Monroe, replacing the face of the era-defining American actress, model and singer, with that of British supermodel Kate Moss.
What was it about this goddess, once labelled the archetypal sex symbol of the 50s and 60s that inspired and continues to inspire so many artists? Artists are drawn to Marilyn not only for her physical beauty but also for the layers of meaning her image evokes. The highs and lows of Marilyn’s life have been documented in film, on television, in photography, in music and, of course, in art. Part of it lies in her complex persona, a blend of vulnerability, strength, innocence and sensuality. Her life story, marked by both extraordinary success and profound personal struggles, resonates on a deeply human level.
It was soon after her tragic death in 1962 at the age of 36 that Warhol, who had never met Marilyn, made his first tribute to her when he became inspired to create a portrait of the actress, selecting a publicity still taken from the 1953 movie, Niagara . Interestingly, he used this photograph for all of his portraits of her.
The Marilyn Diptych features fifty images of Marilyn in a diptych format, with two panels side by side, reminiscent of religious icons, adding a layer of irony to Warhol’s exploration
Sannib (Signed)
100cm X 100cm
of celebrity worship and mass culture. Warhol’s use of bold colours and repetitive imagery in his screen prints transformed Monroe into an emblem of mass-produced celebrity.
By 1967, when Warhol established his print-publishing business, Factory Additions, the actress was a familiar subject for the artist and he created a portfolio of ten coloured silkscreen versions of Marilyn in vibrant colours.
In 2022 Warhol’s Shot Sage Blue Marilyn sold for a record $195 million at Christie's New York. The highly anticipated sale made it the most expensive 20th century artwork ever sold at auction.
Part of the reason why this portrait was so sought after is in the title… this Marilyn was shot with a pistol. The silkscreen is part of a five-painting series, four of which are referred to as the Shot Marilyns . A friend brought performance artist Dorothy Podber to Warhol’s studio and she asked to shoot four of the works. Warhol agreed thinking she was going to take photographs but she pulled out a gun and shot the canvases, piercing holes in several of them. They were subsequently repaired, but the name stuck.
Contemporary artists like Salvador Dalí and Willem de Kooning incorporated her likeness into their work. Dali depicted Marilyn in his 1972 Self Portrait , a photomontage featuring the famous Mao Marilyn that Philippe Halsman created at Dali's wish. De Kooning’s abstract expressionist approach in his 1954 Marilyn Monroe painting captures the chaotic energy and fragmented perception of her public and private personas.
In recent years, street artists have continued to celebrate Marilyn’s legacy. Murals featuring her iconic image adorn city walls around the world, from Los Angeles to Paris. Artists like Banksy and. French-born Los Angeles–based street artist Mr. Brainwash have integrated Marilyn’s likeness into their works, often using it to comment on contemporary issues such as consumerism and the cult of celebrity.
To celebrate Marilyn’s birthday on 1st June, the Art Space Gallery in Gibraltar dedicated an area to artworks of the film-star by two artists who represented her in varying styles. Sannib, a British contemporary artist skilled in graphic design and painting who has developed a unique mixed media art style by blending graphic elements, painting techniques and textures, and Scott Tetlow, a master calligrapher and ink artist who combines calligraphy and illustration.
Marilyn was the perfect muse for many an artist. It is hard to imagine that she was born in the same year as another style icon of the 60s, Queen Elizabeth II. The two women met at a London film premiere in 1956 when they were thirty years of age. Andy Warhol went on to make silkscreen prints of both women.
Marilyn’s face had stood the test of time, never fading or losing its magic, and although she has become a symbol of the American dream, sadly she is also a reminder of the pitfalls.
The image of Marilyn with her blonde hair, red lips, hourglass figure and iconic white dress billowing up around her has become part of our visual language and is deeply ingrained in our collective cultural consciousness, so it is no wonder that even sixty-two years after her death artists will continue to find inspiration in Marilyn, ensuring her legacy endures for generations to come.
By Jo Ward
Susan Hartley is a contemporary British sculptor. She explores shape, form and texture through her art and interprets the human form in a fragmented, twisted and arching way.
Click here to find out more about
Susan seeks to capture movement in clay, and visually excite the viewer. After a short interview with her, Susie describes the evolution of her craft and source of inspiration over the years.
What inspires your artwork?
Natural forms and the human figure inspire my work. I love walking locally on the South Downs and surrounding woodlands. Trees, plants and flowers have constantly inspired me through their structural forms.
My love of the human figure has continued throughout my career and I have attended life drawing classes since a teenager. Studying the human form through drawing and working with clay is one of my absolute passions. Movement is also a really important aspect in my work.
What is the process & medium you use to create your art?
I will research a subject, whether a human form or animal portrait and make a series of mood boards which will go up on the wall of my studio. I usually make a small scale model in clay to inform my decisions before I make a larger outcome. I model clay and fire my work in a kiln using glazes or oxides to enhance the forms.
My work celebrates the strength and beauty of the figurative form and I would like to think people are drawn to my work in a tactile way. “ “
ALANA AND I WILL RISE
I like to express tension and energy in my work. I also love working three dimensionally as the viewer can see the different flowing forms within the sculptures. “ “
Who are your biggest artistic influences?
My biggest influences are Rodin, Matisse and Degas as I love the intrinsic movement in their work. I also love David Bomberg, Dennis Creffield and Frank Auerbach’s use of charcoal in their drawings. When I draw I like to use charcoal and a rubber on cartridge paper, working expressively to capture the form.
What reaction do you wish for your art to incite in the public?
My work celebrates the strength and beauty of the figurative form and I would like to think people are drawn to my work in a tactile way. I like to express tension and energy in my work. I also love working three dimensionally as the viewer can see the different flowing forms within the sculptures.
What difficulties have you encountered when creating your artworks?
Constraints are usually to do with costs of materials at Bronze Foundries.
I chose to go to Canterbury College of Art in the 1980’s to study my Fine Art Degree because it had casting facilities including a Bronze Foundry. I was fortunate to work from a variety of inspiring life models for the 3 years of my course and often cast my sculptures into plaster. I also learnt the Lost Wax technique in the Foundry and enjoyed making smaller pieces in bronze. Upon leaving college I soon realised that working on a larger scale in plaster and especially bronze had its constraints, as it is a costly process! Consequently I now work in ceramics and enjoy using colour in my work.
What motivates you to create art?
I love working observationally and from my imagination. A combination of both these subjects motivates my work. Inspiration can come from something as small as a seed head!
How has your style changed over time?
I would say that although my work is figurative it has become slightly more
abstracted over the years. When studying my BA Hons Fine Art Degree in Kent 1986-1989 I was fortunate to work directly from a range of life models - working from observation, modelling clay onto an armature (the structure that supports the clay). I studied the human form and worked with scale, ratio and proportions. Although very much based on the female and male form I now work more intuitively - not always directly from a life model. I attend a regular life drawing class and often use these drawings to inform the development of a sculpture in my studio.
What do you think of the Art Space gallery and having your artwork exhibited with us?
I am honoured to exhibit my work at the Art Space gallery - the photos I have seen on social media are very impressive and I am looking forward to visiting the Gallery in Gibraltar one day.
If you could describe your art in 3 words, what would you say? Movement, form and texture.
Do you have a favourite art gallery or museum?
I absolutely love the British Museum and the V&A in London. Both Museums have been a major source of inspiration with the fragmented sculptures of the Antiquities.
My biggest influences are Rodin, Matisse and Degas as I love the intrinsic movement in their work. “ “
Don’t have an artistic bone in your body? You may be surprised to see the results of your artistic endeavours when you book in for a ‘Sip and Paint’ class.
‘Sip and Paint’ art classes have become a bit of a phenomenon in recent years. Browsing social media will bring up plenty of opportunities in local communities to attend ‘Sip and Paint’ sessions. Images of happy artists displaying their artworks entice prospective attendees to sign up to vent their artistic expression and indulge in some social interaction. What could be better for the soul than painting on canvases whilst enjoying your favourite drink?
One of the key factors in the popularity of ‘Sip and Paint’ classes is that no experience is required. Classes usually cater for people with varying skill levels, from complete beginners to more experienced artists.
Painting has been proven to have therapeutic benefits, including stress reduction and emotional expression. Engaging in a creative activity provides a break from the hustle and bustle of everyday routines and offers a unique way to practice mindfulness while expressing yourself artistically.
One thing to bear in mind is that sipping doesn’t have to include alcohol! It can involve any drink, including tea, coffee and soft drinks. Just remember not to inadvertently dip your paintbrush into your drink rather than the water in which to clean your brush (speaking from experience)!
Many of the sip and paint classes follow the same format in that they
are held over two hours with all the materials such as canvases and paints provided.
Gibraltar-born visual mixed media artist, graphic designer and art tutor Gerry Martinez is renowned for several of the street murals that can be seen around town, the latest of which is situated behind Euro City. Gerry brought the concept of sip and paint to Gibraltar three years ago when she started her Art, Wine & Tapas monthly sessions at My Wines, and she also runs twice weekly adult classes which are held at 75 Prince Edward Road. “Art is an amazing tool for me to dip into mentally and I just wanted to share that knowledge and experience with
other people, because everybody is under so much stress these days, life isn't how it used to be and I think it is really important to disconnect for a couple of hours and recharge and this is a wonderful way to do it,” she explains. Gerry provides a theme using one or two images, depending on the experience of her pupils. “When I started most of my students were complete beginners, but many of them now are repeat attendees, so they are not at the same stage as they were when they first came along.”
“We have a lot of fun and a glass of wine but I’m always mindful that I want them to go home with something a little bit extra, so I give them a tutorial
at the beginning and let them get on with it and then advise them as the class continues,” she says. “I am a great believer in letting people express themselves so I don't want them to necessarily copy my style and I want them to bring out their inner creativity, and they are often surprised with what they have achieved.” As a graphic designer Gerry sometimes uses Photoshop to create a combination of images, occasionally using her own artwork which she will use to walk them through the steps of composition, instructing her pupils on how to use basic shapes and how to find lines of symmetry. Gerry is a firm believer that anyone can paint and wants to debunk the myth that you can only do stick men. “It is important to give everyone something that they can learn and takeaway, rather than just having a fun and sociable evening.”
Kasia Sanderson is an artist who has been holding Sip & Paint sessions along the Costa del Sol since October last year. She had an exhibition of her
“
Art is an amazing tool for me to dip into mentally and I just wanted to share that knowledge and experience with other people, because everybody is under so much stress these days, life isn’t how it used to be and I think it is really important to disconnect for a couple of hours and recharge and this is a wonderful way to do it.
“
own work at a boutique hotel shortly after arriving in Spain and decided that she wanted to do something for the community where they could get together and connect around art. “The first Sip & Paint was a hit so I started doing them on a regular basis and it grew,” she explains. “The concept is a bit different to traditional sip and paint classes because I run mine more as a creative art club.”
At Kasia’s Sip & Paint sessions, attendees can paint whatever they want, although there is always a theme. “It is just there for someone who might
not know what they want to do,” she says. “All I care about is that they come along, relax, meet new people, drink and chat, have fun and do something creative.”
Self-doubt is one of the major reasons that many people feel they can’t paint. It is amazing to watch someone complete their first painting and realise what they can achieve. It is not so much a lack of talent, just more a lack of confidence, and sip and paint sessions enable many of us to open up a whole new world of creativity.
By Jo Ward
Art, in its purest form, is a manifestation of human creativity and expression. It transcends boundaries, speaks universal truths, and has the power to evoke profound emotions. Yet, in the contemporary world, art often finds itself ensnared in the complexities of commerce and wealth
The transformation of art into an elitist commodity is a topic fraught with controversy, raising questions about accessibility, value, and the true purpose of artistic creation.
The art market, with its glittering auctions and sky-high price tags, is a world unto itself. Here, the value of a piece is often dictated not by its aesthetic or emotional significance, but by its market appeal and the bidding wars it can ignite. Recordbreaking sales, such as Leonardo da Vinci's Salvator Mundi fetching $450 million, capture headlines and spark debates. While such sales underscore the immense monetary value placed on art, they also highlight the growing chasm between art as a public good and art as a private treasure.
The soaring prices of contemporary artworks by artists like Jeff Koons and Damien Hirst further fuel the notion of art as a status symbol. These works are often acquired by ultra-wealthy collectors, whose purchases are seen as investments rather than expressions of genuine appreciation. This commodification of art, critics argue, reduces masterpieces to mere financial assets, traded and hoarded like stocks or real estate.
Art dealers and galleries play a pivotal role in the art market, acting as gatekeepers and tastemakers. They wield significant influence over which artists gain prominence and which
works are deemed valuable. While their expertise and curation can elevate deserving artists, there is a darker side to their power. The art world is notorious for its opacity, with backroom deals and exclusive networks often determining an artist's success.
This gatekeeping can perpetuate elitism, as emerging artists without connections or financial backing struggle to break into the market. The emphasis on marketable names and proven sellers can stifle diversity and innovation, favouring a select few while sidelining many talented creators. Critics argue that this reinforces a narrow definition of value, driven more by market dynamics than by artistic merit.
Museums, as bastions of culture and education, occupy a unique position in this landscape. They aim to democratise art by making it accessible to the public, offering a counterbalance to the exclusivity of private collections. Yet, even museums are not immune to the pressures of the art market. The need for high-profile exhibitions and blockbuster shows can drive institutions to chase after the same prized pieces coveted by private collectors.
This competition can lead to controversies, such as the debates over deaccessioning — when museums
sell off parts of their collections to fund acquisitions or operations. Critics argue that this practice commodifies cultural heritage and can deprive the public of access to important works. On the other hand, proponents claim it is a necessary strategy for financial sustainability and for ensuring that collections remain dynamic and relevant.
Art fairs, such as Art Basel and Frieze, epitomise the spectacle of the contemporary art market. These events are not just marketplaces but cultural phenomena, attracting wealthy collectors, curators, and celebrities from around the world. The atmosphere is one of glamour and exclusivity, with VIP previews and private sales creating a sense of elitism that can seem at odds with the inclusive spirit of art.
While art fairs provide a platform for galleries and artists to gain exposure and make sales, they also spotlight the commercialisation of art. The emphasis on high sales volumes and quick transactions can overshadow the contemplative experience of engaging with art. The transactional nature of these fairs raises questions about the impact of market forces on artistic integrity and the role of art in society.
For artists, the commodification of art presents a complex reality. On one hand, achieving commercial success can provide financial security and enable them to continue their creative work. On the other hand, the pressure to produce marketable works can lead to compromises in artistic vision and innovation. Artists may feel compelled to cater to trends and collector preferences, potentially stifling their authentic voice.
The dichotomy between artistic freedom and commercial viability is a persistent challenge. Some artists navigate this by maintaining a balance between creating work for the market and pursuing personal projects. Others critique the system from within, using their art to comment on the very market dynamics that shape their careers.
In recent years, the rise of digital art and online platforms has introduced new dynamics to the art market. Digital artworks and NFTs (non-fungible tokens) have opened up opportunities
for artists to reach global audiences without traditional gatekeepers. This democratisation of access has the potential to disrupt the elitist tendencies of the art world, enabling more diverse voices to be heard.
However, even the digital art market is not immune to speculation and commodification. The frenzy around NFTs, with some digital works selling for millions, mirrors the excesses of the traditional art market. While digital platforms can increase accessibility, they also bring new challenges related to authenticity, ownership, and the environmental impact of blockchain technology.
At the heart of these controversies lies a fundamental philosophical debate about the purpose and value of art. Is art meant to be a communal experience, enriching society and fostering cultural understanding? Or is it a luxury commodity, whose value is determined by its rarity and the willingness of buyers to pay exorbitant prices?
Critics of the commodification of art argue that it undermines the true essence of artistic creation. They contend that art should not be confined to the private domain of the wealthy
but should be accessible to all, serving as a catalyst for dialogue, reflection, and social change. The fetishisation of high prices and exclusivity, they claim, distorts the cultural and educational role that art should play.
Conversely, proponents of the art market highlight the importance of financial support for artists and the role of collectors in preserving and promoting art. They argue that the investment value of art reflects its cultural significance and that private patronage has historically played a crucial role in the development of art.
The intersection of art and wealth is a complex and often contentious terrain. As art continues to be viewed and traded as an elitist commodity, the tensions between accessibility, value, and artistic integrity persist. While the art market undeniably plays a crucial role in supporting artists and fostering creativity, it also raises challenging questions about who gets to define and access the cultural treasures of our time. Ultimately, the ongoing dialogue about art as an elitist commodity reflects broader societal debates about culture, wealth, and the role of art in our lives.
By Amber Williams
Throughout the ages, there have been prolific rivalries in the artworld. Based on jealousy, elitism and pride, artists’ claim to fame has caused rising tensions time and time again. Whether it be antagonists who have scaled their way to power in society and adamantly removed any remanence of human expression to suit their own political ideals, or passionate arguments amongst some of the most talented and well-known artists to ever walk the planet. We invite you to read some of the most famous events that have led to devastating results in the artworld, and some of the most memorable rivalries to ever exist!
The late 15th century in Italy was characterised by political instability. With the death of Lorenzo de Medici in 1492, his son Piero succeeded his father’s position, and proved himself to be an incompetent leader and man of limited political judgement. Florence was forced to surrender Pisa and Livorno to Charles VIII, resulting in Piero’s expulsion from the city, and causing the Dominican monk Girolamo Savonarola to fill the power vacuum which was left behind. Savonarola adopted a scorched-earth policy, and was seen as the prophet of doom and repentance. In essence, he was known for his prophesies, his calls for Christian renewal and the destruction of all vain things including various art forms.
Perpetuating the ideals of virtuous simplicity in Christian life, Savonarola valued art for its didactic function and to aid both spiritual and mystical experiences. He condemned opulent and decorative arts associated with the Medici as well as pagan art, denouncing the frivolous in art and encouraging simple images to incite devotion and spirituality.
With images such as Boticcelli’s much beloved Primavera of 1482, this poetic composition centred around the ancient pagan gods of springtime was badly received by Savonarola, who later destroyed similar images in the 1947 ‘Bonfire of the Vanities’.
Michelangelo vs. Leonardo, 1500s
As two of the most talented artists in history, Leonardo da Vinci and Michelangelo Buonarotti truly defined the Renaissance. While both individuals shared otherworldly abilities, the disdain they shared for one another was indeed palpable!
Commissioned to paint in competition with one another for the 1504 war scene The Battle of Anghiari & The Battle of Cascina , both artists demonstrated the tremendous skill they each possessed when inferring the anatomical realism of the human body in contortion.
Glorified for their work, and individually respected as the best artists the world has seen, the fight for power and recognition to be legendary was carried on throughout their lives.
Caravaggio vs. Bagglione, 1600s
As one of the most adverse characters in the world, Caravaggio was not only a prolific painter, but was also famous for his difficult personality traits and passionate ways. Having been arrested repeatedly for slashing an adversaries cloak, throwing a plate of artichokes at a waiter, scarring a guard and abusing the police, the artist’s spontaneous
temper aided his skill with minimal preparation. In competition with Bagglione, another prolific painter at the time, Caravaggio stated that a good artist is “a man who can paint well, and imitate nature well. Bagglione however, can do neither!”
Van Gogh vs. Gaugin, 1800s
Living and learning from one another in Paris during the 1880s, Van Gogh and Gaugin produced many works alongside each other and learnt from each other’s techniques during the post-impressionist period. After some time, Van Gogh’s stubbornness and Gaugin’s pride began to simmer under the surface, resulting in a passionate argument after nine weeks of living together. This resulted in Van Gogh’s mental breakdown, which led to him
sending a slice of his left earlobe to his favourite courtesan and Gaugin’s immediate return to Paris!
WWII Germany, 1900s
With 30,000 pieces of stolen art still missing since WWII, the term ‘degenerate art’ was adopted to describe works that were considered an insult during Nazi Germany. In 1937 an exhibition opened up to the public and displayed a range of artworks in different mediums which had been confiscated from public institutions in Germany. Following a new law on May 31st 1938, it was decreed that artworks which were previously held in museums, galleries and publicly accessible collections would be banned and removed from society altogether.
By Tamara Bell
After some time, Van Gogh’s stubbornness and Gaugin’s pride began to simmer under the surface, resulting in a passionate argument... resulting in Van Gogh’s mental breakdown... and Gaugin’s immediate return to Paris. “
With the holiday season and Christmas 2024 upon us, one is left reminiscing about art through the ages.
From Byzantine icons of the Madonna and Christ, to the depictions of religious imagery during the Italian Renaissance, the world has seen a tremendous evolution of religious imagery throughout the ages. From idealisation, to controversies and realism to more abstracted interpretations, religious iconography in the artworld has and continues to evolve at a dramatically fast rate.
La Bella Maniera: Mannerism & The Figura Serpentinata
Mannerism or Maniera is a term which requires careful definition. The term was coined in the 1920s as a label for the art produced between the High Renaissance and the Baroque periods which did not strictly adhere to either style. According to the author Linda Murray, Mannerism as a style can be recognised by its concentration on the nude figure in 'bizarre and convoluted poses, and with exaggerated muscular development; with subject matter... [which] becomes difficult to understand'.
The author describes Mannerism’s aesthetic characteristics as entailing 'extremes of perspective, distorted proportions... figures jammed into too small a space... vivid colour schemes.... simplicity of presentation... multiplicity of views and silhouette, elongation of forms, and exaggerated effects'.
Madonna with the Long Neck 1534-1540
Oil on wood, 216 x 132cm
Uffizi Gallery Florence
An example of this can be found in the work of Parmigianino. The famous Italian painter was renowned for transforming religious imagery throughout the ages, and reinventing its traditional characteristics, to create a highly subversive and groundbreaking portfolio with an unsettling depiction of religious figures.
Madonna with the Long Neck was created in the mid 16th century. Parmigianino was hailed as a forerunner of the Mannerist style, and his Madonna reflects this notion. The composition focuses the viewer’s attention to the body of the Madonna and the Christ Child. The Madonna sits enthroned, dressed in a blue mantle as the Christ Child sleeps on her lap and as the angels on the left-hand side gaze upon him. The violent dissonances of scale between the figures in the foreground, the unfinished colonnade, the crammed angels in a narrow corner and the gesticulating figure on the lower right-hand side demonstrates how proportion in Mannerism is treated. The figure of the Madonna and the Christ Child are elongated to such a degree which renders them unrealistic and exaggerated.
Parmigianino seems to take influence from other artists of the time, such as Raphael. This is evident in the proportions of the Madonna’s long graceful hands, long slender neck and sophisticated elegance in form and posture. According to Elizabeth Cropper’s discussion on Firenzuola’s ‘ideally beautiful woman’, Parmigianino’s Madonna is compared to a vase. Her elongated proportions, long slender neck and curving arcs of her physique resemble the ecliptic,
Extremes of perspective, distorted proportions... figures jammed into too small a space... vivid colour schemes... simplicity of presentation. Linda Murray
delicate and graceful nature of an antique vase. This perpetuates Vasari’s conception of the ‘bella maniera’ which aimed to create the ideal human figure to be used for all figures.
Caravaggio
The Entombment of Christ 1603-1604
Oil on canvas, 300 x 203cm Pinacoteca Vaticana, Vatican City
Another artist who became highly subversive in his enigmatic paintings of religious icons was the highly esteemed Caravaggio. Considered to be the epitome of biblical drama, Caravaggio, the grand master of the Italian Renaissance is hailed for his dramatic compositions of religious scenes. Working in Rome during the 16th century, Caravaggio's paintings are easily recognisable for their stark contrast between light and dark.
His spellbinding use of chiaroscuro enhances the tension of the unfolding narrative, and allows the viewer to become overwhelmed with emotion and empathise with the figures’ plight. Caravaggio’s tonal contrasts emphasise the dramatic subject choice, and serve as a demonstration of his skill and realism.
Having been such an influential artist during his time, his apprentices and followers were nicknamed the “Caravaggisti” and followed in his footsteps, adopting his painterly techniques and employing them in their
own artistic practice. Caravaggio’s compositions are infused with a sense of volatile dynamism. This can be interpreted as a reflection of the artist’s own personality. His masterpieces exude an intense and unsettling emotion, further emphasised by their large and overwhelming scale.
Giotto
Scrovegni Chapel
1303 – 1305
Fresco, Padua
Dedicated to Santa Maria della Carità, the Scrovegni Chapel in Padua is the most exquisite and renowned revolution brought to Tuscan Western Art. Giotto skilfully frescoed the walls of the chapel to depict the History of Salvation in two different cycles.
Unfolding over the entire interior surface area of the chapel, Giotto
depicts the stories of the Life of the Virgin and Christ painted along the aisles and the triumphal arch, as well as the Vices and Virtues painted in the lower section of the walls ending with the Last Judgement on the counterfaçade.
The chapel is awe-inspiring as one walks in and is faced with imagery around every corner, and an overwhelming celestial blue colour which encompasses the entire surface area. This great revolution by Giotto is not only concerning the space and sense of perspective in his rendering of the third dimension that anticipates Renaissance theories, but also, his depiction of man in his physicality and emotionality.
Giotto depicts human joys and sorrows with such intensity surrounding the tenderness of the kiss of Joachim and Anne in TheMeetingattheGolden Gateand the desperation of mothers in tears in TheMassacreoftheInnocents
The vaulted ceiling is a blue mantle of stars depicting Mary, Christ and the Prophets. The famous sculptor Giovanni Pisano also displays his sculptural group of the Madonna with Child between two angels in the presbytery. Considered a UNESCO World Heritage Landmark in 2021, Giotto’s Scrovegni Chapel is a tremendous feat in the artworld implementing the ‘buon fresco’ technique, typical of the times. By Tamara Bell
Art in its many forms offers a rich tapestry of experiences and interpretations. The appreciation of art as we are all aware is highly subjective, and this can greatly vary from person to person.
Whether it carries a profound message or is appreciated for its simple beauty, its value lies in the eyes of the beholder. So, let’s play devil’s advocate for a second, and say that art without meaning is simply just decoration. Would that imply that all art must have a meaning?
Many people enjoy art for its beauty, form and composition without the need for a deep or conceptual backstory. Some artists enjoy the creative process, and others engage in art activities to relax, reduce stress and ultimately help out their overall wellbeing and health. Whether young or old, and whatever level of artistic ability, the piece they create surely must hold some meaning to the person who created it. Creating art of any kind is deeply personal for most, I think.
Now, the perception that all art MUST carry a deeper message, particularly one aligned with a social or political theme, is something the mainstream world seems to be fixated on. Often at art galleries, I find that everyone has this desire to know the actual meaning of certain pieces. But what about the artworks that are not intended to be defined? That their purpose is to have no meaning at all? Is the purpose of art to be defined, or to be left with mystery?
Recently, the ‘woke’ movement which emphasises social justice, equality and awareness of systematic issues has certainly impacted the art
world. Many artists feel like they have a responsibility to address these issues, reflecting the broader societal push for awareness and change in society. So, are creatives supposed to use their platform to provoke, and challenge? Or is that what we are expecting and asking from them because we want more?
English based street artist ‘Banksy’ has been active since the 1990s, and has been known for his anti-authoritarian art, which typically causes a flurry of media attention. Chinese contemporary activist and artist ‘Ai Weiwei’s’ work frequently addresses human rights, censorship and migration. Fans of artists known for their political and proactive work often expect them to continue challenging societal norms and addressing contemporary issues. Similar to fans of Taylor Swift wanting another ‘break up’ tune based on yet another heartache.
Not all musical artists write about their heartache and trauma, many of them I feel are driven by their own personal convictions and desires to make a positive impact on the world. For example, in 2016 Beyoncé released a song called ‘Formation’ in response to the police killings of unarmed black men. This song quickly became an anthem for the Black Lives Matter movement. Art and artists are the mirrors of society, which reflect the social dynamics of its time. It has been a long-standing tradition, and
I feel like each artist navigates their own relationship to society and their creative expression.
At the end of the day, people’s reasons for engaging with artists and their work are quite diverse. Engagement with art is typically driven by a genuine appreciation for the work, creativity, skill, and maybe just seek out art for enjoyment and escapism. Art can serve as decoration, but it often involves critical thinking which stimulates discussion and debate. Its multifaceted nature makes it an essential and dynamic part of human nature.
By Anthony Loddo
This idea that art needs to have a meaning or inspire can be seen as a limited view. Art can serve many purposes. There is no single point that art must adhere to, and diversity is one of its greatest strengths. “
Supported by leading professionals around the world, the programme endeavours to expose young children to the world of fine art, thus fostering an environment where imagination and creativity can flourish.
Reflecting Gibraltar’s unique cultural heritage, the programme aims to establish the Rock of Gibraltar as a hub for artistic and creative development.
growingartists.gi
Rococo is a taste in art that animated the first half of the 18th century, characterised by elegant, delicate decorations and a masterly use of stucco, intaglio, mirrors, silks, and brocades.
uring the eighteenth century in France, political upheavals paved the way for the romantic Rococo style to emerge. The death of Louis XIV, the emergence of Louis XV and the reign of Madame de Pompadour characterised this time period, and popular propagandistic works of art began to give way to charming, light, frivolous and more intimate subjects acquired by private patrons.
There was suddenly a witty and playful aspect which swept across the art stage. Such humour showed no respect for religion or the State at a time of economic downfall. The Rococo style exuded a rosetinted view of life, thereby exposing the style to criticism as trivial and merely serving a purely decorative purpose. The style adopted aristocratic exclusivity and many Rococo artworks depicted people of high social status and its decorative and dense ornamentation became associated with the nobility.
As a result, the Rococo style became illustrative of its time and people in its quaint, picturesque, attractive and dainty characteristics. However, these stylistic characteristics were continuously berated for lacking any moral or didactic teachings, for being emblematic of a decadent society as well as being disengaged from reality.
This interpretation of the Rococo style can be simulated from the typical paintings of the time which gave prominence to a pleasing aesthetic over any moral subject matter or placed narrative. Common images of the time demonstrated the social encounters of French aristocrats or amorous pictures in which men would court women in natural settings; a place of purity, relaxation and seclusion where they could live out their erotic fantasies and love affairs. Such images derive their influences from the fête galante genre which gained notoriety with
Jean- Antoine Watteau, in a natural setting with a tranquil and idyllic landscape.
The term fête galante describes images depicting figures from the Italian Commedia dell’ arte engaging in amorous activities or enjoying the simple pleasures of music, courtship, dance and conversation. The Italian comedians were very popular among the bourgeoisie during the time and were therefore frequently depicted in various forms of art, including paintings and etchings. The author Michael Levey describes Watteau’s figures as 'out in the countryside... idle and relaxed, enjoying conversation and music, indulging a mood of lazy amorousness which seems to defeat time... in the lulling afternoon air'.
Indeed, Rococo art favoured the complex swirling forms of Baroque art, but with an air of grace and pleasurable or voyeuristic subject matter. The term ‘Rococo’ was in fact coined by a student of the Neo-Classical artist Jacques-LouisDavid and meant as an insult to the teachings of Classical antiquity in the Academies.
With images such as Fragonard’s The Swing , housed in the Wallace Collection in London, the painting demonstrates the light-hearted unashamedly sensual glimpse into a private world where women delight in their own bodies and indulge in their capacity for pleasure. Every brushstroke conveys a playful sense of movement, as the central female figure swings towards her lover hiding among the lush bucolic foliage as she flicks her shoe towards him in a highly provocative manner whilst being pushed on the swing by her husband.
Moral seriousness
Motivated by a sense of rejection towards Rococo’s frivolous thematic concerns, Neo-Classicism became the dominant artistic and intellectual movement of the 18th and 19th centuries, propelling forward the pursuit of moral seriousness and Academicism. Closely linked with
the Enlightenment and the French Revolution, the emphasis on reason and rational made its way into painterly aesthetics. Shaping morals and behaviour, excavations took place in Italy and Greece which further fuelled the study of the ancient world thereby generating austerity and high moral seriousness to create a society which was both virtuous and modern.
One of the greatest examples of Neo-Classical art is The Oath of the Horatii by Jacques-Louis-David. In an attempt to emulate the virtues of republican Rome, the image which became the manifesto of the movement at the time, depicts three brothers swearing allegiance to their father. This oath was taken from Roman history where the Horatii brothers vowed to conquer their enemy or give up their lives trying. The three arches in the background of the painting separate the three moral values of the painting, beginning with the oath itself, leading on to warfare, and finally, lamentation where their sisters are crippled by the grief of what is to come. Emphasising the virtues of honour, bravery and loyalty, the image was considered a trademark of Neo-Classical art and humanistic ideologies.
While Rococo art carried the stigma of moral decadence and superficiality, it certainly begs the question as to why and who fuelled the movement’s reputation and commissioned artworks at the time. In the words of Jolanta Pekacz, “women were more likely to fall into extremes... as driven by passions... as acting by moods, rather than by reason.... and having a weakness for luxury [leading] to perversions of the art of pleasing: coquetry and artificiality”. With the salon being a space for the male Parisian viewer to enjoy these Rococo paintings and the licentious representation of women, who exactly was responsible for the female body as an object of corruption, moral bankruptcy, and mere decoration?
By Tamara Bell
Long been utilised as a potent political tool, challenging norms, sparking dialogue, and inciting change, street art has become a world-wide medium and the most accessible form of art. Through powerful imagery, performance and symbolism, artists convey dissent, critique authority and advocate for social justice. Artists like Frida Kahlo, with her visceral self-portraits and Kara Walker, with her haunting silhouettes, have fearlessly tackled gender inequality and racism, exposing uncomfortable truths through their powerful imagery. In the hands of justice seekers, art becomes a potent weapon against inequality, ignorance, and oppression.
An insightful case-study worth exploring, he who is known for his sharp political and social commentary; works often highlighting human issues, particularly those relating to war, poverty, censorship, and consumerism. An anonymous figure, adding a layer of mystery and intrigue to his provocative art is none other than Banksy.
ART THROUGHOUT THE YEARS HAS SERVED AS SOCIETY’S TRUSTY MIRROR, REFLECTING ITS FLAWS AND INJUSTICES WITH UNAPOLOGETIC CLARITY.
The anonymous street artist’s distinctive stencilled artworks often appear in public spaces, conveying powerful messages that provoke thought and inspire activism. His works have gained global recognition for their satirical commentary on contemporary society. Humorous images occasionally combined with slogans, stencilled subjects often including rats, apes, children, policemen, soldiers, and the elderly. For Banksy, the streets are his canvases, and his art is undeniably a form of political activism.
Banksy’s art, like a graffiti coated sledgehammer, smashes through the façade of societal complacency, forcing us to confront uncomfortable truths and inspire change, a beacon of truth piercing through the fog of indifference.
Throughout the 20th and early 21st centuries, street art has been used as a tool for protest and political expression, playing significant roles in movements such as Civil Rights in the U.S., antiApartheid activism in South Africa and the division of East and West Berlin in
the 1980s. Art as a political tool has been a concept to inspire and impact masses for social and political change.
Serving as a potent instrument for political commentary and social critique, Banksy’s art is not merely decorative or aesthetic. Often satirical, addressing topics such as capitalism, greed, environmental degradation, and political corruption to name a few, this profound artist challenges the status quo, highlighting the flaws and injustices of society. Designed to make you stop, think, and question the world around you, his clever juxtaposition and thought-provoking imagery, prompts viewers to reflect on pressing contemporary issues.
Banksy demonstrates a way to silently and anonymously, demand selfreflection, change and fairness. To stand up for what one believes in and to not tolerate injustice. In a complicated world of indifference, art has yet again shown up as an empowering tool of influence, expression, and positive change.
BY PETRA DE LETRAS
The following interview comprises of a series of six questions related to the work of the artist Juan Torres. Mainly, I will refer to his pictorial style, his stylistic approach and his interest in portraiture.
In your description of yourself, you mentioned that from a very young age art was predominant and constant, but that you did not receive any formal studies in the arts.
Can you tell us a little more about your artistic inspirations? What drew you to sculpture and painting and which artists did you find fascinating?
I don't think that when I was young I had any specific inspirations. It was something natural. I simply saw how easy it was for me to draw, model clay or carve wood. What I found fascinating and fun was the process of creation, seeing how images or objects appear that did not exist before I manipulated them. I admire and envy (in a healthy way) many artists, established ones such as Sorolla or Velázquez and also almost unknown people who publish their works on Instagram. I admire talent no matter whom it comes from.
Portraiture is clearly an important part of your approach as an artist. It is clear that people and individuals are the topic to which you pay the most attention. One piece I find particularly interesting is Where Have the Birds Gone?
Could you explain a little more about this piece and what led you to create such a composition?
This is possibly one of my most disturbing works, both for those who
contemplate it and for myself. I painted it to participate in a contest and decided to do something different, something that would attract attention. I had just finished a series of paintings about very happy babies under the sea and I wanted to continue with the idea of painting a child, but in this case, showing helplessness and restlessness in an apocalyptic and desolate world. It is an image that raises many questions to the viewer and can have many interpretations. It doesn't leave you feeling indifferent and I like that.
In contrast to your portraits, the paintings depicting animals are some of my favourites. Specifically, the paintings titled: Powerful and Amazona . Both show a very good understanding of perspective, colour composition and the use of shadows.
Specifically, in the Amazon painting, I find that the background reminds me a lot of the colour separation seen in Mark Rothko's abstract paintings...
Do you find inspiration in abstract works in any way?
I am not a big lover of pure abstraction, but I admit that I am very attracted to mixing abstraction with the figurative. For me, the difficulty is that the abstract part is “dirty” and “clean” at the same time and that it integrates with the figurative part which is more detailed but without clashing. The painting Amazona is part of a series of works in which red, black and white predominated the canvas and I wanted to give it a greater contrast by projecting red light on to the figures, the background and the water on the ground.
You briefly mentioned that you might also be interested in audiovisual art. Would you consider following or exploring this avenue in future projects? I see that you have documented many videos of yours for YouTube, showing the painting process.
However, would you combine the audiovisual element in your work and how would you go about exhibiting what interests you as an artist through photographs, for example?
I am very attracted to audiovisuals and the great creative potential that video has. I have recorded some unpublished short films. The problem is that audiovisual creation requires many people to carry it out and I like to have absolute control of the creation, from the initial script to the final edition. I don't rule out what you say about combining different media, but currently what I enjoy is painting and
that also allows me to have control of the entire creative process.
Facial expressions and movement are a key factor in many of your pieces, they clearly convey a lot of emotion.
Could you tell us about the painting process for Poeta? A piece that really caught my attention for its composition and depth of character.
Poeta is a work, like the vast majority, that served as an experiment and as a learning experience. I wanted to carry out a study on the expression and movement of the human figure, trying to deduce the personality and character of the protagonist through the perception of his gestures and attitude. In this case, I imagined a literature teacher, as in a movie from the 50s, reciting verses in a theatrical manner and trying to convey to his students his love for poetry.
I am not a big lover of pure abstraction, but I admit that I am very attracted to mixing abstraction with the figurative. “
ACONTECER (HAPPEN)
I would like to thank you very much for your time in answering these questions. To conclude this interview, I would like to ask you what is next for you.
Are there any paintings or projects in progress that you can share with us?
Many thanks to you! After a few weeks without painting, I am finishing two works, one titled Broken Promise and another called Offering 2 . Both are portraits, but with very different styles. What comes next is a mystery even to me!
By Francesco Scalici
Before we begin discussing what kinds of conspiracy theories there are in the art world, we must first establish what a conspiracy theory is and its potential origin. The world is clearly full of conspiracy theories, with beliefs that range from theories highlighting religious symbolism to political propaganda, science and more.
Sarah Gorman
Any time we have moments of political or social upheaval, there’s going to be an increase of conspiracy theories. Also, across time conspiracy theories have similar elements… And usually, it has to do with something that is going on at the time that is hard to explain or is very uncertain. “ “
The conspiracy theory has long been a way to dissuade from fact and postulate some new theory that uses factual evidence to create new conclusions. Some conspiracy theories have become so famous that they have inspired movements, cults or completely rewired someone’s beliefs! In a BBC short documentary Sarah Gorman, Author of Denying to the Grave said the above quote.
The core idea or root of the conspiracy is to unearth the truth, the narrative being that someone or something is hiding information from the public and a hero figure must emerge to uncover the reality and present the fact! It is quite ironic to some degree, conspiracy theories serve to uncover some type of information yet in doing so, they are convoluted themselves. A famous theory in the art world that deals with similar aspects of misinformation is that of Velázquez’s painting Las Meninas . A painting that has been riddled with interpretations and symbolism, Las Meninas is a painting that details a scene from the Spanish royal house and its subjects. There are various key figures that we must consider in this painting and how each one has a role to play. It becomes clear that Velázquez attempts to produce a painting which seems to break the fourth wall, we as the viewer are unsure if he is painting us or if we are the observers of his subjects. It appears each character within the painting has undergone some type of scrutiny by art critics and historians alike, most commonly is the reflection of two characters we see painted in the mirror at the far end of the room. As writer Benjamin Blake states in an interview on Mutual Art publication, 11th November 2022:
“The most accepted theory is that the artist is painting the King and Queen, making the point of view of Las Meninas theirs, and that the mirror’s reflection is catching them holding their poses. But some historians argue that the mirror is reflecting their portrait from the canvas”.
Las Meninas is a clear mix of what is what, an amalgamation of different points of view that is hard to pin down and interpret correctly. Who is the girl in the white dress, why is she looking at us, what is the purpose of having a dog in the corner of the room and who is the gentleman opening the door? Las Meninas is in fact riddled with questions, but doesn’t this make for an interesting painting, a painting that makes you ask why?
In the contemporary art landscape, there are also several artists exploring the themes of conspiracies today. Although far more literally, the art ranges from conspiracies about the moon landing, flat earth theory to the JFK assassination. Fake News and True Love is an exhibition by artist Robert Bains who showcased his work commenting on the satire behind conspiracy theories and their many elaborate conclusions to find a kind of truth. Exhibited in The Museum of Arts and Design, his work centres around fourteen famous conspiracy accounts, using jewellery, trinkets, small objects
and other materials as ‘evidence’ of their truth. His work is both satire and to some degree archival, as each theory he attempts to ridicule is a product of their own time.
Conspiracy theories as mentioned above by Sarah Gorman are a product of their time. An artist’s fascination with these theories is the behaviour of a group of people or an individual attempting to justify a theory as a fact. Photographs are of course the most prevalent source of justification for those who believe in specific conspiracy theories, in many cases these photographs become more than just objects of conclusive proof, but rather the root of their beliefs from which all other sub-theories and conclusions may stem from. Conspiracy theory is very much intertwined with pop culture in today’s day and age with many artists exposing the nature of an unanswered question with ‘conclusive proof’. But the nature of conspiracy theories dates back before even the digital age. It’s a thought process, a way of attempting to rationalise what you don’t understand and through this we get works of art that may hide symbols, clues or information about something which was previously unknown to the public. Just like in Las Meninas , we are left with a similar question, is Velázquez painting us or is he painting the King and Queen? Are we meant to look for the answer or be left with more questions?
By Francesco Scalici
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1. A singular artist of great painterly expertise. The inventor of the paranoiac-critical method. His pictorial and literary oeuvre is riddled with metaphorical elements that speak directly to the viewer. Disturbing, admittedly controversial; a mediator and creator of his own myth and legendary manifesto, is Spanish painter Salvador Dalí.
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4. Viewed through a prism of Freudian Psychanalysis, Dalí invites the viewer to explore a scene of ambiguities where certainties elude us. His manifestations of a dark and sensational world of delirium entrance us, and create a subversion of reality and the world as we’ve known to experience it.
2 Describing himself as “a thinking machine”, he defined himself through his theatricality. Such is the aesthetic enigma of Dalí’s art, that his entire life was centred around a tale of truths, half-truths and falsehoods as the key narrative for a better understanding of the work and personality that Dalí was so focused on constructing.
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3. From the 1960s towards the end of his career, Dalí’s interests continued to expand. Stemming from a fascination with science, technology, stereoscopy and holography, fusing such interests with the work of the masters such as Velázquez, Michelangelo and René Thom’s theories, created a re-invention of the self, and re-interpretation of the Classics. This led to a cosmogony and the formation of Dalí’s universe; a world of whimsical dreams.
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During Dalí’s time studying in Paris, he met Luis Buñuel with whom he made the film Un Chien Andalou by juxtaposing images taken from their own fantasies. Buñuel had dreamed of clouds blocking the light of the moon which became an eye slashed by a razor. Meanwhile Dalí had dreamed of a human hand and donkey crawling with ants. This project gave rise to the academic notions of Surrealism upon the artists’ recognition that they would never accept any idea or image that was susceptible to rational, cultural or psychological explanation, but rather, “open the gates to the irrational” (Gilles Néret).
Founded in France in 1924, Surrealism was both an intellectual and artistic movement deeply influenced by psychoanalysis, writers and artists attempting to uncover the repressed realm of the unconscious mind in an attempt to liberate culture from conscious reason and logic. As thought expressed in the absence of all constraints and inhibitions.
The only difference between me and a madman is that I am not
Artists such as Giorgio de Chirico, was renowned for uncovering repressed memories and desires which blurred the boundaries between fantasy and reality. The poetic quality of Surrealism was characterised by freely painted fantastical shapes suggestive of living organisms, and sometimes possessing a sinister undertone of sexual activity.
Automatic writing (also known as ‘automatism’) was a technique the Surrealists used to tap into their subconscious mind thus undermining the most conventional and accepted truths of their social climate. With Ernst and Dalí introducing dream imagery into their paintings and sculptures, artists suddenly offered a glimpse into the psyche’s unchartered synaptic experiences, whilst still adhering to
The Treachery of Images By René Magritte 1929, 60 x 81 cm, Oil LACMA
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Painted by Belgian Surrealist artist René Magritte, his Cecin'estpasunepipe , translated to thisisnot , blatantly challenges how the painting before him is not a pipe, but rather a painting of a pipe.
This Surrealist masterpiece creates a three-way paradox in that conventional inanimate objects correspond to words and images. This conceptual tongue-in-cheek unification of words and images was in-keeping with the ideals of psychoanalysis at the time.
Magritte sought to overthrow what he saw as oppressive rationalism overshadowing bourgeois society. Casting doubt over the nature of appearances, truth and fiction, nature and artifice, mirroring and concealment, reality and ‘surreality’, both paintings became iconic images of the academic Surrealist Movement. 8
I am in mortal danger of all anarchic ‘isms’
Dali
My ambition has steadily grown, and my megalomania with it. Now I want to be only Salvador Dalí. I have no greater wish.Dali
MoMA
Salvador Dalí 1931, 24 x 33 cm, Oil
One of my personal “Art Bucket-List” artworks which I had the privilege of seeing during a rotating Dalí exhibition in the Reina Sofia Museum Madrid, is The PersistenceofMemory by Salvador Dalí.
While it has been theorised that this famous artwork follows Albert Einstein’s Theory of Relativity with soft watches serving as an unconscious symbol of our preconceived notions of an austere cosmic order collapsing, Dalí’s erratic and tongue-in-cheek attitude claimed it to be nothing more than “the surrealist perception of a Camembert melting in the sun!”
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Lobster Telephone
By Salvador Dalí 1936, 15 x 30 x 17 cm, Telephone & Plaster Tate Modern
Created by Dalí for the English poet and leading collector of Surrealist art Edward James, Lobster Telephone epitomises the notions of Surrealism, in that the artwork is a conjunction of items which aren’t typically associated with each other, and when combined, result in something witty and cheerful. Dalí often drew a close analogy between food and sex, thus associating the lobster with his erotic thoughts and featuring the crustacean in many other artworks throughout his life.
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With various white-washed reproductions of this particular sculpture housed in Florida, Portugal, South Africa, the U.S, Rotterdam and Scotland, In 2018 the off-white coloured version was valued at a price point of £853,000 and named Aphrodisiac !
Indeed, due to the endless possibilities offered by the subjective contemplation of his works, Salvador Dalí is heralded as the instigator of the imaginative, inquisitive and prodigal. From film-maker and artist to astute dreamer, Dalís genius has continued to seep its way into creativity and culture. As an artist whose work and persona were often misunderstood, his contentious nature continues to inspire modern day society, as in Dalí’s own words, “it is not my madness, but my clear-sightedness which has acquired such sharpness and concentration that, in the whole of the century, there has been no more heroic or more astounding personality than me” (Salvador Dalí).
By Tamara Bell
Cubism was a revolutionary approach to art pioneered by artists such as Picasso and Braque. The Cubist style reinvented the concept of reality and of one’s surroundings to encompass a fragmented and abstracted visual representation of the world.
Malaga-born Pablo Picasso was a Spanish painter, sculptor and poet. He was revered for his bold character and artistic choices with which his compositions are imbued. Being extremely avant-garde for his time, Picasso’s artistic influence was prolific, and heralded for its fluidity by altering previous neoclassical elements, and creating a sense of angular distortion which brought modernism to the forefront of the times.
From aquatints to etchings, and monochromatic pieces to jarring
splashes of colour, Picasso’s famous Guernicadocuments the crude realities of war. Depicting the bombings of the small Basque town, Picasso captures an intense theatricality with his dismembered figures in a whimsically tragic large-scale composition brought to the limelight. Whilst his Weeping Woman was a response to the futile effects of the Spanish Civil War, the Mater Dolorosa pays homage to the classical baroque sculptures with glass tears and torturous suffering endured by its survivors.
Based on the harrowing events of the 27th April 1937, Picasso created a colossal mural-sized painting which became the 20th century’s most powerful indictment against warfare, and still remains as a painstakingly relevant statement in today’s world. Measuring 11ft tall and 25ft wide, the mural envelops the viewer, who is drawn into the unfolding carnage caused by the bombings of the small Basque town. Challenging the notion of war as something brave and heroic, Picasso brings to light the gruesome
When Picasso was pressed and questioned by a German Nazi who asked “did you do that?” he simply replied “No. You did.
reality and excruciating pain suffered by the innocents.
Depicting a mother holding her dead child on the left-hand-side of the mural, a horse in anguish from the unfolding torment in the centre, a figure enveloped in flames on the right-hand-side, and a corpse in the foreground of the painting with the stigmata symbol of Christ on the palm of his hand, Picasso’s shrewd use of symbolism adds a controversial layer to the piece, aiming to awaken society when confronted with the futile realities of their blood-thirsty actions. The monochromatic colours used by the artist contribute to the life-less subject matter of the image, as a ghostly figure emanating from a window holds up a candle-lit lamp only to unveil the carnage before him taking place in the open-air streets.
Commissioned to paint the piece by the Spanish Republican government at the time, the Guernica was to be featured at the Paris World’s Fair Pavilion in 1937. While the theme in question was that of modern technology, Picasso decided to surprise the government with a powerful antiwar icon, bringing to light how such technology is being used to kill people for selfish political gain and power.
In support of the fascist General Francisco Franco, Hitler’s Germain air force bombed the village of Guernica, becoming the first aerial saturation bombing of a civilian population. Such coldblooded testing of a new bombing tactic lasted over three consecutive hours and reduced the village to rubble.
100,000 pounds
of incendiary explosives landed on Guernica, causing severe devastation and terror which resulted in 1600 wounded and killed innocent civilians.
Picasso’s visual response to the bloody massacre of innocents shocked the world into confronting the suffering of the Spanish people. Peppering severed limbs, mutilated bodies, and dislocated facial features around the canvas, the viewer can almost hear the anguished screams of the people in the mural. The dramatic intensity and visual kinetic energy of jagged movement creates a confusing and chaotic masterpiece of violent action in this “ocean of pain and death” (Pablo Picasso). When Picasso was pressed and questioned by a German Nazi who asked “did you do that?” he simply replied “No. You did”.
By Tamara Bell
Born in Wolverhampton, Jennine Parker specialises in graphic design, painting & ceramic sculpture. Her artworks are inspired by various renowned artists, namely, Giacometti, Rodin, Moore, Hepworth and Hayes.
The artist aims to encapsulate the human form, it’s movement & personality in weathered stones, clay and a variety of different textures.
As stated by the artist herself, her “inspiration from natural weathered erosion creates a contrast from smooth to textured surfaces, creating sensitivity to texture and form”.
Click here to find out more about Jennine Parker.
ETERNAL DEVOTION
Limited edition of 195 8 x 33"
Primitivism is an artistic and cultural movement that began in the late 19th and early 20th centuries, primarily in Europe. It draws inspiration from the early, often prehistoric forms of human expression and tribal art.
It emerged as a reaction to the industrialisation, urbanisation, and perceived loss of authenticity in modern society. It reflects a longing to reconnect with the primal and unrefined roots of humanity - those untouched by the complexities of modern life. Amongst the most poignant examples of these early expressions are cave paintings, which serve as some of the earliest records of human creativity, communication and storytelling. These ancient artworks, preserved on the walls of caves actually offer a direct link to the lives
and minds of our distant ancestors. One significant site, though perhaps less well-known, site of such prehistoric art is found within our very own caves of Gibraltar.
Key figures in the development of Primitivism include artists like Paul Gauguin, who was influenced by his time in Tahiti and other Polynesian cultures, as well as Pablo Picasso, who drew heavily from African art. By incorporating the aesthetics of ancient and tribal art into their work, they aimed to capture and create a sense of raw emotion and vitality that
they believed modern society had lost. However, Primitivism was not just about aesthetics, it also encapsulates the actual practices and artistic expressions of early humans.
The cave paintings of prehistoric societies serve as a direct link to the original forms of human expression that Primitivism seeks to embrace. Artists and intellectuals saw these ‘primitive’ societies as a way of life that was more connected to nature and more authentic than the increasingly industrialised and mechanised Western world.
Grab your passport and let's take you to see some cave paintings of Lascaux in France and Altamira in Spain, which are some of the most famous examples. These paintings which date back tens of thousands of years, depict various scenes, including animals, hunting activities and symbolic abstract forms. They offer us a glimpse into their world, their relationship with nature and their spiritual beliefs. These artworks weren’t merely decorative; they played a crucial role in the rituals and cultural practices of ancient societies. The caves themselves were sacred spaces, specifically chosen for their seclusion and mystery, where art and spirituality intertwined.
How does this all fit into Gibraltar?
Well, for those of you who might not be aware, the first ever Neanderthal skull to be found was actually discovered here in Gibraltar in 1848, in Forbes Quarry. It was the skull of an adult female. The link to Primitivism lies in the movement’s fascination with humanity’s origins and early expressions of creativity. The discovery of the Gibraltar skull, alongside the engravings in the caves, highlights the advanced cognitive thinking of the Neanderthal era. There are other locations where the historical nature of Gibraltar is celebrated, such as
Gorham’s Cave, where the engravings offer evidence of Neanderthal paintings that date back over 100,000 years. While the artwork is more understated, compared to the vibrant images found in France and Spain, the engravings in Gorham’s Cave consist of abstract, cross-hatch designs carved into the rock. Gibraltar’s caves thus play a crucial role in the broader story of prehistoric art.
The connection between Primitivism and the caves of Gibraltar lies in the essence of a return to origins. Just like modern artists sought to reconnect with the primal forces of creativity, the study of Gibraltar’s caves allows us to reconnect with the earliest stages of artistic expression. These engravings remind us that the impulse to create,
express and leave a mark is deeply embedded in the human psyche; transcending species and spanning millennia. While the more famous cave paintings of Europe reflect the experiences of homosapians, the engravings in Gibraltar offer a window into the minds of our neanderthal ancestors.
In summary, the caves of Gibraltar are more than just an archaeological site. They are a testament to the universality of art and its power to connect us across time and species. By exploring these ancient expressions, we gain a deeper understanding of our shared human heritage and the forces that continue to inspire creativity today.
By Anthony Loddo
The first ever Neanderthal skull to be found was actually discovered here in Gibraltar in 1848, in Forbes Quarry. “ “
There has been a seismic, yet inter-connected shift in the artistic and cultural landscapes since WWII. The scars of war redrew societies, and art became an ever-powerful tool for both individual and collective healing.
As cities were rebuilt, artists sought new ways to express human emotion. The war had exposed previously unimaginable depths of human suffering, and art was responding to this trauma. Naturally, for prominent artists like Henry Moore and Barbara Hepworth, this included experimenting with different artistic forms.
While Moore is best known for his sculptures, it was his drawings of Londoners sheltering from the Blitz that established his reputation. Moore’s success as an artist was secured on the global stage against the backdrop of war: in fact, he was appointed as an official war artist by the British government. Despite their eventual global attention, The Shelter Drawings began as a private project for Moore, as a sheet of vignettes entitled EighteenIdeasforWarDrawings (1940).
Even though these vignettes may seem far from Moore’s sculptures, the scene that inspired his vignettes was described by Moore as sculpture-like in 1967: “I had never seen so many rows of reclining figures and even holes out of which the trains were coming seemed to me to be like the holes in my sculpture”. It was scenes like these which would resonate deeply with Moore when the flat that he shared with his wife in Hampstead was bombed in the first weeks of air raids. Moore’s descriptions of these events prompt us to imagine how they fit onto his sculptures: Mother and Child shows a mother clutching her child in a warm embrace, much like the strangers holding onto each other underground in his vignettes, and how a home protects a family. While
not explicitly, Moore uses holes in his sculptures to explore the traumatic effects of war on family life, and on the human body: the holes of his sculptures, like human consciousness, hold the memories of war.
For Hepworth, WWII inspired a new, intercultural look on her career, with the United Nations as a symbol for hope in her work. While Moore’s work emphasises the traumatic, Hepworth’s work is almost utopic, experimenting with artistic forms while in search of a state of harmony and perfection. Both artists, however, use the mother and child to show there is an outside and inside to every form, like a child in the womb. Although, unlike Moore, Hepworth views the mother and child as distinct entities: in her own Mother and Child in 1934, the mother’s abdomen is portrayed as an empty hole, where the baby had been – thus they are separate, but connected.
Hepworth’s use of holes, like in Pierced Form (1931) and Pelagos (1946) have a more symbolically spiritual dimension compared to Moore’s: for her, voids represent connection and unity between different elements and bodies, both within the sculpture and its environment. Pierced Form , an abstracted piece, shows Hepworth’s interest in how negative space can define the positive form: the hole creates a sense of fluidity, linking the solid parts of the sculpture and suggesting a connection between inner and outer spaces. This connection would signal later artistic
developments, that directly link the personal and political.
Contemporary artist Anish Kapoor, for example, draws on the relationship between form, space and materiality, but his work takes these ideas into a globalised context. Kapoor’s sculptures, like Cloud Gate (2004) in Chicago are reminiscent of Hepworth’s abstracted voids, but they push the boundaries of scale and interaction with their polished surfaces. These surfaces engage with the surrounding
environment, and reflect the city's skyline and viewers: Kapoor’s work is monumental, and directly reflects the personal into the cosmos. His sculptures also create spaces of reflection and challenge perceptions of reality: his exploration of form and space, rooted in the human experience, connects to the legacy of Moore and Hepworth, but he expands their ideas into the post-modern.
Moreover, Ai Weiwei also uses negative space in his work by focusing
on absence rather than presence: he communicates the consequences of systemic oppression, state violence and human suffering in his collection Straight (2008-2012). This monumental installation consists of 150 tons of rebar recovered from the Sichuan earthquake of 2008, in which thousands of children died because of poorly constructed buildings. Ai Weiwei meticulously straightened mangled steel and displayed it in a large arrangement on the floor. The negative space signifies the absence of the children who lost their lives; of what could have been. Ai Weiwei highlights that what remains after disaster is not only physical destruction but the emotional void left by the loss of life; a loss both Moore and Hepworth were also responding to. There is interconnectivity between Moore and Hepworth and contemporary artists; however, while the political in Moore and Hepworth’s work appear a consequence of their time, contemporary artists like Kapoor and Ai Weiwei place the individual at the heart of their work and emphasise the politics of disaster.
By Sophie Macdonald
Any art lover and academic will most certainly have a bibliography of texts which they hail as their personal literary gems. At BOOKgem Gibraltar, one can immerse themselves in a world of art and literary classics.
As Gibraltar’s dedicated bookshop and café with regular updates to their book collection, this community space can source specific titles of interest, and hosts a range of book launches, readings, and various cultural events.
Among the many page-turners that exist in this quaint culture cocoon, the Taschen book collection provides a thorough introduction to the many artists and artistic disciplines throughout the ages. Founded in 1980 by Benedikt Taschen in Cologne, Germany, this luxury art book publisher began his journey by creating a tool to bring potentially controversial art into the broader public view. Starting with a comic collection, Taschen publications vary in size and content, from small pocket-sized books to a film series which explored the lives of artists from
classical to contemporary. Previous books have most certainly paved the way for Collector’s Editions, such as the Helmut Newton SUMO which was the most expensive book published in the 20th century and sold for $304 million at an auction. The book served as a monograph to showcase Helmut Newton’s work in fashion and celebrity photography to include the likes of Nicolas Cage and Catherine Deneuve.
With an extremely wide spectrum of publications to include topics such as fashion, film, graphic design, music, photography, pop culture, sex, travel, sports, comics and art, the Taschen books touch upon all cultural spheres and have gained such notoriety for being ‘timeless classics for any home and great reads’. From Pop Art and Scandinavian Architecture to the life and work of Caravaggio, or the chronicles of Hollywood’s Golden Age, the Taschen books continue to grow exponentially and touch the lives of many art and culture lovers.
Taschen’s Esoterica series of books delves into subjects such as alchemy, mysticism, astrology and plant magic. Their Sacred Sites book provides an informative and alternative read for those with a severe travel bug! Sacred Sites is a visual pilgrimage which ventures through some of the world’s greatest wonders. From holy mountains and shrines to ancient temples and spatial art, the series provides a journey through the mystical landscape of myth, religion and imagination. Bringing ceremonial creations to life, this library
of historical spaces hallowed by human worship sheds light on how ‘nature, art, and beauty are integral to the sacred sites of our ancestors and the myriad places where we endeavour to connect with the divine and with ourselves’ (Jessica Hundley).
By turning the pages of Esoterica to delve into a world of golden temples and silent sanctuaries, Taschen will undoubtedly provide an engaging, informative and academic cultural experience. By translating the arcane and the obscure into works of art with every page, Taschen seeks to provide an inclusive reading experience which connects the reader to both creativity and the divine. The Taschen books will always hit the mark with their carefully crafted publications. After paving the way for artists and cultural enthusiasts for decades, Taschen has and continues to instil an awe-inspiring and erudite adventure in the minds of its readers which is truly unparalleled in the world of cultural literature.
By Tamara Bell
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Having delved into the world of Taschen books for many years, they illuminated my own personal cultural journey and continued to inspire me throughout my professional life.
Speaking with the Taschen Editor of The Library of Esoterica , Jessica Hundley, I have had the absolute privilege of delving deeper into the mind of such a successfully creative trailblazer in the artworld. Learning about her personal and professional journey has been inspiring. From working with John Legend, to collaborations with the late Dennis Hopper, a conversation with Jessica could last a lifetime. I am extremely grateful and honoured to feature Jessica’s experience within the pages of The Art & Culture Magazine.
Tell us a little bit about yourself and your professional journey. I started my career as a culture journalist and worked as an editor for some truly wonderful and iconic publications like the music magazine The Fader and the UK mag Dazed & Confused. I love being able to share not only the amazing things happening in contemporary music, art and film, but also the incredible work that was done in the past. I have a deep love of culture – particularly music, movies and art. My goal with my journalism has always been to share what I love
and highlight work that may not have gotten the exposure it deserved the first time around.
As one of the many amazing projects you have worked on, how was your experience working as Creative Director for John Legend’s campaign, and what was this like?
I’ve worked with John and his absolutely amazing team for nearly a decade on countless projects. He is someone that is not just about supporting his own work, but the work and talent of others. Collaborating with his team
means not just creating visual identity and campaigns for John’s music, but for the many educational partners and nonprofits he’s involved with and supports. It’s been truly rewarding to be a part of his team.
Tell us a bit about your work with Taschenand what it was like being an Editor for the much-loved book series Esoterica?
I’ve worked with Taschen for many years on various projects as an editor and writer. I mostly oversee movie and music books, but I have a very personal connection and curiosity about the esoteric, so I brought the idea in of doing an ongoing encyclopedia series based around these ancient practices and traditions, Tarot, astrology, ritual, plant medicine and so on. I also brought in the incredible designer Nic Taylor, of Thunderwing Studio to collaborate with me on creating the visual identity of the books. We’ve been so lucky that the series has found an enthusiastic audience and we’re currently working on the sixth volume, with at least four more planned. The series is incredibly rewarding to work on in so many ways. We learn so much with each volume and the community around them continues to grow - it’s really been the honour of my life to birth these books into the world.
How did you begin to write for Dwelland RollingStone?
I’ve been a lifetime freelancer which means pitching, pitching, pitching and doing the work – the more you write, the more gigs you get.
Everyone has a unique story to tell no matter who they are. I love doing interviews, because there is always something resonate, fascinating and illuminating in hearing about an artist’s experiences, what they have learned, what they love, what inspires them.
What are some of your most memorable pieces that you wrote for The New York Times, Vogue and Elle?
I would say the piece I did for New York Times about a music festival in Marfa Texas. I’ve spent a lot of time in Marfa before and since and have so many friends and collaborators there, it’s a truly magical part of the world.
What have been your most memorable experiences as a Journalist and Editor? Which role do you prefer?
I love guiding projects as an editor, but I almost always work as a writer on projects as well – even the ones I am editing. I am a writer first and foremost. I’ve had so many wonderful experiences in my work – it’s hard to just name one. Certainly one of the most pivotal experiences in my life was working as editor and writer on my first book with Taschen. I was lucky enough to work alongside the late great actor, director and artist Dennis Hopper on a volume about his photography and his career and it absolutely changed my life in so many ways, being a part of Dennis’ world. He passed away just after the book was published and I’m forever grateful I was in his life those last years and was able to spend so much time with him, learning from him. He was one of the greats.
Who are some of the high-profile celebrities you have interviewed, and what was your experience like in meeting them and talking to them? (i.e. Kristin Stewart, Quentin Tarantino, Yoko Ono…) Everyone has a unique story to tell no matter who they are. I love doing interviews, because there is always something resonate, fascinating and
illuminating in hearing about an artist’s experiences, what they have learned, what they love, what inspires them. I always approach these interviews as a conversation, a chance to learn from the person I’m lucky enough to be speaking with. I’ve had the good fortune of meeting with so many artists I admire and I’ve learned something important from each and every one of them.
What creative projects are you working on currently?
I’m working on the new volume of The Library of Esoterica , as well as a book of music essays and several other projects are in the pipeline.
What is it like having such a multifaceted career in the artworld, and what challenges have you faced in achieving this?
Being a creative in America is not at all easy. There are a lot of challenges in terms of trying to make a living from your art. You have to work and work hard and develop your voice and be fearless and give yourself to your work, make sacrifices for the sake of your creativity. But it’s all worth it. If you’re a creative, you need to be creating. Its imperative.
What inspires you to create, and who are your most iconic influences in the art world?
The whole world inspires me. Nature, art, music, community. There are so many influences that ignite me and excite me and I am discovering new ones every day. To name just a few – Niki de saint Phalle, Leonor Fini, Marjorie Cameron, Yoko One, Hilma af Klimt, Patti Smith, Agnes Pelton, Remedios Varo, Joan Didion – the list goes on and on and on and on….
By Tamara Bell
The role of an orchestra can help to create a sense of pride and identity within a community by providing access to high-quality musical performances. It not only entertains but also educates, offering people a deeper understanding and appreciation of classical music and that has certainly been the case for The Gibraltar Philharmonic Orchestra since its inception in 1998.
A symphony must be like the world. It must contain everything.
Gustav Mahler
“
Director and member emeritus Lulu Veneroni Rocca explains that the society was formed by a group of musicians and classical music lovers from an initial idea by Artistic Director Maestro Karel Mark Chichon, OBE, together with Patron Ian Angus. “The only ones left since the early days are myself and Karel,” Lulu says, “but we have been lucky to have been joined by Ernest Gomez who took up the role of Chairman in 2022 and together we make any corporate decisions regarding the charity.”
Ernest was previously Chief Secretary and Director of Education, and has had a lifelong interest in music. “I retired about six years ago and thought I would like to join the committee and lend a hand,” Ernest comments. “As a supporter of the Gibraltar Philharmonic I knew all the committee members and would see them at concerts, so as I was thinking about that, suddenly Lulu came and asked whether I'd like to be the Chairman.”
Born in London in 1971, Karel Mark Chichon hails from Gibraltar and in May 2017 he was appointed Chief Conductor and Artistic Director of the Orquesta Filarmónica de Gran Canaria, recently renewing his contract until 2025. In October 2023 the Maestro returned to Gibraltar to conduct The European Sinfonietta, featuring works by Mozart and Beethoven, in St. Michael’s Cave. “It’s thanks to him and his contacts that we get high calibre musicians coming to perform here,” Lulu says.
Lulu adds that they are ably assisted in the day-to-day running of the organisation by Events Coordinator Maria Macias and a committee of eight members. “This consists of arranging the programme, including compiling the music notes for the
programme on the day, and ironing out any difficulties that may include issues with visas for visiting artists,” she says, “added to which is the sorting out of venues, and trying to encourage sponsors to support us.”
The objectives of the charity are the same as when it started, and that is to try and promote classical music and bring to Gibraltar top quality music and musicians, to stage concerts, recitals, operas and any other musical events, for music lovers. “So while we support other initiatives by local musicians, primarily we tend to bring them from outside, to add another niche to what goes on locally,” Ernest states.
Concerts are held as frequently as possible between October and June. “We initially tried one a month, but it depends on the availability of artists and on funding, which dictates whether we have something a bit bigger of whether we have a few smaller recitals, as it has become quite expensive to hold these events,” Ernest says. The COVID pandemic hit the charity hard, and not all sponsors recovered fully from what was a difficult time for everyone. Tickets sell for around £22 and, as Ernest explains, with most of those coming to see the concerts being seniors over the age of 60 or 65, they only pay about £10 pounds. “It is far too generous a price for the high quality musicians that perform, and we also give away tickets to children because it’s important for them to experience classical music concerts,” Lulu states.
“We have tried to bring youngsters on board by having master classes with some of the musicians, for instance, the New Riga String Quartet held one last year for school children.”
Highlights for Lulu over the years have been the performance by Mezzo Soprano Elina Garanca, conducted by her husband Karel Mark Chichon, and the Beethoven symphonies that were held at St. Michael’s Cave. “There have also been some very beautiful little recitals we’ve held at the Convent Ballroom, including the Spanish pianist Javier Perianes and one of the world´s premier trumpeters, Pacho Flores, accompanied by guitarist Jesús ‘Pingüino’ Gonzalez.”
An exciting programme is currently being planned that will include an orchestral concert and, of course, the popular Celebration of Opera sponsored by The Ministry of Culture.
Without the continued generosity and support of their sponsors the society wouldn’t be able to bring musicians and performers of such a high calibre to Gibraltar. “It is with thanks to the Gibraltar Government, our biggest sponsors, as well as the corporate and charitable sponsors, that we are able to carry on,” Ernest comments. “We have a huge nucleus of loyal supporters who come to all our concerts, and we'd be really sorry not to be able to keep providing them with the wonderful music that we have offered for a quarter of a century.”
For more information or to enquire about sponsorship, please get in touch with Maria Macias via the Gibraltar Philharmonic website: www.philharmonic.gi/contact/ By Jo Ward
TheFallenAngel (L’Ange Déchu), painted by Alexandre Cabanel in 1847, is a striking and evocative work that captures a pivotal moment in the narrative of the fallen angels.
Currently being displayed at the Musée Fabre in Montpellier, the artwork depicts a young, angelic figure seated on a rocky terrain, embodying a blend of human and divine features. The figure is often interpreted as Lucifer, the most beautiful of the angels, who has been cast out of Heaven.
Cabanel masterfully conveys a range of emotions through the angel’s expression and posture. The angel’s face shows a mix of sorrow, defiance, and pride. The tear running down his cheek suggests a sense of loss and regret, while his furrowed brow and intense gaze hint at lingering anger and
rebellion. Such intense emotions are antithetical and contradictory to the stereotypical image of the angel, which represents purity and innocence. The angel’s facial expression is by far the most piercing aspect of the painting, with the detail in his eyes evoking a sense of betrayal, the Angel clearly feels as though he has been wronged, and the shade of wings darkening highlights his imminent descent to a more tainted, darker path.
Created during the mid-19th century, the painting reflects the Romantic fascination with sublime and tragic themes. The era saw a
renewed interest in mythological and biblical subjects, often interpreted through a lens of personal struggle and existential questioning. Cabanel’s The Fallen Angel aligns with these trends, offering a poignant exploration of the consequences of hubris and the complexity of the human (and divine) condition.
The painting is belonging to the style of French academicism, a period spanning from its origins in Italy in the mid-16th century to the early 20th century. The painting is a reflection of how the style is recognised as predominantly idealistic, as opposed
to realistic, with the perfection and beauty in the Angel’s anatomy, intricate workings of light and shadow, and meticulous texturing being indicative of the academic style. The emphasis on idealised beauty and classical themes that characterised the time is reflected in Cabanel's art, which also has a sense of dramatised personal emotion.
Cabanel’s inspiration for the painting was derived by the John Milton epic Paradise Lost (1667), with Cabanel wanting to provide a visual backdrop to aesthetically contextualise the descent of God’s favourite angel into the depths of hell, and how this may have been visualised by Milton. An interesting aspect to the painting, when contextualised to its development by Cabanel in 1847, relates to the parallels between the rejection and humility of Lucifer evident in the painting, and how Cabanel experienced a similar treatment when he first conceived the painting and was met with criticism at the École des Beaux-Arts in Paris.
Artists typically painted biblical visuals in a holy, pure aesthetic, depicting angels, God and heaven. Therefore, Cabanel’s somewhat audacious and radical decision to visualise an emotional scene centred around the cursed angel Lucifer was seen as highly controversial. The scene was deemed as too passionate and romanticised by the Salon. This evidently angered
Cabanel, who, in response to the negative feedback, wrote: ‘That’s my reward for all the trouble I gave myself not to submit an average piece of work’. This can be perceived as a moment in which life imitates art, as Cabanel experienced the same frustration and rejection as his depicted devil in the painting.
Even now, The Fallen Angel by Alexander Cabanel still enthrals artists and art lovers alike. Its portrayal of Lucifer is particularly noteworthy as an enduring and captivating illustration. This piece of art proves that academicism, a conservative art movement, can create a timeless and widely accepted depiction of a demon.
By Ben Lemmon
You can currently visit The FallenAngel at the Musée Fabre in Montpellier.
As if he took a long hard look at the world and decided that beauty was overrated, Francisco Goya’s ‘Black Paintings’ lay bare to the complexities of the human condition, pulsing despair, madness, and an unfiltered glimpse into the psyche of a man grappling with the chaos of his time.
Arguably some of the most significant and influential paintings of the Romantic period, these fourteen morbid and mysterious works, created between 1819 and 1823, delve into the shadows that lurk within the darkest corners of the human mind, inviting us to contemplate the capacity for utter destruction and grotesque violence.
Goya understood that art isn’t just about aesthetics, it’s ultimately a window into his world at the time as well as, a glimpse into the mind of the creator. In the attempt to understand these masterpieces, one must endeavour in the complicated understanding of the master.
Born in Spain in 1746, Francisco Goya faced numerous challenges as a child including poverty and health issues, struggling from serious illnesses, affecting his hearing which heightened his sense of isolation and self-imposed exile in his later years. In adulthood, Goya experienced profound trauma, particularly during the Peninsular War, making a lasting impact on his world view. Shaping his later works significantly, his exposure to violence and suffering influenced his art, leading to darker more depressing themes.
In the final years of his life, ‘Black Paintings’, a body of some of the most disturbing images created by him were painted directly onto the walls of his home at the Quinta del Sordo, between 1819 and 1823. Not intended for public display, only known until after his death, these haunting works reflected his inner turmoil and disillusionment,
bleeding intense emotion and showcasing the artist’s most personal expressions. Particularly emphasising the devastating impact of war, Goya’s work demonstrated his unparalleled ability to confront and express the depth of darkness that resides in the fragility of the human psyche.
Casting a long shadow over the art world, Goya has inspired generations of artists to challenge convention, widely considered to be among the most profoundly controversial and impactful works, standing the test of time, arguably one of the greatest examples of Romantic art.
Created during a tumultuous period in Goya’s life, ‘Dark Paintings’ explore themes of madness, despair, and violence, reflecting his deep psychological struggle, influencing later movements such as Expressionism and Surrealism. His daring approach to convey complex feelings through visual language paved the way for future artists to explore personal and societal issues.
Where there is darkness, let there be light. By confronting his enveloping shadows, this violently honest artist invites viewers to reflect on human resilience within suffering, an uncompromised self-expression. A final word which is not mine, from the mouth of Francisco Goya himself “In the depths of despair, the light of hope shines brightest.”
By Petra de Letras
By Francisco Goya
Otzi the Iceman was discovered in 1991 in the Otzial Alps giving us the earliest known evidence of tattoos. He lived around 5200 years ago and had 61 tattoos!
These markings on Otzi the Iceman are in unusual positions on his body so it is currently theorised that they could have been a type of pain relief from injuries, wear and tear on the joints, gallstones and many other ailments.
Before his discovery it was believed that the Egyptians had been the earliest to tattoo the skin, as many female mummies were discovered with markings on their flesh. For a long time, it was assumed that these markings denoted slavery or prostitution but with further study it has been found that the bearers were actually respected members of Egyptian society, and most probably wore their tattoos as a form of protection during
pregnancy and birth. There have been many remains found bearing skin art from around the world and throughout known history, some with similarities to others, such as the Nubians which had markings around the breasts and abdomen of females. The difference being that a blue pigment was used rather than black. Leading through time to civilisations such as the Thracians and ancient Britons where it was a sign of nobility to have tattoos and anyone without was of low birth. Whereas the ancient Chinese were only tattooed if they had been criminals, similar to Greek and Roman history ‘stigmata’ was used to show slaves and wrong doers, tattoos were no longer a
sign of nobility and respect but quite the opposite. Eventually soldiers of the Roman empire adopted tattoos as a way to worship their gods, such as the ivy leaves for Dionysus the Greek god of wine. This didn't last too long though as Emperor Constantine banned all forms of tattoo in the mid 300s due to the growing Christian belief that as mankind was made in the image of God, we shouldn't disfigure our flesh.
The Japanese for example adopted the Polynesian culture of tattooing the whole body with elaborate designs at roughly the same time as the Western world had banned marking the skin. Eventually this culture was adopted by the criminal underworld and it was frowned upon to mark skin with ink even in Japan. Maoris of New Zealand marked their faces to show their lineage and status, describing their tattoos as a form of ID and believing they enhanced their features and made them more attractive.
The one thing that seems certain is that we will always find a reason to scratch art into our flesh.
In 1769 James Cook lead an expedition to Tahiti finding the island’s inhabitants to have inked their flesh by striking and filling. Their word ‘Tattau’ which meant ‘to hit’ gave us the word ‘Tattoo’. After Cook's journey, sailors began marking their skin in the same way, creating a new fashion for these exotic art pieces on human skin. Some sailors became pirates, some were successful and others got caught, but this didn't stop them from drawing on each other. Giving rise to the idea that only sailors or criminals had tattoos, whereas in reality they were all still sailors.
During the American civil war tattoos became popular among soldiers, a lot of them getting flags and/or weapons etched into their skin. Martin Hildebrandt was an exsailor that travelled from camp-tocamp tattooing soldiers with art (which sometimes included their names) to help with identifying their bodies should they fall in battle. After the war he opened a tattoo shop in New York, tattooing both male and female upper class young adults who wore them as status symbols.
Samual O'reilly patented the first official tattoo machine in 1891 and by the beginning of the first world war this had revolutionised the art of tattooing by making tattoos less time consuming and less costly. This in turn meant that it was no longer only for those with money and started to spread beyond just the wealthy making them grow in popularity. This popularity is still present but so is the stigma. There will always be many different reasons people get their skin covered with ink and there will always be those that frown upon tattooing. Like all forms of art there will be periods of time when something is fashionable within some circles and despised by others.
By Ian Law
Like all forms of art there will be periods of time when something is fashionable within some circles and despised by others.
Embarking on a quest for the immaterial, renowned French artist Yves Klein spent the remainder of his career searching for the representation of beauty in its invisible state.
As one of the most innovative artists of his time, Klein’s creativity has continued to shape and influence the artworld with his audacious and infinite portfolio. From the new generation of artists to longstanding researchers, Klein’s creativity marked through his monochromatic ultramarine blues known as ‘IKB’ (International Klein Blue), have paved the way for future contemporary artists to explore the pivotal event of the void in all its colour-soaking beauty.
Painting his first monochromes between 1947 to 1948, Klein decided to showcase his first blue painting at the Salon des Réalités Nouvelles and caused an uproar of shock, controversy and surprise, eventually leading to its refusal. Leading to his most famous Blue Period in 1956, Klein
began painting his canvases using one colour alone: ultramarine blue, which to him, was “the most perfect expression of the colour blue”. Attempting to show colour in itself, his pure pigment was showcased as a painting on the floor rather than on the wall.
Klein’s monochromatic blue canvas depicting a void of nothingness, an empty or full space in the confines of the canvas in bright blue has led to beg the question: ‘s it art?’. Art is a subjective term used to define the expression of human creativity and imagination, typically evoking emotional power, ideas, or feelings. While Klein’s paintings were repetitious and minimalistic in nature, the artist’s conceptual theories behind the artworks most certainly fit into society’s definition of ‘Art’.
Indeed, this led to Klein’s 1958 exhibition titled Void, in which he presented an entirely empty white-washed gallery space with freshly painted white walls at the Clert Gallery in Paris. The artist spent forty-eight hours painting the gallery walls prior to its opening. He draped the entrance of the gallery with blue curtains and served blue drinks to his three thousand guests which consisted of gin, Cointreau, and methylene blue. The following day, even the attendee’s urine was blue, much to the artist’s delight! Upon entering the exhibition, the guests were met with an empty white space!
Yves Klein’s Anthropometry paintings were another series of artworks which pioneered performance art as we know it today. According to an unknown source, “Yves Klein’s anthropometry events were one of the key events in the history of painting and performance. They really mark a shift from painting as something that happens on the canvas to artists exposing the making of painting”.
During this series, Klein hosted another exhibition in which he presented various white surfaces to be painted on live. Instead of using his hand, he engaged several young women to act as ‘human paintbrushes’ to create the paintings themselves which became elaborate performances in front of an audience. The women covered themselves in IKB and smeared their naked bodies on to the white surfaces, thus creating a series of marks which depicted the contours of the nude female body. These blue imprints were accompanied by music in which Klein’s Monotone symphony (one single note) was played for a period of twenty minutes and followed by another twenty minutes of deafening silence.
By turning his ideas into something tangible, Klein’s use of ‘live brushes’ marked the turning point for artists and creators. His audacious and subversive concepts paved the way for future conceptual and performance artists who began to deviate from the normalised ways of painting and shed light on the making of painting over the finished object itself.
Art became multifaceted, as artists now had certain freedoms in terms of style and content that had never before existed in the history of art. From Lichtenstein’s halftone dots in Pop Art to Fontana’s slashed canvases with a knife or the upturned paintings of Georg Baselitz, artists were on a search for their recognisable trademark; something to make viewer’s instantly know their work was theirs.
Being liberated from religious, social and political restrictions of earlier societies, artists sought to assert themselves in some way and create their own trademark style, therefore becoming highly identifiable and immortal. With Klein certainly taking this fashion to extremes, his own chemically developed colour became his trademark. After patenting his IKB, he solely used this colour for everything he ever created. Providing a new approach to artistic challenges, Klein and the artists of his time wanted to liberate representation from content.
Indeed, art had more time to develop and evolve before the rise of technology. With technical advances, the dissemination of ideas and trends has taken place much more rapidly, and therefore has had a tremendous impact on painting. This continues to give rise to a large cornucopia of diverse artistic possibilities which have become truly limitless in the modern age.
By Tamara Bell
Klein began painting his canvases using one colour alone: ultramarine blue, which to him, was ‘the most perfect expression of the colour blue’.
Ai Weiwei triples as a contemporary artist, documentarian, and activist. As an adult, Ai Weiwei often criticises the Chinese government for their stance on democracy and human rights.
The artist’s motivation can be linked back to his childhood after he grew up in harsh conditions due to his father, Ai Qing's exile to a fat Western province at the hands of the government. Through his investigative activism, Ai Weiwei became an intrinsic part of instigating the development of Chinese culture and one of the nation's most political commentators.
Ai Weiwei has embraced art in many forms as a part of his activism. From using videography, photography,
and porcelain to name a few. One of the artist’s more controversial pieces is his 1995 performance piece titled Dropping a Han Dynasty Urn . This piece of performance art involved Ai Weiwei dropping an ancient ceramic urn, allowing it to fall to the ground and shatter into pieces. This was then memorialised in a series of three photographic still frames.
The subject of Han Dynasty Urn captures a ceremonial Urn that has been estimated to be around 2000
years old. In addition to its monetary value, it also held significant symbolic and cultural worth. The antique understandably held great importance to preserving the history of China’s defining periods, but Ai Weiwei makes an interesting point of saying “it’s powerful only because someone thinks it’s powerful and invests value in the object”. Thus, conveying how it isn’t the Urn itself that contains China’s power or history, and regardless of whether the Urn is destroyed or not, China’s
history and its impact remains. That is where the significance must lie, not within the object itself.
Despite this, many were outraged by the artist’s work and proceeded to criticise his actions. The artist’s justification for his work were words spoken to him by his mentor: “we can only build a new world if we destroy the old one” referring to the instruction given in the Chinese Cultural Revolution in the sixties and seventies. This stated that to build a new society, one must destroy the ‘si jiu’ (old customs, habits, culture, and ideas). Ai Weiwei took this concept and brought this to society’s attention in his own controversial way, therefore the act of dropping the Urn symbolises the artist letting go of a social and cultural impact.
In the vast sea of artists, both new and experienced, it takes more than skill and detail to stand out from the crowd and make your name known both within and outside of the art scene. So, what is it that makes Ai Wewei stand out? Upon further inspection, his defining characteristic becomes obvious, and it is agreed upon by the likes of The Smithsonian magazine, which defines him as a ‘visionary showman’ evident in his ability to invoke strong emotions and shock through his extreme performance art. Ai continues to show that art acts as an effective form of activism.
Moreover, one of Weiwei’s more recent projects was created in 2021. It consists of an outdoor sculpture, cast in iron from a mould made from
The problem is that we never learn from our mistakes… we never really learn a lesson.
“
a 100-foot-tall tree in the Brazilian rainforest. This sculpture is presented as part of his exhibition focused on deforestation. The impressive iron structure was constructed with the use of scaffolding where a team created a mould of the tree. It was then cast and sent to Portugal. The symbolism stands as a warning for people to truly understand what we may lose in the future if we continue down the path we are currently on. The mould brings to light how impressive nature can be to create something as large and profound as this tree. However, the striking visual of the tree being leafless, combined with the artist’s choice of iron, leaves the tree with a wilted and rusted appearance serving as a reminder to its visitors of the environmental threats which face the planet. “The problem is that we never learn from our mistakes… we never really learn a lesson”. This statement speaks greatly to a lot of the artist’s works and his overall message which suggests that as a population our focus is misguided and preoccupied and that our inability to focus on the important matters that affect everyone regardless of their social or economic status, race, gender, religion, or
political beliefs, will ultimately lead to our downfall as a species.
A consequence of Ai Weiwei’s political approach has gained the attention of the Chinese government who swarmed the artist with accusations of tax evasion, shackled him from travel and even imprisoned him. Despite the government’s efforts to censor him, this has only amplified his fame.
Over the years the worlds of politics and art have become more and more intertwined as it has proven to be an effective way to open people’s eyes to their message and ensure that their audience is more receptive. One thing that Ai Weiwei’s art shows us is that the element that makes it art isn’t solely the act or creation itself but also the reaction to it. In the instance of dropping the Hans Dynasty Urn, the Urn nor the act of dropping the Urn is the entirety of the art display, but the reaction from the government and society are the final missing piece in creating the live artwork. This is because of the message behind the performance. Ai Weiwei sent a message regarding the importance of remembering history for what it is, including the good, the bad and the ugly, instead of immortalising a romanticised version of that history into an inanimate object such as the Urn. Therefore, by people reaching to the Urn shattering the way it did, with such controversy, it only amplified the artist’s message, and by doing so, became a part of the performance itself.
By Kassidy Spight
Gill Welland draws inspiration from figurative art, street art, portraiture, and abstract expressionism. Freelancing as an illustrator for various publications such as Elle and Vogue magazines, Gill has gained international acclaim for her captivating textures and patterns in her artworks.
How do you choose your subjects and themes? Is there a specific message or emotion you aim to convey through your paintings? For me, creating art is deeply personal — I need a strong, emotional connection to every subject I paint. The emotions I feel while working are genuine, and I invest significant time and thought into the composition and style of each piece. My goal is for my paintings to transcend mere visuals, offering viewers a profound and powerful experience that resonates with them on a deeper level. It's a raw, authentic process, and I believe that comes through in the final work.
A few of your Instagram posts are captioned with poems that reflect the tones and stories that your artwork displays. Is poetry something that you draw a lot of inspiration from in your paintings? If so, does the poetry inspire the painting, or vice-versa? When I paint, words often come to mind — lyrics, statements, even poems. In many ways, they mirror the tones and stories embedded in the artwork, almost like I’m playing out the narrative in my head. Sometimes, I’ll start a piece by painting words or sentences directly onto the canvas. Other times, I’ll write the poems on the back, letting them quietly be part of the process. Poetry has been a constant source of inspiration for me, ever since I was a little girl. I still have my first book of poems from when I was 10. It might be interesting to revisit them now, to see how they might influence a painting today.
How was the transition from fashion illustration into large scale painting? Was it daunting or liberating?
That's an interesting question. I've always known I wanted to be an artist, with a deep love for figurative art. One of my earliest inspirations was a fashion illustrator named Zoltan, whose beautiful lines captivated me when I was young. I often drew inspiration from commercial illustrators during that time. After spending some time as a fashion illustrator, I realised my true passion lay in painting, and I shifted to producing larger-scale works. The transition has been both exciting and, like many artistic journeys, occasionally daunting — but always fascinating.
In your collection ‘Life in Colour’, I personally found your work named ‘The Offering’ fascinating. You talk about how it was inspired by a trip to Bali, are a lot of your paintings inspired by your travel experiences? Does your work remind you of your personal experience in these places? I travel frequently, and I’m always drawn to the true heart of each country I visit. My trip to Bali took me to the Northeast, where I spent time with the local community, who live simple yet deeply fulfilling lives. One of the most beautiful aspects of Balinese culture is their daily ritual of offering, a spiritual practice that left a profound impact on me. These offerings are crafted by weaving palm leaves into small baskets, then filling them with flowers, rice, and symbolic items. Once blessed by a priest, they are used in religious ceremonies. This humble yet meaningful gesture, expressing deep gratitude for the gift of life, resonated with me on a spiritual level. The painting I created from this experience reflects that moment and its lasting significance.
Do you experience moments of creative blocks or artistic hardships, and if so, how do you handle these instances?
I don’t often experience creative blocks, but I do occasionally stumble in the process. Sometimes, I need time to reflect on how to bring the image in my mind to life on the canvas. This period can be frustrating, and when it happens, I step away — whether it’s going for a long walk or simply turning the painting around, so I don’t look at it for a few days. When I return, my vision is clearer, and I can approach the work with a fresh perspective.
My goal is for my paintings to transcend mere visuals, offering viewers a profound and powerful experience that resonates with them on a deeper level. “ “
For me, creating art is deeply personal — I need a strong, emotional connection to every subject I paint. “
In your collection of abstract paintings, how do you prepare to paint these visuals that are unbounded by realism? What inspires the shapes, colours, forms and symbols that produce the final piece?
Nature is a constant source of inspiration for me, often leading to large-scale abstract works focused on flora or landscapes. These abstract pieces are essential to my creative process, paving the way for my figurative and portrait paintings. They allow me to express myself freely, using mixed media to embrace abstraction and loosen up. I have a deep love for colour and texture, and I enjoy building layers to create depth in my work. When reflecting on a landscape, I often break it down into shapes and colours yet still deeply connected to nature.
What do you think of the Art Space gallery and having some of your work exhibited with us?
I believe this is an exciting time for the art scene in Gibraltar, and the Art Space gallery is such a fantastic venue for creativity. I'm thrilled to be part of this vibrant community and to contribute to its growing artistic energy.
If you could collaborate with any artist, past or present, who would you choose and why?
There are many artists I’d love to connect with, but a few of my favourites are Peter Lanyon and Tracey Emin. Lanyon had a distinctive style that beautifully balanced abstraction expressionism to something close to Pop Art in landscape painting. His approach to landscape painting was both innovative and deeply inspiring and I loved his colour palette. I also greatly admire Tracey Emin for her raw, emotional storytelling, which brings a powerful narrative element to her work. And, of course, Lucian Freud — arguably the most remarkable artist of the twentieth century — whose mastery of portraiture continues to leave an indelible mark on me.
What are your goals for the future? Are there any new techniques, subjects, or projects you’re excited to explore?
I’m on a journey of self-exploration and feel more connected to my inner voice than ever before. With age, my perspective has deepened, allowing me to revisit past ideas with fresh meaning. This creative period has been incredibly fulfilling, and I’m excited to explore new techniques. While a solo show in a major city would be a dream, my true passion lies in continuing to create and grow as an artist.
By Ben Lemmon
This article will aim to discuss how social media in today’s modern landscape is shaping our consumption of photographic and videographic content. With the evolution of photography and video content in the current media landscape specific to Instagram as a social media platform, this ever-changing force continues to shift my analysis on the matter due to various elements that have evolved throughout the years.
I titled this article The Modern Contact Sheet because of how much it reminded me of traditional film photography and film contact sheets. Originally, a photographer would have to physically develop their film roll and analyse the various photographs taken in order to determine which one was worthy of an individual print or exhibition quality. And while the physicality of having a photograph in front of you has been diluted over the years, the notion of self-criticism is still very much present in today’s social media age (or at least it is in some cases). Of course, depending on the type of content you as an individual post determines how much attention you give in highlighting a set of pictures or videos…
The key point here is ‘self-criticism’! It is evident that there is a clear comparison between our attitude towards producing the most attractive feeds for public consumption and a film photographer’s critical analysis of his or her work. The instagram feed is an obvious juxtaposition between a traditional contact sheet and a modern contact sheet. Being selfcritical of our work is a healthy way of self-improvement, the question is have we taken this idea too far? Is what we produce on social media not for our own benefit but rather for the benefit of others, a fake, an image that represents
the illusion of our willingness to create? We must ask ourselves these questions now more than ever, as the social media landscape has evolved so rapidly in such a short space of time that many photographers and filmmakers believe it is no longer condusive to good work.
The second point is ‘control’ and how much control are we willing to give a social media platform over our work? Of course, this is a very personal question, and it really depends on how long or how much attention we decide to give it. Recently we are starting to see many artists turn away from social media, producing works of art that live beyond the digital space. In my opinion, it is essential and good artistic practice to find new ways of showcasing art that extend past the screen. Even though social media is a powerful tool, can reach many people and has the potential to unite and bring together a common goal, artistically speaking, it should only remain as a contact sheet. Social media should not be the ONLY vehicle for communicating important pieces of work, especially if your work addresses political, economic or social issues. A piece might be drowned in a cascade of other images or videos with a related topic, your image might be bracketed under an umbrella of miss-information, or your work of art might simply not reach as many
people as you’d wish. The point being that social media has the potential to elevate your work in terms of reach and engagement, but very rarely does it speak to the viewer directly.
So, what positives can we take from this discussion and what can we learn from the differences between film photography and the new digital environment? If the practice of film photography has taught us anything it’s that if something is important, we should take our time in elevating what we see through the lens. Not to rush to put content out but to really connect with subject matter and the art making process. To allow the work to breathe and to publish content when we feel it’s necessary and when it makes us happy to do so. The second is to embrace the notion of healthy self-criticism as it will enable us as artists to make better creative decisions both on social media and off social media. The saying ‘adapt or die’ is something which is thrown around throughout the creative industry as a means of justifying the ever-changing landscape. And while this is overused, it does ring true to some extent, and it is how we choose to adapt that might make a difference in our approach to creativity and content creation.
By Francesco Scalici
The debate over whether video games are considered art has been ongoing for decades within the entertainment industry. It has stirred passionate discussions among gamers, artists, critics, and philosophers.
Legendary film critic Roger Ebert has stated that ‘games can never be art’. Reinforced by scholar Daniel Goldberg who claims how they are often ‘engaged and discussed as products of technology and not culture’. A lot of game criticism tends to read more like a review of a mobile phone application or even a car, mainly because they
focus on the technical performance and its programming over artistic depth and expression. Part of this stems from gaming’s deep connection to the Cold War Era American Military funding and technology. This fuelled much of early video game development. A game like ‘Hoot Spiel’ created in 1955 is a simulation game which brought war between NATO and USSR to life. As a result, video games have often been viewed as more complex forms of technological and industrial advancement rather than creative work. However, this reductive viewpoint does not sit right with me. Is war not part of our culture? Is war not a result of socio-cultural or economic circumstances?
Another reason why games have been maligned is because they are based around ‘play’ which we often
refer to as silly, unproductive diversions of childhood and immaturity. As an artist and an avid gamer myself, I’m just a little taken back by this. However, this perspective doesn’t match with sociologist’s Johan Huizinga's note back in 1938 that ‘all art derives from play’. He was the first to attempt an exact definition of play and of the ways it infuses itself in all spheres of culture: the arts, politics and warfare. An ancient fable by Greek writer and historian Herodatus describes the ‘Lydians’ who, during a famine, invented and created games to distract themselves from hunger. Whilst this
story emphasises themes of endurance and adaptation, it suggests that the writer saw serious power in the diversion of gaming, especially in a society experiencing struggle.
Games are a part of history, and history is celebrated and remembered through art. Why would video games universally achieve the same outcome? As historical art is preserved in museums, efforts are underway to preserve video games, which signals that they have lasting value. Historical and traditional art are used in educational contexts the same way that games like ‘Assassin’s creed’, ‘Total War’ and ‘Civilisation’ integrate real historical events, figures and eras into their gameplay. They not only preserve it, but also provide interactive ways to engage with it.
films. They understand the language of cinema and graphics, and most importantly, they place you the ‘player’ in the shoes/eyes of the character’s firsthand experience. By choosing certain actions, moves or making decisions to test your own morality and create a unique relationship with the character you are in control of.
Viewed this way, gaming’s ability to distract from material realities, starts to take on serious stakes. Recent years in gaming journalism, video game studies and games themselves, I feel, have become more sophisticated. The flimsy arguments against considering the medium an artform seem quite dubious. Today video games are increasingly viewed as legitimate cultural artifacts, franchises like ‘The Legend of Zelda’, ‘The Last of Us’, ‘The Final Fantasy series’ and even ‘Pokemon’ are capable of communicating aesthetic narrative, emotional and ethical meanings. There are far more complex storylines, equally as deep and emotional as respected
Given their ever-growing popularity, American scholars and game designers ‘Ellen Sandor and Janine Fron’ have mentioned how video games possibly could become a dynamic extension of cultural memory ever since photography was embraced and considered an art form. In the context of art history, technical evolutions have proven to be an important aspect for artistic innovations. When photography first arrived on the scene, it was not fully recognised as art because of its reliance on technology, yet now photography has greatly expanded the boundaries of what we consider to be artistic expression. Video games make us consider particular themes relating to real life conflicts and situations; such as hierarchies, corruption, villains and a sense of making meaningful change
that we maybe cannot do in real life, but can easily do in a fantastical story. Picasso once stated ‘the purpose of art is washing the dust of daily life off our soul’. If that’s true, then surely video games not only qualify but possibly exemplify the way art helps us transcend the mundane and help us experience something extraordinary. So extraordinary, that The Art Space gallery is wanting to bring immersive digital art experiences to life. This would allow visitors to experience the artist's work in a fully interactive environment, which could potentially blend visual and sensory elements to bring these creations to life.
So I leave this with you, what do you think? Are video games just a fun diversion, or one of the most important mediums of art being created today?
BY ANTHONY LODDO
With the recent release of ‘Alien: Romulus’ in cinemas, it seems appropriate to examine one of the most iconic figures in film, the alien first designed by H.R Giger that appeared in the classic ‘Alien’ (1979).
The alien figure was actually first designed by Giger years before the release of the film, as it featured in his book of artwork named ‘Necrominon’ (1976). The specific alien that was selected for use in portraying the ‘Xenomorph’ in the film was labelled as Necrominon IV.
Giger’s signature style has been labelled the ‘biomechanical aesthetic’, which incorporates flesh and machine in an amalgamation that evokes an unsettling contradiction between the two oppositions. Seeing the flesh, blood and bones held in the suspension of metal wires and tubes gives this obviously inhuman creature a sense of familiarity, making it that much distressing as it challenges humanity’s natural understanding of life forms and technology. The essence of the unnatural hybrid evokes a sense of discomfort that adds to the overall unsettling theme of the horror film.
The director, Ridley Scott, was aware of Giger’s style and chose it to cause this sensation that runs throughout the film. Giger's own artistic vision was deeply rooted in the fantastical and terrifying. He used the term ‘uncanny’ to characterise his concepts for Alien, which Freud regarded as both familiar and incredibly odd. The Xenomorph feels ‘off’ because it defies nature by fusing components of what we know
(an animalistic predator, a humanoid shape, and technological components). The end product has the feeling of something real, albeit in a horrible, nightmare kind of environment.
Another reason this specimen was chosen by Scott was for its incorporation of subtle, yet at times, overt sexual imagery. The creature evokes ‘a nightmare vision of sex and death’ due to its combination of sexually suggestive physical and behavioural traits, as noted by critic Ximena Gallardo. The male body is opened and subdued in order to become pregnant, and then it explodes during birth. The mature extra-terrestrial uses a stiff, phallic tongue to pierce both flesh and bone when striking its prey. The Xenomorph’s head shape, its method of attack (the facehugger’s forced impregnation), and its reproductive processes play on deeply rooted human fears of violation, reproduction, and parasitism. These motifs evoke a visceral response, as they touch on themes of sexual violence and bodily invasion.
His creation of an aesthetic he called ‘biomechanical,’ which fused the organic and the mechanical, had a significant impact on the creature’s appearance. He used plasticine to mould vertebrae from a snake, rib bones, and components from an
antique Rolls-Royce car to build his mock-up of the alien. Carlo Rambaldi, a special effects designer, created and assembled the 900 moving elements that made up the Alien's animatronic head. For their work on the Alien, Giger and Rambaldi would jointly receive the 1980 Academy Award for Visual Effects.
The element of biomechanical fusion is a trait that runs throughout various stages in the film, but not limited to the physical form of the Xenomorph. For example, the interior of the spacecraft where the alien eggs are discovered, Giger's design for the abandoned ship also adopted a biomechanical element that gives the scene a sense of life and a malevolent energy. The organic curves and ribbed walls resemble a ribcage and a spaceship, giving the place a cramped, gloomy mood that also feels menacing and abstract.
The director of the film Ridley Scott elaborates on the effect of Giger’s artwork on his film, stating: “At its essence, Giger’s art digs down into our psyches and touches our very deepest primal instincts and fears. His art stands in a category of its own. The proof of this lies in the intensity of his work and imagination, which I can only compare to Hieronymus Bosch and Francis Bacon.”
At its essence, Giger’s art digs down into our psyches and touches our very deepest primal instincts and fears.
“ “ Ridley Scott
Giger’s dark, mysterious and disconcerting visions have become synonymous with the horror genre, with the new ‘Alien: Romulus’ depicting the exact Xenomorph creature that Giger envisioned in the original, showcasing how the ground-breaking use of art has stood the test of time and continues to terrify audiences in later generations, despite the mainstream iconography of such a nightmarish creature. Overall, Giger’s artwork in the film operates on a deeply psychological level, blending biological, technological, and sexual horror to create a phenomenon that feels deeply disturbing, predatory, and utterly unknowable. This combination of visceral and intellectual fear makes it enduringly terrifying, and serves as a showcase of technology-driven harrowing artistic expression.
By Ben Lemmon
Fans of art will be aware that the art world, and industry, is in a constant state of shift; forever-evolving in not only style and aesthetic, but also in its distribution and market presence.
The recent surge in digitalised art, made available and accessible through the online space has often been labelled as the most drastic of these evolutions in the contemporary art space. Specifically, NFTs (Non-Fungible Tokens) have emerged as revolutionary forces, transforming both the creative process and the art market.
Digital art’s prominence has been facilitated by an increase in tools used to create the art, contemporary artists employ an array of digital instruments, ranging from virtual reality to graphic design software, to create works that push the boundary of what is possible. Digital art is created in a virtual environment as opposed to more conventional media like oil or canvas, giving artists endless options for manipulation, replication, and distribution. In the past, where imagination was brought to life
through conventional means of art, such as paintings and sculptures, these digital tools allow for immense fantasies and sci-fi images to be presented in a realistic, lifelike environment.
It can also be argued that digital art has made creating artwork more accessible for the masses to become creatively involved in. There are no conventional limitations to creating these artworks as there once may have been, and basic access to a phone or computer now enables anyone to create beautiful digital artwork, through the learning of programmes such as Adobe Creative Cloud, Photoshop, Procreate and hundreds more. This abundance of accessibility into the digital art world inevitably led to the debate of ownership and value of these art pieces, due to the dilemma that, in an age where sharing and copying
digital files is effortless, how does one verify the authenticity, legitimacy and value of a digital artwork?
The answer to this conundrum came in the form of NFTs. The basic definition of an NFT is a digital-only visual asset that is made unique and traceable by block-chain technology. NFTs can be in any digital format, such as an image file, video, even tweets and Instagram posts, and they can be traded and sold between users online. Although said to have begun earlier, NFTs began to take off in 2017, with the release of ‘Cryptopunks’. The digital phenomenon plateaued in 2020. NFTs give artists a way to make money off of their creations in a way that is comparable to traditional art sales, and they give consumers the guarantee that they are purchasing original digital art. The impact of NFTs in the digital art market have been
unprecedented, with the unique, oneof-a-kind nature of NFTs causing their value to be astounding in some cases. An example of this is the popular NFT, ‘Cryptopunk’, a collection of 10,000 unique collectible characters with proof of ownership stored on the Ethereum blockchain (meaning these artworks can be bought with the cryptocurrency Ethereum, or ETH). The actual artistry of these works is fairly basic, simply pixelated characters posing in a ‘profile picture’ style with a plain colour behind them. However, the value of them speaks for itself, with, at the time of writing, the lowest valued Punk currently on sale worth 21.8 ETH, which equates to $58,074,55 USD. Their website also indicates that over $250 million worth of Punk art has been sold in the last 12 months, implying a high demand for these financially valuable assets. This debate of ownership
within digital art proposes a thoughtprovoking query regarding the value of originality and uniqueness in artworks, questioning at what point does the immense individuality of art outweigh the actual aesthetic style and effort put into creating the piece?
There is a constant veil of speculation and uncertainty surrounding NFTs, reflecting how they are often treated more similarly to stocks than works of art, with the mere purpose of appreciating. The phenomenon is relatively new, and since this speculation or ‘hype’ has died down considerably since its height in 2020, people are quick to perhaps prematurely label NFTs as ‘worthless’, stated in an article from The Guardian just under a year ago which highlighted the dropping in value of thousands of NFTs. The fact is that NFTs are a new entity in a constantly innovative
and adapting digital market, and to maintain their intrinsic value as artworks, the art within these digital assets must be innately appealing, or provide genuine utility.
The prominence of digital art and NFTs have altered how the contemporary art market operates, since artists may now communicate directly with buyers through online platforms, thus traditional gatekeepers like galleries and auction houses are being circumvented. Artists now have more influence over their work and how it is distributed thanks to this change in power and control. Although the speculative frenzy that enveloped NFTs has mostly passed, NFTs might still play a significant role in the digital economy as the market and technology continue to grow in the world we live in today.
BY BEN LEMMON
Monika Luniak has been painting for as long as she can remember. Although having attended art schools in Europe, her style is in-keeping with her own sense of self.
Over the years, Monika has matured stylistically in technique, emotion and expression.
She is a full-time artist as she “cannot imagine spending time without a brush in [her] hand, paint on [her] clothes, and beauty flowing out of [her] heart” in hopes that her paintings “add a little colour and joy to one’s life”.
J.M.W
Turner was an English Romantic painter, printmaker and watercolourist. He was born in Covent Garden and was a child prodigy!
He enrolled in the Royal Academy of Arts when he was 14 years old and also worked as an architectural draftsman. He became a professor of perspective, and is revered for his expressive colours, turbulent seascapes and oilbased masterpieces.
Turner’s style was considered to “stirringly and truthfully measure the moods of nature” according to the notorious art critic John Ruskin. His imagination was sparked by shipwrecks, fires and natural phenomena such as storms, sunlight, rain and fog. The artist was even renowned for engaging with the elements by purposefully embarking on a quest to sail the seas in the midst of a stormy
night. He felt that this experience would influence his paintings and provide them with vibrancy, intense drama and powerful naturalistic effects.
When Turner came to paint his Fighting Temeraire , he was at the height of his career after having exhibited at the Royal Academy of London for 40 years. In his composition, the sun sets above the estuary, its rays extending into the clouds above it, and across the surface of the water. The luminous beams of red are reflected in the river, repeating the colour of the smoke from the tugboat. The sun setting symbolises the end of an era, and the sliver of the moon makes reference to the
commencement of the new, industrial era. The demise of heroic strength is the main subject of the painting, and it has been suggested that the ship alludes to the artist himself, with an accomplished and glorious past but now contemplating his own mortality.
The Industrial Revolution, brought great positive change to Great Britain. Steam power heralded a machine age in which mechanical innovations shaped everyday life and consumerism. There was a palpable understanding that the world was changing forever. Temeraire was the hero of the Battle of Trafalgar in 1805, where Napoleon’s forces were defeated, and which secured British naval dominance for the next century.
By the late 1830s, Temeraire was no longer relevant. The beautiful ship retired from service in 1812 and in 1838 was sent up the River Thames to a shipyard in London to be broken up. Turner witnessed her journey up the river, and used this event as inspiration for his famous painting.
Depicting the once cherished and mighty Temeraire as a ghost ship being pulled along by the tugboat whose steam engine is more than strong enough to control its larger counterpart, Turner’s allegorical scene alludes to the passing of time and its finite nature. Replacing years of history and tradition, the beautiful Temeraire reminds Turner of himself, being superseded by younger artists working in drastically different styles after his long career in the artworld.
In addition to the Fighting Temeraire , Turner’s Rain, Steam and Speed – The Great Western Railway , combines the power of nature and technology to create an emotional tension associated with the concept of the sublime. The sublime has long been
understood as a quality of greatness and grandeur that inspires wonder and awe. Since the 17th century, this has been explored by artists and writers, especially with regards to the natural landscape. Turner’s composition was painted towards the end of the Industrial Revolution and depicts the steam from a locomotive enveloping the canvas. The mist rising from the water, the rain that veils the sky, and the use of thick impasto to create short broad brushstrokes, form a unification of tonalities which enhance the dynamism of the subject. The rain, light and steam emanating from the engine form an atmospheric unity of unusual density out of which the train appears to speed past the viewer. With a similar technique to Velázquez, Turner’s lack of precision and reduction of detail enhances this dynamic effect of movement in which the human eye is slower than the moving object. The strong perspective inferred was the defining factor that made Turner one of the precursors of Impressionism. This illusionistic representation of
speed laid the foundations for the Futurists where “the splendour of the world [was] enriched by a new beauty: the beauty of speed”.
Such is the work of the painter of light, Turner is greatly recognised as one of the most prominent artists from the age of Romanticism. Depicting an appreciation of nature in the Age of Enlightenment, painters like Turner rejected the social conventions of time in favour of a moral outlook. Arguing that passion, intuition and beauty are more than an affair of form, they sought to evoke a more philosophical and emotional response in art. With chivalry and heroism at the height of their subject matter, the organic relationship between humans and the environment was of the utmost importance in order to promote a high moral compass.
By Tamara Bell
You can visit these artworks in room 34 at The National Gallery in London.
Turner’s style was considered to ‘stirringly and truthfully measure the moods of nature’ according to the notorious art critic John Ruskin. His imagination was sparked by ship-wrecks, fires and natural phenomena such as storms, sunlight, rain and fog.
This article will discuss the connections between photography and painting, using the sub-genre, landscape photography as a point of focus for highlighting areas of commonality and difference between the two artforms. I will also be discussing the film ‘El Sol Del Membrillo’ and its relationship to cinema and painting as a whole.
When somebody thinks about landscape photography, the first impression that one might feel could be amazement or shock at the overly saturated colours, possibly a magnificent view with the best kind of sunset imaginable or maybe an image so
stunning that when presented with the original photograph the RAW file as it’s known, the impression of the landscape changes altogether! That’s because, landscape photography has the power to hide and manipulate the real landscape. In many ways, landscape photo-
graphy or the practice of editing, is very similar to painting and an artist’s approach or responsibility to achieve an accurate portrayal. However, before we go into the similarities it is very important to establish a few things concerning landscape photography as a genre.
The first point is understanding that there is a plethora of landscape photographers that focus on a specific branch of this craft, photographers such as Thomas Heaton, Willem Verbeek, Nick Miners and even the greats like Ansel Adams are interested in only highlighting nature and their surroundings, rather than attempting to uncover every aspect of colour or depth that the landscape has to offer.
The difference in approach might not be visible to the viewer at first glance but the process of landscape photography is what really challenges the individual to accept that he or she is not fully in control, of really… anything! Landscape photography, above all else is the acceptance of potentially walking away with nothing and arriving to a location understanding that failure is always inevitable. This ideology amongst the landscape community is a concrete tagline. It is what makes us as landscape photographers seek out that special moment, or beautiful composition that makes all the trial-and-error worth it. In this regard, the continuous practice of re-visiting a location and attempting again and again is similar to the process of painting. It is simply a game of endurance and finding beauty within this process. One of the main differences however, between painting and landscape photography is the idea of control. While the landscape photographer surrenders him or herself to the notion of walking away with no image, the painter can force an idea into existence. But control over a piece of work is not always so clear cut and in the case of Victor Erice’s film El Sol Del Membrillo , (which I will discuss further). Similarities can be drawn between the notion of control in painting and photography.
The result is more a philosophical work of art than a form of documentation; less a record of a painter at work than a selfconscious proposition about film’s relation to painting and to life.
over the span of a few months. What is particularly interesting about this film is its relationship with painting and how López García works to achieve a piece that demonstrates the passing of time. There are many similarities between photography, cinema and painting that can be drawn from this film, but it is the notion of ‘failure’ that I previously mentioned regarding landscape photography that is apparent here.
Throughout the documentary we see López return to his work various times, at some point deciding to completely scratch the piece and begin again.
that can be drawn between photography and painting, more specifically how landscape photography adopts similar artistic values when recording subject matter.
One very interesting example of how photography and painting have collided is through the works of Victor Erice and his film El Sol Del Membrillo. The film follows the Spanish Painter and sculptor Antonio López García and his process of painting a quince tree
Much like the landscape photographer at work, López has surrendered himself to the notion that ‘time’ can only be briefly captured and not mastered. In an article titled: Poetic Density, Ontic Weight: Post-Photographic Depiction inVictorErice’sDreamofLightit states: El Sol Del Membrillo offers us a fascinating insight into the likeness
The second and last point I would like to discuss is post-production, altering an image and manipulating it from the original. This is by far the point that relates most to the current landscape media as editing has become a huge part of an artist’s arsenal. For photographers the editing process can involve a lot of culling, digital manipulation and adjusting aspects of an image that are potentially undesirable to the eye. There is of course, always going to be room for digital manipulation. A project or artwork might be subject to clients’ needs and therefore edited in a specific way. In some cases, photographers might totally re-adjust colours or add elements to a photograph that were not previously there and for painters it’s much the same. This process of manipulation really depends on the artist’s style and artistic interpretation, with many photographers (specifically those in the landscape genre) choosing to adopt the: ‘Less is more’ way of editing work. The idea that we as artists are simply vehicles and use our tools to bring to light subtle beauty is a process which I believe is shared between both genres of art.
By Francesco Scalici
Monica Popham is a Gibraltarian artist and winner of the 2024 Landscape Artist of the Year award. Monica focuses on the tangible qualities of shadow and light in her body of work, capturing the synergy between architecture and sunlight throughout her portfolio.
Congratulations on winning the Landscape Artist of the Year competition! How does it feel to be recognised for your talent on such a prestigious platform?
It feels great to be recognised. I was always a big fan of the program and have been following it for a while now. To get to have the opportunity to take part was so exciting for me and to win was an honour.
Can you share with us the inspiration behind the artwork that ultimately led to your victory in the competition?
My winning piece held great sentimental value. I decided to do the top floor view of the building me and my partner Jack moved into for the first time. It was a very special moment for me and ultimately won me the competition.
How has winning this competition impacted your artistic career and shaped your future aspirations as a landscape artist?
Keep trying to capture how you see landscapes rather than how you think you see them. “
Winning the competition changed my life. It gave me the opportunity to quit my full-time job and follow the career that I’ve always wanted. Previously, I had to fit painting into my weekends and free time, which was scarce, but now I have a lot more time to focus on my art and develop in this field which has always been very important for me.
Can you tell us about your journey as an artist and what inspired you to pursue this artistic path?
As a young girl I’ve always painted, it was something I’ve enjoyed and drawn creative inspiration from. I studied
in Loughborough University where I explored many things in art and creativity. Covid was a struggle, but within that I found painting was what I wanted to do. My final piece for my degree was a series of 96 small tile paintings that I worked on in Gibraltar.
How would you describe your artistic style and approach when it comes to capturing landscapes in your work?
I would say I am definitely a colourist. In my work, light is a very important aspect which was interesting to implement in the competition as we were painting British landscapes where there is very little light, and the tones are mostly grey and cold. I would say capturing light is definitely my comfort zone.
Are there any particular landscapes or locations that hold special significance to you and have influenced your artistry?
Gibraltar has definitely been my biggest influence. I would say there is where I was most inspired and where I painted the 96 small tile pieces which ultimately gave me the opportunity to take part in the Landscape Artist of the Year competition.
Have you had any memorable experiences or interactions with your audience or clients regarding your landscape artwork?
The reaction from fans of the show was amazing. I received a lot of sweet messages. I had someone buy my final piece for the competition which was a very special moment for me. I also had someone send me a selfie of the Gilford Street scene which was touching. But overall, there were many people reaching out to congratulate me and I felt a lot of love.
How do you stay inspired and motivated to continue creating new landscape pieces?
There are highs and lows in every venture we take. At the end of the day, it is a job, and no one goes to work enjoying every single day of it. Sometimes it’s difficult but you just have to keep showing up and do the work. There are many great benefits and beautiful moments in doing what you love. And painting is what I love.
Looking ahead, what are your aspirations and goals as a landscape artist, and how do you envision your artistic journey unfolding in the future?
I would love to have a solo exhibition in London one day. At the moment my focus is to create a large body of work to have a collection, and now that I have the time, I am able to do that. Hopefully this will translate to exhibiting somewhere.
As the Landscape Artist of the Year, what message or emotion do you aim to convey through your artwork, and how do you hope to inspire other aspiring artists in the landscape genre?
My main advice is to just keep painting. Don’t stop. Keep looking at landscapes differently, painting is a dying artform and landscapes have been done before. But I would argue that there is always something new that you can find in the old. Keep trying to capture how you see landscapes rather than how you think you see them.
By Petra de Letras
Click here to find out more about Monica Popham..
as an
Art can be defined as a type of human expression of aesthetics, emotions and concepts which can create profound cultural impacts, and serve as commentary on society, humanity, as well as individuality. Film is an aspect of art that combines multiple forms of creative expression, such as writing, acting, sound design, music, visual composition and ultimately provides a visual media for a story to be told that carries symbolism and cultural significance.
The expression of film is its most moving as an artform when the plethora of components involved in making the film solely strive to create a product of beauty, not of financial success. Film, in its most popular form, may be a commercial industry, with the major profiteering of Hollywood corporations in the box office reflecting how films are at times perceived as swiftly made ‘cash-grabs’. However, cinema has a potential as an artform that is truly unequivocal, due to its incorporation of such a vast number of subsidiary arts that are vital for the successful final product. It is hard to summarise artistic greatness in film, as there are so many intricacies to judge from in each film, and it is distinctly infrequent that greatness is achieved on all levels.
An example of a film that I believe to be exceptionally conveyed through all its components is Call Me by Your Name (2017), directed by Luca Guadagnino. This feature is an exemplary work of art in the medium of film, with the cinematography of Sayombhu Mukdeeprom using solely the Cooke S4 35mm lens, capturing the nostalgic aesthetic of a 1980s Northern Italy that feels immersive and, in the words of Guadagnino captured ‘the sense of the human eye, and some sort of allowing the space to breathe still’. Accompanied with the nuanced and angst-fuelled performance of Timothée Chalamet that accurately encompasses a teenager grappling sexuality, desire and self-discovery in an overall masterful display of artistry.
Individually speaking, certain films and directors create their own stylistic approach that easily distinguishes them from their peers; here we see film
diversify as an artform, and how the medium presents itself in alternate forms. For example, the director Wes Anderson is renowned for his meticulous use of spatial composition in his work that contributes to his unique storytelling. There is an indisputable visual symmetry to his work that provides a layout for the construction of onscreen components, such as lighting, architecture and people, to intensify the themes and emotions that Anderson wants to convey. This distinctive compositional approach not only defines Anderson's aesthetic but also serves as a narrative tool that deftly conveys themes of order, chaos, and the idiosyncrasies of his characters' worlds.
Aside from structural visual decisions such as frame composition, the visual images depicted in films are often stunning works that ultimately become rendered to create standalone images which later belong in art museums. Whether constructed through the work of the cinematographer, or rendered later with the assistance of computergenerated images, films display visual aesthetics that are simply breathtaking to look at.
The cinematography in the film Hero(2002) is a testament to the artistic capabilities of film, with the combat sequences and stunning visual shots produced through meticulous craft, that intricately focus on strict colour palettes, prioritising these colours to intensify and enhance the emotions intended within the scenes.
Further discussing the subject of cinematography in film as an artform, last year’s Oscar winner for best cinematography was Christopher
Nolan’s Oppenheimer (2023), with the cinematography conducted by Hoyte van Hoytema. The film’s large format cinematography engulfs audiences in this immersive world that truly creates an experience that indicates immediately that we are witnessing something bigger, and more powerful than ourselves. The visual aspect of this film is not only a spectacle, it is literally avant-garde in its ground-breaking complexity in advancing camera work. Nolan and Hoytema agreed that they did not want the quality of the film to suffer when transitioning into the black and white sequences, and so wanted to shoot these in 65mm black and white format, which simply did not exist. They approached Kodak asking if they could create large format black and white for film, and they were able to produce the magical and inspiring results in the final product. Therefore, in order to support the ambitious narratives onscreen, the cinematographers had to engineer the resources to be able to convey their implicated story.
Like other art forms, film continually evolves through technological advancements and creative experimentation. Film-makers often push the boundaries of storytelling, visual effects, and narrative structure, contributing to the medium's artistic growth.
Overall, we celebrate film as an artform because of its capability as a medium to incorporate all elements of art and produce a creative expression of mass proportions, distributed for the whole world to spectate and engage with. Through its many forms, it has the ability to entertain, educate, inspire, and provoke, making it a vital and influential component of the arts.
By Ben Lemmon
Photography as an artform has now become one of the most popular ways of showcasing creativity. It has certainly progressed a long way from the early days of analogue and film to the more recent mirrorless cameras, capable of capturing images and video of unparalleled quality!
The many genres of this art form make it almost impossible to pinpoint which photographer is considered the best of all time, as art is truly subjective with photography having an abundance of artists that have challenged the landscape in many ways. This article will therefore discuss the documentary and photo journalistic aspects of photography while focusing on several individuals whose work might be fundamental to the genres. Before we begin it is important to note what documentary photography is and what photojournalism is. In some cases, the lines can be blurred depending on the work produced, is a piece more photo journalistic or documentary, or is it both? Documentary photography is a style of work that focuses on creating a body of work which accurately represents people, places and/or environments. Documentary photographers are deliberate in the way they capture images, a genre of photography that is straightforward and aims to capture the ‘truth’ in the frame. Where photojournalism differs slightly is in the photograph’s individual intention.
Photojournalism is about presenting a report in a series of images or in many cases one single image that encapsulates the ‘message’. As mentioned above, the lines in many cases can be blurred with many photographs being both journalistic and documentary in nature, but the
common thread between them is the photographer’s intention to reveal something truthful and real. In the early days of film photography, going out on the street and capturing the bustling of daily life was a playground of many documentary photographers and journalists alike. Today this is of course still the case, with street photography being a popular way of connecting with subject matter. Yet, with the rise of social media and a return to the analogue, many photographers are concerned that documentary photography and accurate photojournalism is being washed down for likes and attention on platforms such as Instagram and Tick Tock. The old culture and raw intention of capturing the truth is what ultimately makes these genres of photography the bedrock of photographic expression.
In 1826 physicist Joseph Nicéphore Niépce captured a scene from his window in Burgundy, France. To this date the image that he took is considered to be the oldest photograph on record and while the image is more akin to a charcoal sketch, the early days of photography were more about understanding material, light manipulation and chemical processes to render a photo on paper. During the late 1800’s many of the photographs that we typically see focus on general compositions, a portrait or two, possibly a photograph of a landscape but in principle many
of these images were devoid of much purpose. The question starts to arise as to where photographers were taking this medium. Again, the interest and importance of understanding light, exposure, how the camera works, the fundamentals of chemicals in the dark room were the very early days of photography but true photo journalistic or documentary styles did not really come into fruition until the early 1900’s. Many photographers in today’s day and age might associate documentary photography with one man: Henri Cartier-Bresson, considered the father of street photography, a pioneer in the genre and one of the founders of Magnum photos in 1947. His legacy as a street and documentary photographer has inspired many others to push the boundaries of photo documentation.
One documentary photographer that clearly stands out is Bruce Gilden.
A New York based photographer and specialist in flash photography, Bruce Gilden’s approach to his subject matter is raw and unfiltered. Many consider his work to be crude and far too intrusive, yet in an interview with WNYC he describes his use of flash as a tool to help:
“Visualise the energy of the city, the stress, the anxiety that you find here”
Bruce Gilden’s approach to many photographers and journalists alike is the avoidance of ethics. Gilden
If your pictures aren't good enough, you're not close enough.
Robert Capa “
himself states that there are no ethical boundaries when it comes to the type of photographs he takes, citing in an interview by Wex Photo, photographer Robert Capa’s famous line: “If your pictures aren’t good enough, you’re not close enough”. Gilden is one of many photographers that have pushed the boundaries of documentary photography. His approach to creating art has a clear purpose, an understanding and appreciation of the subject matter he is recording, and aims to truly encapsulate characters that define city life.
Of course, some of the most influential photographs to come from the 20th century have been images taken during periods of war and conflict. The history of photography would not be as detailed without reports from photographers like Robert Capa, Nick Ut and Don McCullin. The history of photography in my opinion is rooted in both an exploration of the individual and images that mark moments of significance. As mentioned in my initial paragraph, these genres of photography are the bedrock of photographic expression and our connection with subject matter, regardless of using an analogue or digital camera is the fundamental aspect of taking a good picture and bringing a concept to life. As stamped on the wallet of Walter Mitty and echoed through Life Magazine: “To see the world, things dangerous to come, to see behind walls, draw closer, to find each other and to feel, that is the purpose of life”.
By Francesco Scalici
The viewer plays as much of a role in investing a work of art with meaning as the artist does.
“
Performance Art is an artistic genre that combines visual art with live action, often including dance, music, poetry, spoken word and monologues. Roots of its beginnings can be traced back to ancient cultural practices and traditions, however, it became more widely and formally recognised in the 20th century.
Earlier influences of performance art can be found in old rituals. These practices in various cultures incorporated elements of performance. It is characterised by the artist’s body as the primary medium, with performances often taking place in front of an audience, though they can also be documented for later viewing through video or photography.
Allan Kaprow is credited with coining the term Happenings , a precursor to performance art, which involved spontaneous, audienceparticipatory events. His work blurred the line between art and everyday life, challenging traditional ideas of artistic creation. Kaprov’s 18 happenings in 6 parts (1959) marked a pivotal moment in performance art, as it invited audiences to actively participate in creating the art rather than being passive spectators. His contributions helped lay the foundation for the performative, experiential nature of the movement.
Another influential figure that’s worth mentioning is Yoko Ono . Yes, perhaps most infamously known for being the wife to John Lennon, but her contribution to performance art has seen her as a pioneer in the Fluxus collective, and her work has often included participation and interactive elements. Spectators of her performance in Cut Piece were encouraged to cut pieces of her clothing off with a pair of scissors she had laid out for them. It is understood to be a piece that reflects this idea of reception theory , where the viewer plays as much of a role in investing a work of art with meaning as the
artist does. Based on the nature of the interaction between Yoko and the audience members, many have praised and claimed it to be a protofeminist piece addressing abuse, objectification and subjectification of women. Musical artist Peaches who recreated this immersive experience in 2015 recalled how ‘some people wanted to protect me, others wanted to steal my shoe, or cut my hair’.
Gibraltar’s performance art scene, though relatively small, has seen several key events and projects that reflect its growing artistic community.
In 2020, local artist Christian Hook incorporated elements of performance art when he staged Awakening at the GEMA Gallery, where he combined
painting with dance and music in realtime. The collaboration between the painter, dancers and musicians was crucial to the immersive nature of this piece. The performance symbolised the dynamic nature of creativity and the intersection of different artistic disciplines, engaging the audience in a multisensory experience.
Local dancer and teacher Zoe Bishop is the founder of TheMovement CollectiveGibraltar . As a professionally trained contemporary dancer and registered yoga teacher, she has a passion for movement, the arts, and how the body can express itself. In 2022 she directed The Memory Project which was a performance aimed to raise awareness of alzhiemer’s and dementia. The second half of the show was a 35-minute dance performance art piece. Assisted by her sister Nikki Bishop and created in group collaboration with the cast, it saw 17 women aged from late 20s to 60s take the stage and explore the theme of memory, and the issues relating to it and one's identity. She also managed to raise funds for the charity GADS and raised an impressive £3,006.25.
These examples highlight how performance art in Gibraltar represents a strong and evolving field, reflecting the culture’s unique blend of creatives, collaboration and a desire to push the boundaries of art. As more artists emerge and continue to explore and expand this art form, it’s likely that the performance art scene will gain greater recognition, contributing to the broader global discourse on contemporary art.
By Anthony Loddo
2025 is set to take daring leaps into the world of theatre. It is once again proving how it can evolve, surprise and take you on a brilliant journey. From the cultural hub of London’s West End, to the city that never sleeps from Broadway in New York, and the ever-eccentric stage masterpieces of Edinburgh, here is just a glimpse into the scene next year.
Les Misérables
London Sondheim Theatre
Until September 2025
If you are in the mood for a good cry and some powerful music that hits you right in the pits of your heart, this enduring classic still continues its powerful run. Super fans can expect the same breathtaking performances, moving ballads such as I dreamed a dreamand Onmyownand spectacular staging that has made this musical an absolute staple in London’s West End. Even after decades, it still remains one of the most popular musicals, and its extension shows just how cherished and loved it still is. If you haven’t seen it yet, make it one of those resolutions for the new year, as it’s a chance to experience one of the longest-running and most iconic musicals in theatre history.
Coraline The Musical London Lyceum Theatre 11th April - 11th May 2025
This highly anticipated world premiere is based on Neil Gaiman’s beloved dark fantasy novel Coraline. This story follows a young girl who discovers a parallel world that seems perfect but harbours dark secrets. Adapted into a musical format, this new production promises imaginative staging, eerie visuals, and a blend of haunting and whimsical numbers just as creepy as the novel and the stop motion animation. This is sure to captivate both Gaiman fans and newcomers to this fantastic tale. If you are a fan of Gaiman’s work or enjoy some dark, fairy-tale inspired narratives, this adaptation is bound to intrigue with its atmospheric design and imaginative storytelling.
The Last Five Years
New York (Broadway)
Hudson Theatre
Previews March 18th 2025
Opens April 6th 2025
Famous for its unique storytelling structure, this much-loved musical by Jason Robert Brown, chronicles the relationship of ‘Jamie’, an upand-coming novelist, and Cathy, a struggling actress over five years. What makes this musical stand out is its dual storytelling approach: Jamie’s perspective moves forward in time, while Cathy’s story is told in reverse, creating an emotional rollercoaster and a poignant look at love’s highs and lows. In this new production, Disney’s heartthrob ‘Nick Jonas’ will take on the role of Jamie, while Tony award winning ‘Adrienne Warren’ plays Cathy. With such high-profile stars and the deep emotional weight of the material, this musical is a must-see for fans of modern musical theatre.
Old Friends
New York (Broadway)
Samuel J Friedman Theatre
Previews March 25th 2025
Opens April 2025
A celebration of one of Broadway’s most influential composers, Old Friends is a tribute to the late Stephen Sondheim. Featuring an all-star cast led by the legendary Bernadette Peters and Lea Salonga, this show will include fabulous numbers from Sondheim’s iconic works like Sweeney Todd, Into the Woods, Company and Follies. Initially a sold-out hit in London, it has crossed the Atlantic to bring Broadway audiences this spectacular and rare theatrical event. This tribute to Sondheim, with powerhouse performers is truly unmissable.
Great theatre is about challenging how we think and encouraging us to fantasize about a world we aspire to.
Willem Dafoe “
The Merchant of Venice
Edinburgh
Royal Lyceum Theatre
January to February 2025
Shakespeare’s classic tale of justice, mercy and revenge gets a fresh interpretation under the direction of Arin Arbus. This production brings acclaimed actor John Douglas Thompson, a Tony nominee, to the role of Shylock. Known for his powerful stage presence, his portrayal is set to explore the deep complexities of Shylock, making this a standout production in the Edinburgh theatre scene. With an exceptional cast and the fresh direction of Arbus, this will be an engrossing exploration of one of Shakespeare’s most debated and intricate characters.
Are you excited yet?
Grab your tickets, settle into your seat, and get ready for a journey that promises to bring diverse experiences, to fresh and exciting new works. As a fan of grand-scale productions or intimate character driven stories, 2025’s lineup offers something truly special for everyone.
By Anthony Loddo
The antithesis of dialectical reasoning: A close-up of
Born in England in 1965, the world welcomed a creative being that was about to take over the global art stage by storm. As a YBA (Young British Artist) who dominated the art scene in the UK during the 1990s, Hirst has in fact become, the United Kingdom’s wealthiest contemporary artist to date.
After surpassing many challenging hurdles, court cases and plagiarism accusations, Hirst has continued to bypass long-standing galleries, and beat world records at his Sotheby’s auctions.
With ‘Death’ being the determining and central thematic concern which informs his artistic portfolio, the artist is no stranger to controversial creations which invite awe, shock and resentment, resulting in a somewhat vexed society.
A Thousand Years (1990)
Employing a diverse array of materials including steel, glass, flies, maggots, fibreboard, an insect-o-cutor, a cow’s head, sugar and water, Hirst created a cynical and somewhat disturbing installation to starkly present the circle of life. Representing such thematic complexities, Hirst enclosed maggots in his glass box where they metamorphosed into flies within his transparent chamber. Provided with a cow’s head for sustenance and an insect-o-cutor, the artist gave the maggots life, but also exacerbated their immediate death within this artificial ecosystem. Deliberately calling attention to the themes of life, death and the inherent reality of decomposition and decay, Hirst brings to light the concept of existentialism, as is characteristic of his overall oeuvre. This pivotal and controversial artwork has become one of the most thoughtprovoking pieces within the canon of contemporary art.
This life-sized platinum cast of an 18th century human skull is covered in 8,601 sparkling diamonds, maintaining the original skull’s teeth. In the frontal cranium, Hirst has paced a 52.4 carat pink diamond and alludes to the traditional ‘memento mori’ iconographies of skulls, whereby a skull is symbolic of the fragility of life. This devotional and provocative gesture towards the inevitable fate of all life on this planet, has been valued at $100 million. Hirst’s interest in taxidermy led the artist to use the cast of a real human skull, and thus is considered to be the most expensive contemporary artwork ever created.
“His diamond-encrusted skull For the Love of God is the ultimate expression of his material overindulgence.” (Erin-Atlanta Argun)
The fear of death is the strongest emotion, so as an artist when you start thinking about these things you end up thinking about that kind of darkness. […] It’s about how you can cushion yourself from death in some way.
Damian Hirst “
Aiming to reflect the natural decaying of the body, Hirst’s artwork also known as the shark , is an installation piece of a large tiger shark preserved in a glass tank of 848 litres of formaldehyde solution. This iconic and highly controversial artwork prevents the subject’s decomposition as reminiscent of a natural science museum. Addressing the fragility of life and the inevitability of death, 26-yearold Hirst’s claim to fame followed the preserved tiger shark. Commissioned by Charles Saatchi, Hirst engaged the services of an Australian fisherman in Hervey Bay, Queensland to catch the shark which Hirst described as “big enough to eat you”. Sold in 2004 for $8 million, Hirst’s numerous installations of this nature have provoked ethical ecological concerns, which have been considered to both intimidate and seduce the viewer due to its “natural sublime” quality.
“I wanted a shark that's big enough to eat you, and in a large enough amount of liquid so that you could imagine you were in there with it.”
(Damian Hirst)
Consisting of 9 columns and 12 rows of colourful eye-catching dots on a white background, Hirst’s Flumequine displays a methodological and balanced composition paying homage to the colour-wheel. While this artwork can be considered a minimalistic piece with attractive vibrant qualities, the sinister undertones which permeate the canvas add a highly weighted layer to the artwork. This joyful colour palette also carries a clinical arrangement as suggested by its title, thus alluding to the name of the synthetic antibiotic used to treat bacterial infections. Indeed, while Flumequine may seemingly be a lighthearted and simplistic work of art, its meaning and intention is certainly far removed, carrying just as much weight as Hirst’s previous controversial and mentally stimulating pieces.
“Flumequine, 2007 is a striking manifestation of Hirst’s exploration of colour and experimentation with presenting them in an orderly, removed, yet undeniably beautiful way.” (MFA Gallery)
By Tamara Bell
I wanted a shark that’s big enough to eat you, and in a large enough amount of liquid so that you could imagine you were in there with it. “
One of the most important figures in modern art, Marcel Duchamp's contributions were vital to the emergence of Dadaism, an avant-garde movement that subverted accepted notions of politics, art, and society.
Duchamp and the Dadaists played a pivotal role in expanding the parameters of art and challenging conventional aesthetics, thus establishing the foundation for subsequent movements like Surrealism, Conceptual Art, and Postmodernism.
Dadaism originated in the early 1900s as a direct reaction to the chaos and destruction caused by World War I. Dadaist groups were created by artists, poets, and intellectuals in locations like Zurich, New York, Berlin, and Paris as a protest against the rationalism they claimed had caused the cruelty of war. Dadaists welcomed absurdity, randomness, and anti-art attitudes while rejecting conventional values. They believed that since logic and reason had failed civilisation, they should be destroyed.
The movement got its start in 1916 at the Cabaret Voltaire in Zurich, where performers like Hans Arp, Tristan Tzara, and Hugo Ball started putting on bizarre and disorganised shows. Dadaism was an ideology that supported chance, disruption, and spontaneity in addition to being an artistic movement.
Duchamp’s approach in his art is rooted in a profound scepticism of the prior traditions and notions, as well as a burning desire to implement new elements into art. His most well-known works are ‘ready-mades,’ which are everyday items chosen and displayed as works of art that drastically alter how people view artistic creation.
Under the alias ‘R. Mutt,’ Duchamp submitted the urinal Fountain to a New York art exhibition in 1917. This action was ground-breaking. Duchamp questioned the definition of art, the institutions that determined what constitutes art, and the role of the artist by presenting an everyday object as art. Dadaist rejection of traditional aesthetics was embodied in Fountain , which encouraged spectators to concentrate more on the idea and context than on artistry or aesthetic appeal. Duchamp’s other ready-mades, including pieces like Bicycle Wheel and In Advance of the Broken Arm , were provocations that proposed a multitude of questions to
the consumers of his art: What is the role of the artist? Is the object itself important, or is it the artist’s selection of it that transforms it into art? These questions revolutionised the art world, bringing new perspectives and dimensions to art pieces that simply were absent previously, and they continue to influence contemporary art practices.
Even though Duchamp's readymades gained him fame, his earlier creations clearly demonstrated his own style. By fusing aspects of futurism and cubism, his work Nude DescendingaStaircase,No.2from 1912 set new standards for how movement was presented — it seemed almost cinematic in its mechanisation. This was another example of the Dadaists' rejection of conventional artistic depiction, in line with their goal of subverting social mores.
A scandal erupted when this painting was displayed at the 1913 Armoury Show in New York. It was the ideal illustration of Duchamp's initial attempts to defy academic art conventions, laying the groundwork for his subsequent engagement with Dadaism.
Despite its brief existence, Dadaism had a profound effect on the art world. It paved a way for future movements including Conceptual Art, Abstract Expressionism, and Surrealism. Duchamp has had an equally pervasive impact. His ground-breaking conception of art as an idea rather than a finished work of visual art established the foundation for modern and contemporary art practices.
Other essential components that Duchamp shared with the Dada
movement were irony and humour. Dadaists criticised societal norms, institutions, and ideals by utilising wit, irony, and absurdity. Duchamp possessed the same sense of humour in his artwork. His prefabricated L.H.O.O.Q. — a low-cost replica of the Mona Lisa that Duchamp annotated with a moustache — acted as a witty and mocking parody of one of the most venerated pieces of art in history. Duchamp questioned originality, authorship, and the reverence of cultural icons in addition to mocking the purity of high art by vandalising a famous work of art. Like the Dadaists, he used humour to infuse a spirit of play and anarchy into a culture that otherwise treated art and tradition with such seriousness.
His exploration of the boundaries between art and life cleared the path for contemporary artists such as Andy Warhol, who carried on Duchamp's tradition by fusing commonplace objects into his pieces. Duchamp's emphasis on ideas above execution had a significant influence on conceptual artists like Joseph Kosuth and Sol LeWitt.
Furthermore, Duchamp's readymades foresaw the postmodernist era's erasure of distinctions between fine art and popular culture, encouraging viewers to re-evaluate the potential for everything they experience in their everyday life to be considered under the lens of art. Duchamp’s contributions were imperative in shaping the Dadaist vision, even as he maintained his own independent path within the avant-garde.
By Ben Lemmon
After coming across Marine’s interview in ‘HELLO! Magazine’ where she opened the doors to her beautiful and intricately decorated home in Marylebone, I absolutely fell in love with Marine’s style and creative eye.
Brimming with vibrant splashes of colour, Yves Klein blue hues and artworks peppered around every corner, Marine’s professional journey in the artworld and successful projects had me in awe.
As a fellow Art Historian and Warwick University student, Marine has built a creative empire in the artworld today. As the founder of MTArt Agency in London (the world’s leading talent agency), Marine gives a voice of both emerging and high-profile artists in today’s contemporary art scene, always seeking to better the industry as we know it and foment opportunities and creative growth.
After connecting with Marine and sharing the work I do with her, she promptly took the time out of her busy schedule to conduct a short interview with me in which she shares her professional journey and current cultural projects regarding her renowned agency.
Hi Marine. Thank you so much for connecting with me and taking the time to partake in this Q&A session. Firstly, please do tell our readers about yourself, your professional journey and your reasons for creating this amazing cultural empire MTArt Agency.
Of course, I’m very happy to do so… So, at age 21 years old, I was the youngest gallery manager in Europe when I managed the gallery of Steve Lazarides who discovered Banksy. At 23 years old, I was approached by a U.S. investor to open my first art venture in Los Angeles, De Re Gallery (named after the island I came from in France) on Melrose Avenue. The gallery launched with several celebrities and mega collectors like Demi Moore.
It’s in Los Angeles that I had the idea to build the very first talent agency in the art world, mimicking the top talent agencies like CAA, UTA and WME. I launched Certified B Corporation, MTArt Agency in London, in 2015, when I was 25 years old.
Today, MTArt agency is the art sector’s leading talent agency representing some of the most talented, forward-thinking artists in the world. The agency enables artists to work with the broadest canvas possible, from working with brands to public art and fine art institutions. The agency works with global organisations and cities, nurturing an international community
of art-lovers and collectors as well as diverse brands ranging from Apple to Hyundai and even the World Cup.
MTArt Agency was listed as one of the fastest growing companies in the UK on the Sunday Times Power list and is currently expanding to the U.S. and Middle East markets. MTArt Agency has been supported by a number of incredible investors, including Frederic Jousset, Todd Ruppert and Saul Klein, and the company was valued at over £35m at its last fundraising.
I am a passionate advocate for the role of the artist in our society, I wish for art to become a part of our everyday experience. I published my first academic paper, age 27 years old, with Warwick University supporting a new way to value public art projects within cities. I also published my first book with Penguin encouraging a more active participation in our visual culture, all the while teaching visual literacy. My talks include two TEDx Talks on how to transform cities with art and how social media visuals affect our minds.
As a business person, I was awarded Forbes 2018 30 under 30 Europe: Art & Culture, UK entrepreneur of the year for the 2019 NatWest Awards and 2023 Hurun entrepreneur of the year under 35.’
When did art and culture first pique your interest?’
I care deeply about creative expressions and I felt that art was the most powerful storytelling of all. I have been passionate about art since I was of a very young age.
What are some of the current cultural projects you’re working on and what are your hopes for the future?
We are about to launch one of the most ambitious public art projects in Europe! I am so excited, as the expansion of our company in the Middle East and USA has been very successful for the past two years.
What have been some of the greatest challenges you’ve faced in your professional journey, and what advice would you give to a brand-new business just starting up in the cultural sector?
We were the first talent agency in the art world, and there are now 38 talent agencies in the art world who have followed our lead. While being the first gives you a leadway, we remain the art sector’s leading talent agency, it almost means that you will have to break down many more walls than your competitors.
I studied History of Art just like you, and I dropped out after two years to join Steve Lazarides. I have since returned to speak at their Business Conference and published my first academic paper with Warwick University.
Who are some of the most iconic artists and high-profile individuals you have come across during your career?
We are lucky to work with the top artists of the contemporary art world from Zak Ove to Polly Morgan, Delphine Diallo and Rayvenn D Clark.
What was it like to feature your beautiful home in the HELLO! Magazine?
It’s always such an honour to be asked to be featured and something I would never take for granted. This home is filled with art, artists, family and friends all year long so I am very attached to it.
What were your sources of inspiration for designing the interior spaces of your eclectic home, and have you always had an interest in interior design?
The works of art and the stories of the artists we have collected over the years. Our starting point is always the art, the design complements it.
I care deeply about creative expressions and I felt that art was the most powerful storytelling of all. “
Much like myself, I note that you studied at the wonderful Warwick University! What subject did you study and what was your experience like as a student?
Do you have any favourite artists? Luckily the ones we work with would be some of my favourite artists, and I have always been very fond of Louise Bourgeois. By Tamara Bell
Europe, with its rich tapestry of history and culture, offers an unparalleled museum-hopping experience. Every corner of the continent tells a story, from the rise of ancient civilisations to the marvels of modern science. For those eager to delve into the depths of human achievement and creativity, Europe’s museums stand as grand portals to the past and beacons of enlightenment for the future.
British Museum
In the heart of London, the British Museum stands as a testament to the breadth and depth of human history. Since its founding in 1753, it has amassed a collection that spans continents and epochs, offering a staggering eight million works for the curious to explore. Walking through its halls is like taking a journey through time.
The Rosetta Stone, with its inscriptions that unlocked the secrets of Egyptian hieroglyphs, is one of the museum's star attractions. Nearby, the Elgin Marbles, originally part of the Parthenon, tell tales of ancient Greece. The museum’s vast Assyrian galleries, with their colossal winged bulls, transport visitors to the ancient palaces of Nineveh. The treasures of Mesopotamia, the cradle of civilisation, and the artifacts from the ancient Americas provide a truly global perspective on human history.
Visitors are often drawn to the Egyptian mummies, preserved through millennia, and the stunning Greek and Roman sculptures that capture the ideals of beauty and power. The Enlightenment Gallery, dedicated to the Age of Reason, offers a unique look at the birth of modern thought and scientific inquiry.
No museum-hopping tour of Europe would be complete without a visit to the Louvre in Paris. This former royal palace, now the world's largest art museum, is itself a historical monument. Its grand halls and vast collections are a testament to centuries of human artistic endeavour.
The Louvre’s collection spans from ancient civilisations to the 19th century, with its most famous resident being Leonardo da Vinci’s enigmatic Mona Lisa . Yet, there is so much more to discover. The Venus de Milo , with her mysterious beauty, and the Winged Victory of Samothrace , poised triumphantly at the top of the Daru staircase, captivate visitors from around the world.
The museum's collection of Egyptian antiquities is one of the finest, featuring mummies, sarcophagi, and monumental sculptures that transport visitors to the banks of the Nile. The Islamic Art collection, housed in a stunning modern wing, showcases exquisite pieces from across the Muslim world, highlighting the rich cultural and artistic heritage of these regions.
Amsterdam
Its majestic building, set amidst beautiful gardens, invites visitors to explore the richness of the Netherlands’ Golden Age. “
In Amsterdam, the Rijksmuseum stands as a beacon of Dutch art and history. Its majestic building, set amidst beautiful gardens, invites visitors to explore the richness of the Netherlands’ Golden Age. The museum’s collection is a treasure trove of masterpieces, with works by Rembrandt, Vermeer, and other Dutch masters.
Rembrandt's Night Watch , a dynamic and monumental painting, is the centrepiece of the museum. It draws crowds with its dramatic use of light and shadow, capturing the spirit of the Dutch militia. Vermeer's serene domestic scenes, such as The Milkmaid , offer a glimpse into 17thcentury Dutch life with their meticulous detail and luminous quality.
Beyond the paintings, the Rijksmuseum boasts a remarkable collection of Asian artifacts, reflecting the Netherlands’ historical connections with the East. The maritime collection, featuring detailed ship models and naval artifacts, tells the story of the Dutch seafaring tradition that once dominated global trade.
The Vatican Museums Vatican City Nestled within the walls of Vatican City, the Vatican Museums are a treasure trove of art and history, curated by the Roman Catholic Church over centuries. The journey through the museums culminates in the awe-inspiring Sistine Chapel, where Michelangelo’s frescoes depict scenes from Genesis with unparalleled majesty.
The Raphael Rooms, adorned with frescoes by the master himself, are another highlight, offering a glimpse into the artistic grandeur of the Renaissance. The extensive collection of classical sculptures, including the Laocoön Group and the Apollo Belvedere, showcases the artistic achievements of ancient Greece and Rome.
The Vatican Museums also house a vast collection of religious artifacts, tapestries, and maps, each telling a part of the rich history of the Church and its influence on art and culture throughout the centuries.
Museum, Munich
Shifting gears to the realm of science and technology, the Deutsches Museum in Munich is a paradise for the scientifically curious. It is the world’s largest museum dedicated to science and technology, offering hands-on exhibits and demonstrations that captivate visitors of all ages.
From early astronomical instruments to the latest in aerospace technology, the museum’s exhibits cover the full spectrum of human ingenuity. The aviation section, with its historic aircraft and interactive displays, provides an exhilarating insight into the history of flight. The maritime exhibit, featuring detailed ship models and nautical artifacts, traces the evolution of seafaring from ancient times to the modern era.
One of the museum’s standout features is its collection of musical instruments, where visitors can see and hear the evolution of sound and music. The exhibits on renewable energy and environmental technology highlight the museum’s commitment to addressing contemporary scientific challenges.
In the heart of Madrid, the Museo del Prado offers a feast for lovers of classical art. Home to one of the finest collections of European art, it features masterpieces by Velázquez, Goya, and El Greco. The museum’s extensive collection of Spanish art is unparalleled, providing deep insights into the country’s rich cultural heritage.
Velázquez’s Las Meninas , with its complex composition and enigmatic subject, is one of the museum's most celebrated works. Goya’s dark and powerful paintings, including TheThird of May 1808, capture the turmoil and pathos of the Spanish people during times of conflict.
Beyond its Spanish masterpieces, the Prado also boasts significant works by Flemish and Italian artists, including Rubens and Titian, making it a comprehensive showcase of European art from the Renaissance to the 19th century.
For those with a passion for science and innovation, the Science Museum in London is a must-visit. Its interactive exhibits and pioneering collections make science accessible and engaging for all ages. The museum’s displays range from the earliest steam engines to the latest developments in space exploration and digital technology.
The Apollo 10 command module, which orbited the moon, is a highlight, offering visitors a tangible connection to the history of space travel. The museum’s medical history collection, featuring artifacts from ancient times to modern medical marvels, provides a fascinating look at the evolution of healthcare and medical science.
Interactive galleries dedicated to the environment, engineering, and information technology encourage visitors to explore and experiment, making the Science Museum a dynamic and educational experience.
Museum hopping in Europe is more than just a journey through buildings filled with artifacts; it’s a voyage through time and space, an exploration of human creativity, curiosity, and innovation. Whether you find yourself marvelling at ancient relics, contemplating masterpieces of art, or engaging with the wonders of science, Europe’s museums offer endless opportunities to discover and be inspired. So pack your curiosity and embark on a cultural odyssey across this storied continent, where every museum is a doorway to a new world.
By Amber Williams
During my earlier years at university and throughout my bachelor’s degree, my interest in art flourished. I learned that there was great importance in not only the pieces we create but the places in which fantastic works of art are exhibited.
At least for me, there is a great deal of satisfaction when something has been well curated, or a piece of work speaks to you directly. The notion that you can enter a space and marvel at the grandeur of a piece is a feeling that I have experienced only a few times. One of which was when I visited Botticelli’s BirthofVenus,the sheer size of the work was enough to impress even those that were not interested in art and culture. Memories such as these remind me that people can create extraordinary things and showcase them in ways that take our breath away.
My bucket list for 2024 and 2025 is rather a mix of exhibitions, artists and places that I wish to see and/or re-visit in the future. One of which has reached my top spot: The Venice Biennale! I remember visiting the Venice Biennale during my time at university and was constantly amazed at how impressive everything was, from the artists and artworks that were on display to the organisation and management of the exhibition itself. The Venice Biennale was special because it exhibited works
of art around various locations in the city, allowing you to experience art but also access the culture and city life. The Venice Biennale takes the number one spot for art exhibitions on my bucket list because it is an enriching experience, exposing one to new and contemporary artists, while showcasing some of the greats of our past! It truly is a melting pot of culture, art and everything positive that brings people within this community together and for those wanting to try it out, I could not recommend it enough.
In Issue 2 of Art & Culture, I discussed the artist James Turrell and his many light space installations that offer a completely new way of
experiencing art. His approach to sculpture, installation and manipulation of light is something which I will not touch upon specifically in this article, but is something that has been on my bucket list for some time now. As a photographer myself, I would love to experience walking through one of his pieces, being completely engulfed in colour and appreciating his connection and understanding to the natural world. It is a fascinating thing for me to experience work that makes me feel somewhat small in a space, the feeling is reminiscent of viewing a vast canyon or standing in front of a waterfall. One noteworthy artist which comes to mind and exhibits pieces of architectural
and artistic brilliance is Richard Serra. Like Turrell, Richard Serra’s work invites the viewer to walk around and through his pieces, allowing the individual to focus on where he or she is in the present and admire each structure for what they are.
Moving on to photography, there are several exhibitions and artists that I would like to see. However, one exhibition does stand out. World Press Photo is an organisation that began as a non-profit platform dedicated in showcasing the stories and photographers that are challenging the photo journalistic landscape. In their six decades since, World Press has become the benchmark for documentary and photo journalistic artists to exhibit their work and put forth the many experiences and issues that people around the world are facing. World Press and their exhibitions are a fantastic repertoire for photojournalism and for this reason alone I am keen to re-visit one of their galleries. It’s a great way of immersing oneself in hard photojournalism and to get a better
perspective on people’s lives and experiences. I remember the first time I visited an exhibition in Scotland, and it happened to be by chance that I stumbled across it, but the impression it gave me was one that’s lasted to this day! I found myself empathising with the stories and images of those who have struggled and discovered within myself a profound appreciation for the photojournalists who document scenes of distress, violence and sometimes tragedy. World Press Photo exhibitions are a good way of connecting beyond the image, at least in my case I left with more questions than answers!
By Francesco Scalici
When we think of galleries, great works of art, masters of paint and sculpture, what typically springs to mind is a visit to Italy’s many galleries that house these fine pieces. A trip to the Louvre might be on the cards or even the Prado Museum in Spain to see some of Picasso’s famous works.
The point being here, that culture, history and art is heavily centred around the southern regions of the world. Yet, there are some great exhibitions, artists and works of art that are being shown in Nordic countries. Making an escape to one of these is certainly an enriching experience!
National Museum of Art
Oslo, Norway
Let’s begin with the National Museum of Art in Oslo, Norway. Boasting the most expansive collection of artworks in the entire country with some 6,500 works of art ranging from sculpture to painting, installation and more… Norway’s National Museum aims at showcasing contemporary Norwegian art and artists in discourse with foreign works. The museum’s focus is on exhibiting a range of art for individuals to immerse themselves in relaxation and learning, featuring fashion designers, photographers, painters and more. A relatively interesting aspect of this museum is its learning programme, aimed at offering teachers’ courses to further their skills and knowledge in an in-depth course for those teaching art to students. This course could be a fantastic way of immersing oneself in further education while being present in the very gallery which the course is being given!
Nobel Prize Museum
Stockholm, Sweden
Moving on to an exhibition that is slightly different in the type of work it chooses to showcase to the public, but equally as fascinating! If you are thinking of heading over to Sweden for a time, then consider checking out the Nobel Prize Museum and their permanent exhibition in the old town titled: These Things Changed the World . An exhibition that displays an array of items from its collection of artefacts from Nobel Prize winners, the exhibition focuses on historical items from previous Nobel laureates, aiming to represent and symbolise the various discoveries and accomplishments that have given the public new perspective on life and furthered our future.
A fantastic opportunity to immerse oneself in science, literature and more!
The exhibition looks at remarkable discoveries and achievements, based on artefacts donated to the museum’s collection by Nobel Prize laureates. They mix the mundane and the personal with breathtaking existential and scientific questions.
As stated on the Nobel Prize Museum, Sweden, web page.
Helsinki Art Museum
Helsinki, Finland
If you are travelling to Helsinki then why not do a city walk, you might find it a fascinating way to see some art dotted around the city itself. If you wanted to explore the city life a little more while still being exposed to some art along the way then Helsinki might just be for you, with nearly 500 outdoor sculptures, the Helsinki Art Museum aims to have art works build up environments to create spaces of culture and activity. Many of these outdoor pieces invite the viewer to experience a piece of art that represents not only the urban environment but also the neighbourhood in which most of these works of art have been inspired by. What is fantastic about public art in Helsinki is that it is donated! Donations are then added to the city’s art collection, so art really does play an important role in the significance of city life and individual wellbeing.
ARKEN Museum
Copenhagen, Denmark
Finally, off to Denmark for an interesting display of contemporary art at their largest contemporary museum ARKEN. A trip to this museum would be a fantastic and enriching experience as ARKEN showcases a variety of artistic practices, from sculpture to music performances, film festivals and even artist lectures. One of ARKEN’S current exhibitions is from well-known Danish artist Ursula Reuter Christiansen. Her exhibition titled: I Am Fire and Water is a powerful amalgamation of various eight major installations from her early work, curated together to create a performance discussing the various crises and disasters unfolding in the world today. A visit to one of these winter exhibitions might be on the table for you and will certainly be an enlightening and cultural experience, with an opportunity to see major works of art, new up and coming artists and the Nordic city life!
By Francesco Scalici
Developing one’s artistic skills by enrolling in an art class can offer numerous benefits for both the mind and soul.
This rewarding pursuit for people of all ages serves as a deeply therapeutic endeavour, and provides a creative outlet to release emotions, reduce stress, and enhance mindfulness. The process of creating art helps improve focus and patience, allowing individuals to immerse themselves in the present moment while refining motor skills and hand-eye coordination. In an art class, students not only gain technical skills and confidence under the guidance of an instructor but also connect with likeminded people, fostering a supportive community. Art classes encourage self-expression, boost creativity, and offer a sense of accomplishment, all of which contribute to personal growth and mental well-being. Highlighting a variety of art classes in both Gibraltar and nearby Spain, below we explore some options to unleash creativity and engage with our inner artist.
Geraldine Martinez Art, Gibraltar
From children to adults, Geraldine’s art classes provide a supportive and enthusiastic environment with step-bystep demonstrations which serve as the springboard for students to take a leap and create their artworks. Her popular ‘Sip & Paint’ classes offer two hours of creativity and engagement, both in and out of the studio. Having studied at Chelsea School of Art, Geraldine’s expertise offers students an academic approach, where she looks to the masters for inspiration in an ever-changing and fluid cultural climate.
Artful Creative Club, Spain
The Artful Creative Club is situated along the vibrant Costa de Sol, and serves as a haven of creativity. Offering a variety of different art classes such as abstract art classes for adults, classes are held in San Roque, Sotogrande and La Alcaidesa. Aiming to embrace one’s personal creative journey through the implementation of academic techniques and art historical influences, the painting classes serve as a wonderful creative experience for anyone wishing to experiment with art and enjoy a social collaboration.
Totem Ceramics, Spain
Art classes offer a fantastic way to explore creativity, learn new skills, and express oneself through various mediums. Stephanie’s classes provide a flexible environment where students of all skill levels can develop their artistic abilities. Guided by the artist herself, participants will enjoy colour mixing, shading, use of watercolours and acrylics, and composition, working with different materials and tools. Art classes encourage personal expression and can be a therapeutic way to relieve stress, make new friends, and build confidence in one’s creative abilities. Whether you're a beginner or looking to advance your skills, Stephanie’s art classes can open up a world of inspiration and discovery.
Get your hands dirty with a therapeutic and hands-on experience along the picturesque Costa del Sol at the Totem Ceramics Pottery School. Offering various classes and oneoff experiences, you can attend the pottery flexi-classes where you will learn a wide variety of pottery hand building techniques, sculpture, use of moulds and decorating with texture, glazes and engobes. From throwing tuition to beginner’s courses and fun wheel experiences, the pottery classes allow you to experience creating artistic sculptures of your own and take them home with you to forever remember your creative day out.
By Tamara Bell
queenswayquay.com
An award-winning artist, Bozhena currently resides and works in Prague. Her greatest passion lies in capturing the beauty of the sea and painting cityscapes.
NIGHTTIME AT THE DOCK
about Bozhena Fuchs.
She gains inspiration from the captivating beauty of untouched nature and the incredible power of our civilisation.
Employing bold brushstrokes and graceful movements, she adeptly plays with light and shadow, colours and textures to capture a singular moment in time and evoke a vibrant sense of energy and life.
Story of Art by E.H. Gombrich
Considered by myself to be the bible of any Art Historian, The Story of Art by E.H. Gombrich provides a comprehensive overview of the history of art, tracing its development from prehistoric times to the modern era. Exploring the evolution of artistic styles and techniques, Gombrich delves into the cultural, social and historical contexts that shaped various movements. Hailed as an invaluable resource for art enthusiasts, The Story of Art illustrates the enduring significance of art in human experience.
Understanding
by
The Isms books by Stephen Little and Sam Phillips are concise and informative explorations of the most prominent movements in art history. From Neoclassicism and Baroque art to Conceptual and Post-war aesthetics, the books provide its readers with a clear understanding of the various ‘isms’ that have defined artistic expression. Covering movements such as Impressionism, Cubism, Surrealism, and many others, the book highlights key artists, their works, and the philosophical underpinnings of each movement.
Art: The Ground-breaking Moments by Florian Heine
Art: The Ground-breaking Moments by Florian Heine takes readers on a captivating journey through pivotal moments in art history that have reshaped the creative landscape. The book highlights key artworks and innovations that marked significant turning points throughout history. Combining rich visual imagery with insightful text on various artworks, the book celebrates the transformative power of art and its ability to reflect and challenge societal norms throughout time.
The Camera as Historian by Elizabeth Edwards examines the role of photography as a powerful tool for historical documentation and cultural understanding. Exploring the relationship between a photograph’s purpose, from visual records to historical artifacts, Edwards brings to light matters of colonialism and ethnography to illustrate how photograps have been used to construct narratives and influence public memory. In an attempt to reveal the obscurities of historical truth, the book sheds light on the importance of photography as a vital participant in historical discourse.
The Yellow House, Van Gogh, Gauguin, and Nine Turbulent Weeks in Provence by Martin Gayford
Telling the tale of Van Gogh and Gaugin’s turbulent friendship in the late 1880s, the pair shared a yellow house together in the south of France. The Yellow House by Martin Gayford recounts the denouement of their living experience and the breakdown of their relationship during an explosive few months. This singular biographical work serves as a dramatic portrayal of the lives and minds of these hallowed artists, and brings to life the intense emotions and vibrant atmosphere that defined this pivotal period in their lives.
By Tamara Bell
Fran Lebowitz
