Art & Culture Magazine Issue 4

Including award-winning artist Jason deCaires Taylor, Director of Christie’s Nick Finch, Moco Museum artist Hayden Kays, Buckingham Palace’s Martin Clayton & WildBrain’s Melissa Goodrich

Interviews

from Anthony Gormley to Tracey Emin Delve into the London art scene

Making art accessible to everyone

New to London, Moco Museum presents an incredible collection of large-scale original modern & contemporary artworks by some of the art world’s most celebrated creators.

Spread across three floors, this new flagship location by Marble Arch at the top of Hyde Park presents the perfect exhibition space for visitors to truly immerse, learn and experience the transformative power of art.

See works by Banksy, Basquiat, Warhol, Haring, Koons, Kusama, Hirst & many more. Plan your visit today!

Note Editor’s

You can’t use up creativity. The more you use, the more you have. “ “

Maya Angelou

Reading Maya Angelou’s statement resonated with me greatly for this edition of Art & Culture. The more effort and creativity you put into a project, the faster the cogs keep turning, unleashing a wave of ideas that endlessly flow.

With Issue 3 of Art & Culture on the Rock we opened up the gates of creativity to encompass a wide array of topics, themes and subjects. Issue 4 is continuing this evolution, and deviating from what initially began as a Gibraltar-based magazine, to now making its way to the city of London, the epicentre for art, modernity and expression.

In tune with the time of year, Issue 4 is filled with romantic and spellbinding content exploring the art of Romanticism, Mythology, and Feminism, in celebration of female artists and activism through creativity.

With a large focus on London-based content exploring the London art scene, Issue 4 presents some incredible interviews with renowned figures in the artworld. From the whimsical and playful Soho exhibition directed by WildBrain’s Melissa Goodrich, and an exclusive chat with the Director

of Christie’s, to Buckingham Palace’s Chief Curator, and Moco Museum's Hayden Kays, Issue 4 is brimming with insights and academic vigour.

Diving into the world of environmental activism in art, award-winning artist Jason deCaires Taylor shares his artistic journey with us, as he continues to work on new underwater projects to “stimulate growth and live in a symbiotic relationship with nature”. Listed as one of the 25 wonders of the world by National Geographic, Jason explores the driving force behind his world-renowned underwater sculpture museums, and sheds light on how art can make a positive impact on marine conservation and the world.

Gearing up for the London art fair on behalf of Art Space, Issue 4 of the Art & Culture Magazine turns a new leaf in its constantly evolving state. Striving to inspire its readers and art lovers everywhere, I hope this edition fuels the magic of creativity with every turn of the page.

With love always Tammy x Editor-in-Chief tamara@outsideinmedia.com

NICK FINCH, DIRECTOR OF CHRISTIE’S

From starting his career at one of the most prestigious auction houses in the world by working in the mail room as a youngster, to now spearheading the Global Auctioneering Programme.

HAYDEN

Exploring his eclectic works of art.

witty sense of humour infuses his professional repertoire as much as they do my interview questions!”

TAMARA DE LEMPICKA

Art Deco glamour 120 FOR THE LOVE OF FASHION

History of fashion

& ARTISTRY

FRAMING A SUBJECT Contemporary cinematography 138 WHAT’S ON The play Barcelona 128 SHOULD WE RESTORE? See what you think

LADY GAGA & The Death of Marat

140 FEATURE INTERVIEW

MELISSA GOODRICH

The Director of Franchise Management at WildBrain. Their nostalgic exhibition in Soho London last September was greeted with so much joy and excitement.

146 FEATURE INTERVIEW

MARTIN CLAYTON

Delving into the DrawingtheItalian Renaissance exhibition at The King’s Gallery at Buckingham Palace with Martin Clayton, head of prints & drawings.

144 LONDON ART HOP 2025 art exhibitions 152 THE CHAPMAN FAMILY COLLECTION The controversial series

155 CLARENDON FINE ART Established and emerging artists

EDITOR-IN-CHIEF

Tamara Bell tamara@outsideinmedia.com

ASSISTANT EDITOR

Sophie MacDonald sophie@outsideinmedia.com

MAGAZINE DESIGNER

Emma Long Graphic Design emmadesign@btinternet.com emmadesign.co.uk

CONTRIBUTORS

Tamara Bell

Francesco Scalici

Amber Williams

Kassidy Spight

Anthony Loddo

Ben Lemmon

Sophie MacDonald

Ian Law

Jo Ward

Francis Devincenzi

Aiden Bell

PHOTOGRAPHY

Artist photography supplied by the artists

Stock photography by Alamy, Shutterstock & Unsplash

Hayden Kays profile picture by Tom Beard

COVER IMAGE

Tower Hues by Nigel Cooke

ART&CULTURE MAGAZINE

Published by Outside In Media a trading name of Art Space Ltd, 120a Irish Town, Old Police Station, Gibraltar, GX11 1AA.

Copyright © 2024. All rights reserved.

The name Art & Culture Magazine 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 Magazine 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 Magazine 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

cafes Musical

The Blues Kitchen

The Blues Kitchen (with locations in Camden, Shoreditch, and Brixton) is a soul-filled restaurant that transforms into a jazz bar come nightfall. With retro-inspired décor, The Blues Kitchen blends vintage and modern: it displays an array of neon signs, together with old-school microphones and memorabilia from the Jazz Age. A consequence of its restaurant-turnedjazz-bar quality is feeling like you really are in Prohibition America; it presents as somewhere you can simply get a bite to eat, before bringing mind-blowing jazz bands onto the stage to entertain. As well as the music, the food here is to die for. The Blues Kitchen’s buffalo chicken wings will leave you wanting to come back for more every week, and their fried chicken and gravy is a great version of the American staple. Whether you come for the food and stay for the music, or vice versa, this place will certainly impress.

Ronnie Scott’s Jazz Club

Ronnie Scott’s, situated in Soho, is somewhat of a legendary venue. Its established tradition as a hub for celebrities has made it a place renowned for its exceptional jazz performances and delicious cocktails. It has also made it incredibly popular, so tickets need to be booked in advance. This snazzy club was established in 1959: it exudes an intimate yet cool atmosphere, where you can admire both performances both past and present thanks to their extensive display of jazz memorabilia that adorns its walls. Ronnie Scott’s hosts a mix of international and emerging artists and offers a multitude of genres. The club remains a cultural playground for jazz lovers in London, and its bohemian location syncopates the modern with a bluesy experience.

Ain’t Nothin’ But

Ain’t Nothin’ But can also, characteristically, be found in Soho. It has been revered for its great management, music and friendly crowds. Live music is offered seven days a week, and guests can expect multiple performances by multiple guests every night. It is selfdescribed as “the best blues bar this side of the Atlantic” and is considered one of the best jazz clubs in London. Founded in 1993, it is well-versed in entertaining jazz admirers and supporting artists. Sit and marvel at the music with some craft beer or wine – unlike Ronnie Scott’s, you can’t book ahead, but whether you plan or trip or are lucky enough to happen upon it, history suggests you’ll be guaranteed an unforgettable experience.

Pizza Express Jazz Club

Soho also houses a hidden jazz club: buried in the basement of a Pizza Express, this jazz club allows you to fill up on pizza before heading down for the fun. This place combines exceptional live music with delicious food in a vibrant, funky setting. It has a capacity of around 80-100 seats, but its limited capacity does not stop it from presenting a variety of genres: from classic jazz to urban contemporary, there’s something for everyone. This club is also known for its reasonable prices (for London), so you can swing away without worrying about breaking the bank. The atmosphere is quintessentially jazzy: its design is understated, lit by dim lamps, and decorated with art-deco displays. Its basement location makes it feel like a speak-easy, making it a place to live out your flapper fantasies.

The Old Blue Last

Next up on the list we have The Old Blue Last in Shoreditch, and, while it isn’t a jazz bar, its live music stage has been graced by an impressive group of artists. Bands such as Arctic Monkeys and Florence & The Machine have performed here, as well as Amy Winehouse – this place seems to be a good luck charm for artists seeking break-out performances. But The Old Blue Last isn’t just known for its celebrity charm, its legendary status was solidified by it being a well-known hangout spot for William Shakespeare, back in his day. Its unpretentious, underground feel draws in crowds who appreciate its unpolished look and commitment to live music. As well as its celebrities, performances here also include DJ sets and small gigs by emerging talent. Why not pay the pub a visit – who knows, you may be able to brag about seeing the “next big thing” before they made it big.

Hope & Anchor

Found in Islington, the Hope & Anchor’s musical reputation is historic. Legendary bands like U2, The Stranglers, Madness and The Police found their artistic feet here, and have helped to cement this bar’s celebrated and beloved reputation. Hope & Anchor has been a fixture of London’s music scene since the late 1970s. With its intimate and relaxed atmosphere, the pub has retained its old-fashioned charm and continues to attract an array of locals and music lovers. The experience here is culinary as well as musical: whether you try their brisket croquettes or indulge in their chicken parm supreme, you won’t be disappointed. This pub has both charm and character, and its passionate crowds make for a great experience.

Troubadour

Last, and certainly not least, we have Troubadour in Earls Court. This pub has seen the likes of Adele, Elton John, and Bob Dylan on its intimate stage in the past – a tribute to its special atmosphere. Troubador is a longestablished pub, founded in 1954. It offers “London’s original, and last remaining, independent live music from the coffee-house era”, a period during the seventeenth and eighteenth centuries where coffee houses became social, intellectual and political hubs in Britain. They provided a space where diverse groups of people could gather to exchange and discuss ideas; Troubadour promises the same. It continues to host live music, open mic nights and events that celebrate the arts. It remains a must for music lovers and creatives in London.

By Sophie Macdonald

HARBOR OF LIGHT Bozhena Fuchs

ballet London

The Forsythe Programme

Sadler Wells Theatre, 10 December-19 April 2025

William Forsythe is an American dancer and choreographer, recognised for his integration of ballet and the visual arts. Forsythe envisages classical ballet as a language, with its own grammar and rules that should be followed. It is with this in mind that The Forsythe Programme is returning following an acclaimed run in 2022. It combines classical ballet with athleticism, using the music of Barry White, Natalie Cole and Khalid to delight the audience. The English National Ballet will also perform HermanSchmerman(Quintet) , a deliberate example of Forsythe’s signature style not seen in the UK for nearly 30 years. With tickets starting from only £15, it will be a night to remember.

Onegin

Royal Ballet and Opera House, 22 January – 12 June 2025

Onegin is an adaptation of Pushkin's classic love story, transformed into ballet. John Cranko’s choreography is set to Tchaikovsky’s stunning music; from dance to performance and music, Onegin promises to exude elegance through every aspect. It has already won numerous accolades, receiving five-star reviews from The Guardian, The Telegraph and The Evening Standard. Its stars are won by its detailed depiction of Onegin and Tatiana’s relationship through carefully crafted duets, such as the letter-writing scene, when a young Tatiana dances a pas de deux with the lover for whom she has been yearning. Paired with Tchaikovsky’s music, famous for ballets like Swan Lake and The Nutcracker , Onegin will be an exquisite ballet.

Light of Passage

Royal Ballet and Opera House, 20 February – 12 March 2025

In Light of Passage , Crystal Pite is troubled by the existential tensions of the human condition, in a ballet that shows how art can provoke intense and deep emotion. It displays masses of dancers that move as a whole, draped in baths of light. This mass is broken when a single lamenting voice instils in them the magnitude of human suffering. This poignant ballet is set to the Polish composer Henryk Górecki’s SymphonyofSorrowfulSongs . It forces the audience to confront what it means to be human; what it is to grapple with the unknown for only £7.

Romeo and Juliet

Royal Ballet and Opera House, 4 March – 26 May 2025

Shakespeare’s classic tragedy, Romeo and Juliet takes the stage in March. It promises to be everything you’d expect: an ancient family feud casts a tragic shadow over the story of two young lovers, and leads to their untimely end. Kenneth MacMillan’s ballet has been described as “mesmerising” by The Telegraph , who claim MacMillan’s masterful choreography perfectly encapsulates the intense yearning of the young couple. It is set to Prokofiev’s emotive music, which sets the scene for stolen glances and deadly feuds.

Osipova

Linbury Theatre, 6-10 March 2025

This spring, The Royal Ballet offers a special programme with Natalia Osipova. Osipova is a Russian ballerina, and is currently the principal ballerina with the Royal Ballet in London. Her dramatic intensity has meant she is regarded as one of the world’s leading performers, an intensity that will be shared on stage. Osipova is choreographed by Martha Graham and Frederick Ashton. This programme also features the world premiere of Norwegian choreographer TheForsytheProgramme , who is set to join their colleagues as choreographic masters.

Dance is the purest expression of every emotion, earthly and spiritual. “ “

Dance Reflections

by Van Cleef & Arpels Festival, 15-26 March 2025

For the fifth time, Dance Reflections by Van Cleef & Arpels return to the London stage. Resulting from a programme launched in 2020 to promote the High Jewelry Maison’s commitment to the world of dance, the festival will celebrate the international abundance of choreographic creation from two recent pieces that have profoundly influenced the history of contemporary dance. It begins on the 18th March with a special Insight into choreographic creation as an artform, before presenting Close Up on the 20-21st March, which combines live and video technologies in a study of physicality. It thereafter presents NeitherDrumsNorTrumpetson the 2526th March, in which rites and rituals are explored in a postmodern piece, before ending with three signature works by Balanchine.

Balanchine: Three Signature Works

Royal Ballet and Opera House, 28 March - 8 April 2025

George Balanchine defined 20th century American ballet. He and his company the New York City Ballet created the American neoclassical style and breathed new life into the world of American ballet. This programme at the Royal Opera House features three of his stunning works. Firstly, it showcases Serenade , set to Tchaikovsky’s Serenade for Stings , reflecting the real-life mistakes made by his students in the lead up to the ballet. Secondly, Prodigal Son famously presents an avant-garde ballet of sinfulness and absolution, based on the biblical parable whereby a rebellious son returns home, asking for forgiveness, after his encounter with a siren. Lastly, it features Symphony in C , a creation finished by Balanchine in two weeks after using a new Bizet score, and a brilliant close to the show. by Sophie Macdonald

Anna Pavlova, ballerina

dreams Operatic

Explore the captivating world of opera in three iconic cities - London, Vienna and Sydney. Journey through timeless stories, stunning performances and a touch of enchantment on the world’s most iconic stages.

Musical Brilliance

Soaring sopranos, dashing tenors and beautiful orchestras are bursting with musical brilliance that I’m sure will whisk us away to lands of love, heartbreak and of course drama. As the curtain rises on 2025, the world of opera is preparing to dazzle audiences everywhere. From London’s Covent Garden to Vienna’s grand State Opera and Sydney’s iconic Harbour - side stage, this year promises productions brimming with magical moments, larger-than life performances, and imaginative storytelling. Whether you are a seasoned opera enthusiast or a curious newcomer, here’s a sneak peek at what awaits in these cultural capitals.

Puccini’s ‘Turandot’

The Royal Opera House Covent Garden, London March 19th - April 19th

Set in ancient China, this dramatic opera revolves around the icy Princess ‘Turandot’, who vows never to marry unless her suitor can answer her three riddles. Failure to answer correctly results in execution, and many princes have already met their fate. When the mysterious Prince Calef answers all of the riddles correctly, she resists marrying him only to be offered a counter-challenge by Calaf: Discover his name by dawn, or he will die. The soaring melodies - culminating with the classic ‘Nessun dorma (Let no one sleep) will leave you breathless. Through themes of sacrifice and love, don’t miss this chance to see one of Puccini’s most spectacular creations live on stage.

Mozart’s ‘The Magic of Figaro’

English National Opera (ENO)

London coliseum, London

February 5th - February 22nd

This comedic masterpiece blends brilliant storytelling with some of the most exquisite music ever composed. Set over the course of one chaotic day, this delightful tale follows Figaro and Susanna as they outwit their employer, the scheming Count Almavia, to secure their happy union. It’s full of twists, mistaken identities and heartfelt arias, this opera blends humour and humanity by capturing the complexities of love and power with wit and charm. A perfect entry point for newcomers and a beloved classic for seasoned fanatics. The ENO’s vibrant production breathes a fresh energy into this operatic gem, making it an unmissable event for 2025’s calendar.

Wagner’s ‘The Ring Cycle’

Vienna State Opera House, Vienna

June 2nd - June 28th

This complex piece is a monumental operatic saga consisting of four epic musical dramas: Das Rheingold, (The Rhinegold) Die Walküre (The Valkyrie) Siegfried, and Götterdämmerung (Twilight of the Gods). Together, they tell a sweeping story inspired by Norse mythology, exploring themes of power, love, greed and redemption. Intended to be performed as a series, these works can also be performed separately. They all include dialogue that mentions events in the other operas so that viewers can watch any of them and still understand the plot. Praised for its profound themes and staggering musical scope, the Ring Cycle is both a challenging and rewarding experience. A full performance of the cycle takes place over four nights and a total playing time of 15 hours. Good luck!

Verdi’s ‘La Traviata’

Joan Sutherland Theatre

Sydney Opera House, Sydney January 23rd - March 27th

A poignant tale of love, sacrifice and societal judgement set in 19th century Paris. Violetta is a glamorous courtesan who is adored by many, but falls for the idealistic Alfredo Germont. She leaves behind her lavish lifestyle and pursues a quieter life with him, only to face opposition from Alfredo’s father. After sold out performances in 2024 and unforgettable songs ‘Sempre libera’ and ‘Addio del passato’, La Traviata is celebrated as one of opera’s most moving and enduring works with a fresh perspective.

Offenbach’s ‘The Tales of Hoffman’

Joan Sutherland Theatre

Sydney Opera House, Sydney July 11th -July 22nd

Another fantastic opera which blends romance, tragedy and whimsy. It follows the poet Hoffman as he recounts the stories of his great loves that shaped his life, each representing a different aspect of idealised affection. A windup doll, an innocent singer, a nasty courtesan and the one woman who combines them all. Who is this muse? And the evil shadow that’s dodging his every move? This is an eclectic mix of emotion, music and the famous and difficult ‘Doll song’. American musician and soprano Jessica Pratt is set to sing all the female leads, and Iván Ayón Rivas will sing the title character and Marko Mimica will sing for the four villains. This is Offenbach’s last and greatest opera. A must do this year. by Anthony Loddo

in London Filming

It would be impossible for me to talk about every film that has been shot in London in this article, the list of movies is almost endless, with many recognisable landmarks, streets and buildings that have now become famous in today’s pop culture and cinematic world!

However, there is still a topic to be discussed and that’s how each film, or group of films which I will introduce in a moment have shaped our understanding and association towards the city of itself. Let’s start with arguably one of the most iconic films shot in the UK, Notting Hill . As cited by various sources, the 1999 film Notting Hill is classified under the genre of Romance & Comedy. While this is an apt description of the film, the romance and comedy genre in this case is descriptive of the relationship between protagonists and various other characters in the movie. The quest for love is the overarching theme of the film, with Julia Robert’s character Anna Scott painted as an individual with antagonistic motives, yet ultimately falling for William Thacker, played by Hugh Grant. Her struggle to overcome criticism as a famous movie star seems to be her initial battle, but she soon succumbs to her wishes for normality in a life of chaos.

Love & romance

I could of course go on and describe more about the film but the point I am attempting to make is that while we (the viewer) watch the movie, we start to realise that this element of ‘normality’ is as much a manifestation of the main protagonist as is the city of London! Films like Notting Hill, Love Actually, The Holiday and more seem to explore the relationship between people but also the relationship of the individual and the city where they live. Films shot during the late 1990’s and early 2000’s that fall under the bracket of love and romance highlight London as a city far less concerned with fast pace living. The common theme across many of these films is representing London as a city of lovers. If you pay attention to how films like the ones above mentioned are shot, you will start to notice some similarities in editing style, how characters walk

through a space and their interactions with other people for example. It’s fascinating to see how films during this era have become iconic, mostly because they’re great films but also because they provide an escape for those watching, painting London as the backdrop for finding true love or romance.

The framing and overall direction of movies like Notting Hill also play a factor in how we consume and interpret city life and the people that surround it. Take the film LoveActually for example, a romance best known for being a Christmas time must watch, and a great example of how specific shots are used to convey different feelings. To start with, the film focuses a lot on dialogue, slow and static shots of key moments and incidences to progress the story further. A wide shot may be used in order to provide some dynamic range, but also to centre a character to a specific location. Wide shots also provide a sense of scale, an iconic scene from Notting Hill for example, showcases the passing of time with a slightly wider shot of Hugh Grant, moving along Portobello Road market. The camera follows Grant as the seasons change, indicating to the viewer that time has passed by. The framing of a particular scene can render the protagonist to have a deeper relationship with the city that he or she lives in, even if that protagonist doesn’t realise it. The love/ romance genre is peppered with the notion of placing London as a key component in the strive for love.

Culture & mystique

There are other films which completely shift the overall tone. Films that have become cinema classics and one in particular has become the poster for all things class and gentlemanlike. This character is none other than James Bond, an individual whose whole identity is rooted in English culture and mystique. The action that is showcased throughout the 007 franchise

is specific to the character. Unlike movies such as The Foreigner and Snatch , who’s representation of the action genre is far grittier and underground. The various sequences in the 007 franchise elevate Bond’s fighting skills with a sense of class and ruthlessness. His attitude towards his job and employer are always for the benefit of the country and therefore, he is a character who’s only purpose is to defend at all costs. James Bond is a great character because he is the quintessential spy, representing England as a powerful country and London as the centre of class and etiquette.

James Bond is a great character because he is the quintessential spy, representing England as a powerful country and London as the centre of class and etiquette. “ “

Distress & tension

Guy Ritchie’s film Snatch on the other hand is fast paced, the shots are harsh, violent and angled to exaggerate sequences of distress and tension. Ritchie’s approach to filmmaking is unique and his choice of environment is equally as important. The gritty London aesthetic is unapologetically shown, blending itself to the characters in the city. We can argue that Snatch was a film that’s a product of its time, a gritty analysis of the London gangster scene and how two men fight to keep out of trouble in a sequence of unfortunate events. Unlike the more light-hearted romance or comedies, Snatch showcases how a city can paint its characters in a completely different light!

By Francesco Scalici

Some days I feel like I need to paint portraits and the next I would like to paint abstract art… My style keeps evolving and I’m still testing different mediums, but I know I’m getting closer each day.

Caroline Wendelin “ “

in London art courses Fine art

UAL University of the Arts London

With a combination of short courses, pre-degree, undergraduate and postgraduate qualification courses, UAL is renowned for being within the top 2 best universities for Art & Design. Brimming with highly qualified creators and innovators, UAL offers the most extensive range of art-related short courses provided both online and onsite. From summer school to weekend and weekday courses, subjects include 3D and product design, jewellery, animation, architecture and interiors, graphics, curation, fashion, illustration, performance, textiles, and journalism in the creative fields. With six

colleges under one creative umbrella, UAL consists of Camberwell College of Arts, Central Saint Martins, Chelsea College of Arts, London College of Communication, London College of Fashion and Wimbledon College of Arts. Having been the selected university for study by notable individuals such as Antonio Banderas, UAL’s reputable academic vigour is truly unparalleled.

UCL – University College London

The Slade School of Fine Art offers a variety of short courses and programmes during the autumn and spring academic-year terms, weekends and Easter holidays. These courses can

be conducted in presence or online, and are mainly taught by contemporary artists. The courses are designed to expand one’s already existing skillset, act as curriculum enhancers, and open individuals up to further developments within the wider remit of their own artistic practices. Some course themes include still life painting, sustained pose and observation, painting with the eye and brain among others. With UCL being one of the most prestigious Russell group universities in the United Kingdom, they recently held the title of University of the Year in 2024 and are currently ranked within the top 5 best universities globally.

Cultivating creative thinking in early years

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.

Royal College of Art

Situated in the beautiful Kensington in the heart of London, the Royal College of Art has been ranked as #1 in the world for Art & Design for ten years running (-QS Rankings). Founded in 1837, the Royal College of Art gained university status in 1967 and is now recognised as the world’s most influential postgraduate Art & Design institution. Offering pre-master’s courses, taught masters, postgraduate research, parttime programmes and short courses, the Royal College of Art has something for every art lover. Full-time workers wishing to enrol on a leisure course, can browse the institution’s prospectus, as there are a wide variety of subjects including the study of architecture, how to build creative businesses, creative leadership courses, curation, publishing, editing, typography, and the study of visual and augmented reality in art.

Morley College London

Morley College London comprises of four campuses located in Waterloo, Chelsea, Ladbroke Grove and Stockwell. The college offers a wide variety of courses, particularly in the creative fields, catered for all ages. Providing lifelong educational opportunities to diverse communities, the college courses are hosted by both a body of qualified tutors, as well as professional artists in the contemporary art world. Humanities courses range from Art History to Sculpture, Printmaking & Bookbinding, Photography, Glass, Interior Design, Ceramics and Drawing, among others. Hosting various events and exhibitions, Morley College has received numerous awards and recognitions over the years.

Kingston University

Kingston School of Art offers a variety of courses in different artistic disciplines. While the university offers degree programs, it also caters for adult leisure courses which take place during the day, on holidays, in the evenings and even at weekends. Courses are run by experienced tutors and cover a broad array of disciplines which include life drawing, animation, creative writing, music, architecture, and fashion. Some of the most current courses on offer include ‘Curating Contemporary Design’, ‘Experimental Drawing’ and ‘Creative Writing”. Kingston’s commitment to high quality teaching has received a Gold award. The university offers the hustle and bustle of London’s city life as well as a more rural reprieve surrounded by a river and lush bucolic foliage on every corner. As one of London’s safest boroughs, Kingston is located a mere 30 minutes via train from London’s city centre, with the School of Art campus situated in Knights Park, Grange Road, Kingston upon Thames. By Tamara Bell

A walk through London

London architecture is a journey through time. Its historical value is axiomatic as one walks through its impressive streets. Walking through London is like being a character in a flipbook, as the pages rapidly turn, the scene dramatically changes, and you find yourself standing among products of centuries of craft.

London’s overwhelming architectural variety signifies its historical development – to take Virginia Woolf’s short-essay title literally, a walk through London is a form of Street Haunting , where the past and present are conflated and destabilised. Throughout London, we can find threads of reflection, a sense of mirroring the past and present: of both conflating and destabilising London(s) and Londoners.

Starting from the Middle Ages, most of London was tightly compressed within the boundaries of its Roman city walls. By the 16th century, spatially, London extended to the Strand and Lincoln’s Inn Field. Interestingly, much of London’s architectural choices have orbited around the placement and importance of St. Paul’s Cathedral, constructed by the Normans on Ludgate Hill. The Normans, also responsible for the erection of The White Tower and Westminster Hall, viewed architecture as a means of exerting their power, and subordinating the native Saxon population in England. This population became privy to their reconstruction of London: all would revolve around their imprints on the city.

In this vein, St. Paul’s neo-gothic façade remains one of London’s most memorable sights, and not just because the city was subsequently built to illuminate the church’s beauty. There are specific protected sightlines that guarantee the visibility

of the Cathedral from multiple points around London; the Cathedral Act in 1990 was even enacted to ensure the preservation of these sightlines and prevented new developments from obstructing its views. Today, when one visits St. Paul’s, a trip to the Reflection Garden just a few metres away introduces a serene little hideout, away from the bustling roads. Notably, its reflective pond casts back an alluring image of the Cathedral, a phenomenon that emphasises a sense of mirroring that seems to underscore much of London’s architectural implementations.

The Great Fire of London in 1666 meant that Christopher Wren’s reconstruction of the city would be based on a sense of historic mirroring: on recapturing the city that, in the words of Samuel Pepys, was “all in dust”. The Great Fire cataclysmically catalysed the replanning of the medieval city: the majority of the city was burnt down, which saw the destruction of most of its Baroque buildings. Wren wanted to introduce a codified architectural system, with wide boulevards, classic styles and piazzas. Charles II, however, declared that all new houses were to be built uniformly, out of brick rather

than wood. Thus, the ashes of overhanging, framed houses were replaced with neat rows of Georgian terraced houses, like those in the Inner Temple.

Significantly, the Great Fire had also damaged St. Pauls, and its reconstruction would come to mark the modernisation of the city. Wren’s original plan, to rebuild the Cathedral in a Greek cross layout, was rejected because of its papist connotations. To compromise, the Cathedral was built using a hybrid design, which showcases Baroque ornamentation and a reimagining of the cross layout of its former neo-Gothic style. Like much of London after the Fire, buildings were designed using the foundations laid by the buildings that existed before: it gave the city a new lease of life, but also retained links to its past.

This is the idea that Nigel Cooke’s Moving Past Westminster , housed in the Art Space Gallery in Gibraltar, communicates. His depiction of Westminster, as seen from below Westminster Bridge, is striking: accentuating his scene in the rain, the red paint used for double-decker buses bleeds into the river, and the landscape blurs through droplets of paint. Cooke’s London landscape bleeds into itself; he selects iconic landmarks, like Big Ben and Parliament, and distorts them in a way that is reminiscent of Woolf’s description in her diary, after she finds the Tavistock Square building that she lived in “a heap of ruins” because of a German bomb. Woolf’s use of the word “ruins” as a descriptor suggests this devastation has forced her to see London in a new

RIVER REFLECTIONS

Nigel Cooke

light, similarly to how Pepys felt after he saw London in dust. Cooke’s painting captures this feeling: London is always changing, being built and rebuilt. Whether because of political strife or political perceptions, the London we know continues to move, like he does past Westminster.

Comparatively, like after the Great Fire, London was partially rebuilt after the War that destroyed Woolf’s Tavistock Square. The sale of many aristocratic houses in London saw some of the largest private building projects of the inter-war period, designed using Art Deco and NeoGeorgian constructions, like Grosvenor House Hotel and Norfolk House. It became an increasingly popular style throughout the nineteen-twenties and thirties. Defined by clean breaks and geometric patterns, Art Deco is a glaringly modern style: its flashy look made it fitting for department stores, hotels and even newspaper buildings like that of the Daily Express . Charles

Holden, its most prolific architect in London, who was commissioned to redesign Senate House, headquarters of the University of London, elicited much criticism for his totalitarian style, reinforced by Hitler’s rumoured plans to transform Senate House into his London headquarters.

While it continues to stand obtrusive against the demure squares of Bloomsbury, it also symbolises a greater feature that has pervaded London’s architecture. Art Deco’s mechanistic style makes it seem like, at any moment, its buildings could take off into the air like an aeroplane and reveal Woolf’s “ruins” beneath them. In a roundabout way, even Holden’s buildings reflect and conflate London’s past and present. With every building, London’s historical value can be observed. Whether we realise or not, every building reflects London in every stage, London’s ruins throughout the ages.

By Sophie Macdonald

DAILY EXPRESS BUILDING

trail Sculpture

Mayfair & Regents Park

Unlike a traditional museum, where artworks are put on display for the public to come and see, a sculpture trail is defined as “a walkway through open-air galleries”. Now this is a pretty accurate description of what a sculpture trail is, a collection of various works of art by different artists dotted around different parts of London.

While this description is an accurate one, it doesn’t necessarily represent what the purpose of each sculpture is for. Nor does it communicate to us the joy of discovering an artwork while exploring the city. A sculpture trail can mean so much more than a basic description and, in this article, I will explore the various sculptures in Mayfair and Regents Park to better understand why an outdoor sculpture trail is an enjoyable way of getting to know the city and the art which populates it!

Let’s look at Pieter Obels’ temporary sculpture, exhibited in Mayfair from the 10th of June – 3rd of July. While this sculpture was a temporary addition to the Mayfair quarter, it is by far my favourite, demonstrating a beautiful contrast against its environment. Obels’ sculpture titled How Soon Is Now? details a steel structure which aims to challenge the material’s limitations, highlighting natural and organic forms with a material traditionally associated with rigidity. An article published on Opera Gallery comments on how Obels’ sculpture “occup[ies] a unique realm between weight and weightlessness, confounding traditional notions of steel’s limitations”. This sculpture was a fantastic temporary addition to the Mayfair sculpture trail, unveiling to the public the values of balance, fragility and our relationship with the natural world.

Much like Pieter Obels’ sculptures, Lizzie Munn’s 2024 The Sun Speaks (a flag instillation displayed across Bond Street) communicates a similar narrative. Her month-long piece is a celebration of art and fashion, showcasing flags which aim to adorn London’s West End and bring to light the beauty of colour. Lizzie Munn’s work greatly represents the joy of being exposed to art while taking a stroll through Bond Street, the nature of observing art above us and connecting with something that’s out of reach is also an interesting perspective. How artists aim to present works of art that focus on using the space available to communicate their message is one of the most interesting reasons why outdoor sculpture trails are so enriching to us. Lizzie Munn’s work is a good example of this, her piece (while visually striking) does not aim to grab attention but rather lies in wait for someone to simply look up and discover. In an article published by the Bond Street Journal, it states that “Munn employed both elements as active materials, which are responsive to their site and conditions, allowing the work to be constantly in flux and always seen anew.”

THE SUN SPEAKS Lizzie Munn

The discovery of sculpture work is also present throughout London’s Regents Park. From the 18th of September –27th of October various sculptures dotted around the park celebrated public and outdoor art. A collection which coincided with the London Frieze and showcased an array of sculptures and performances. There were a variety of works from artists such as Libby Heaney whose sculpture dealt with an exploration of quantum computing and how it could affect the future of everyday life, to artists such as Inci Eviner and her performative piece titled Materials of Mind Theatre, a sculpture and performance that

dives into the theatrical world and invites the public to create their own interpretations of her work. Both pieces are fantastic examples of how a sculpture trail can involve the public in many ways. They are works of art that aim to display more than just a relationship with the surrounding environment but a relationship with the people who walk through a space. As stated in my introduction, a sculpture trail can be so much more than a museum, its open access invites a much larger audience. A sculpture trail does not necessarily ask for attention but invites those who are willing to give some time

and to get involved, a space that is not intimidating nor restrictive. The traditional way to view art is still a fantastic opportunity to experience famous paintings, drawings and sculptures from fine art masters. But a sculpture trail offers the public a sense of accessibility that cannot be replicated elsewhere. For those interested in art and for those who might have never had access to this creative process before, a sculpture trail is essentially a museum outside their very doors!

By Francesco Scalici

The traditional way to view art is still a fantastic opportunity to experience famous paintings, drawings and sculptures from fine art masters. But a sculpture trail offers the public a sense of accessibility that cannot be replicated elsewhere. “ “

New British sculpture & the rebellion Minimalist

In a rebellion against the restrained styles of Minimalism and Conceptualism, New British Sculpture sought to reintroduce emotional substance, playfulness and symbolism into an overtly austere art scene.

ANOTHER PLACE

Anthony Gormley

Crosby Beach

Similar to Neo-Expressionism, the movement was not fuelled by a singleminded agenda, but rather, expressed favouritism towards a vibrant aesthetic, unconventional materials and wit.

With the evolution of styles and movements throughout the history of art in Britain, one could see a rebirth of artistic ideals perpetuated by the likes of Henry Moore and Barbara Hepworth, whose organic abstraction informed the basis of sculptural works thereafter.

Some iconic artworks of this movement include Tony Cragg’s sculptures, consisting of everyday objects found in bins to raise social and cultural questions for the viewer to consider. Bill Woodrow would also collect mundane household items and create an installation of comedic effect, giving these objects a new meaning. Antony Gormley’s faceless human figures also stood as symbols of permanence, unification, and spiritual transcendence in a world filled with superficial and materialistic concerns.

Indian-born artist Anish Kapoor focused on the vibrant pigments found in India, using them to aid his exploration of mystical and metaphysical ideologies. Using a combination of highly reflective surfaces, voids, and long-winded titles derived from haiku poems, Kapoor’s exuberant works epitomised the ethos of New British Sculpture in the 1980s.

Kapoor’s sculpture titled As if to Celebrate, I Discovered a Mountain Blooming with Red Flowers (1981), was created for the ‘British Sculpture in the 20th Century’ exhibition at the Whitechapel Art Gallery. Consisting of wood, cement, polystyrene and red and yellow powdered pigments, the piece was carefully executed ensuring that not a single hand-print was recorded. With the absence of hands relating to religious rituals in various cultures, the piece was firstly mounted, and then painted with a weak solution followed by loose dry pigment flicked on to it with a brush. While the true meaning of the artwork remains unknown and has vastly been speculated, the piece heralds the introduction of organic shapes into British sculpture, and creates a dialogue between its forms.

While the artwork is site specific, the internal relationship between forms

AS IF TO CELEBRATE,

DISCOVERED A MOUNTAIN BLOOMING WITH RED FLOWERS

takes charge over viewing its separate entities individually.

Depicting a spectacular threepeaked mountain evoking a Hindu temple, an indented heart-shaped breast and a directional boat-like structure, the textures, pigments and internal relationship between the three elements connotes ideas about travel, whether it be ground-hugging or rising. Kapoor considered the precision and economy of classical haiku to be most appropriate to the overall spirit of the sculpture, as well as his readings about a Hindu Goddess. With the Goddess born from a fiery mountain, the artist became interested in the transmission and transmutation of power. Translating energy and force from one substance to another became the overarching theme behind his sculpture, thus holding significant symbolic references that were personal to Kapoor himself.

Placing much importance on symbolism, placement, arrangement and the coalition of related elements, Kapoor’s artworks take on the form of a ritual, where independent elements are imbued with meaning when brought together.

Presenting a vastly different aesthetic which still possesses the New British Sculpture movement’s stylistic considerations, Kapoor’s famous public sculpture Cloud Gate (2006) in the Loop community area of Chicago, distorts the city’s skyline. Inspired by liquid mercury, Kapoor sought to warp and multiply reflections with the structure’s omphalos (a spoon-like underbelly indentation which provides multiple reflections of any object placed beneath it). Consisting of 168 stainless steel plates welded together, the seamless polished exterior not only is indicative of the movement in question, but also its public usage. Creating a fun-loving, witty, playful and interactive sculpture which receives much attention from the community, Cloud Gate (or The Bean) , brings to light Kapoor’s artistic themes, and epitomises the New British Sculpture’s break away from Minimalistic tendencies, while giving rise to a deeper meaning through unexpected materials.

By Tamara Bell

Anish Kapoor

CLOUD GATE

Anish Kapoor

Antony

Gormley’s

indexical environment

An ominous feeling looms in the air with Antony Gormley’s single life-size figure sculptures. Teetering on the edge of skyscrapers and high-rise buildings, the viewer is stunned into thinking that a real-life human being is about to jump from great heights, and is emotionally flustered until the realisation hits. These figures aren’t real, but rather, realistic depictions of people in the distance which obscure one’s vision and twist your reality into something more sinister.

Sir Antony Mark David Gormley was born in London in 1950. As the youngest of seven children, and raised in a religious Roman Catholic household, Gormley’s love for art and academic interests were always prevalent during his early years. Upon reading History of Art at Cambridge University, Gormley embarked on a globetrotting adventure which led him to the depths of India and Sri Lanka, serving as his greatest inspiration for the cultural journey he was about to endure.

After seeing people sleep on the streets of India, Gormley experimented with plaster-soaked sheets in which he wrapped individuals creating a hollow plaster shell that hinted at the human form. He then studied sculpture and became fond of using natural materials such as stone and wood, showing concern for different surfaces and moulds of his own body. Gormley’s goal was to “make bodies into vessels that both contain and occupy space… [he] used [his] own body. [He] was trying to map out the phenomenology of the body and to find a new way of evoking it as being less a thing, more a place; a site of transformation, and an axis of physical and spatial experience” (-Gormley).

Describing his works as "an attempt to materialise the place at the other side of appearance where we all live”, the artist treated the human form as a place to identify a condition common to all human beings. With Gormley’s 2007 Event Horizon consisting of 31 lifesized anatomically accurate sculptures, the artist peppered his figures in a variety of locations along London’s South Bank. Howard Halle stated that "using distance and attendant shifts of scale within the very fabric of the city, [Event Horizon] creates a metaphor for urban life and all the contradictory associations – alienation, ambition, anonymity [and] fame”.

Moving to the mecca of life and movement that is the bustling city of New York, Gormley’s figures decorated prominent buildings in Manhattan and even made their way to Rio de Janeiro. By installing the solitary figures in groups whilst bilaterally retaining their solitude and introspective nature, the statues have often been mistaken as suicide attempts, thus creating an ominous energy being expelled from every rooftop they house. The reflective artworks were uninstalled in Hong Kong after one of their employees jumped off the Charter House building roof in 2014.

Indeed, Gormley’s large-scale public sculpture installation has been constructed for a myriad of reasons. Seeking to bring people together, and create a lull, a moment of stillness in the energy and chaos of everyday life, Gormley’s sculptures are profoundly introspective pieces, interconnected with one another despite their distance of placement. This fragmented yet fluid nature of time unites one’s perception and reality across all social spheres. In a shrewd interrogation between human anatomy and the architectural world we construct around us, Gormley’s artworks reflect a tragic paradox. They serve as his personal response to philosophies surrounding the human condition, survival and the unknown meaning of life. The reticent metaphors attached to his body of work has created an upheaval of questions, associations and subjective viewpoints by critics and observers alike.

Aiming to bring together communities of people in a single moment of mutual observation as they glare upon his distant figures atop large structures, Gormley rejoices in this pause for reflection stating that “this transfer of the stillness of sculpture to the stillness of an observer

is exciting to [him]: reflexivity becoming shared… the level of tension between the palpable, the perceivable and the imaginable is heightened because of the density and scale of the buildings. [This] activates the skyline in order to encourage people to look around. In this process of looking and finding, or looking and seeking, one perhaps re-assesses one's own position in the world and becomes aware of one's status of embedment”.

By Tamara Bell

Environmental activism & photography Conservation

This article will be split in two. I will aim to highlight wildlife photography and conservation. Secondly, what artists are currently doing to support projects which deal with environmental issues.

Conservation and Photography:

A brief analysis of wildlife photography and the power of an image. A little while before writing this article I picked up a small booklet which I had purchased from the Natural History Museum a few years back. The booklet was around fifty pages, (not terribly big) but compact and easy to travel with. I purchased this booklet as I have a very big interest in photography and found the content to be really inspiring. The book was a collection of photographs, short facts and statements from the 2019 wildlife photographer of the year competition. What I found amazing about this collection of images was just how personal some of these photos really were. Each shot highlighted something more than just an amazing picture! There was a real sense of documentation, and I found myself invested in how wildlife photographers explore environmental issues and conservation through animals. The most successful wildlife photographs can boil down to one specific feeling, they can make us feel pity, amusement, fear or excitement. A successful wildlife photograph can combine all three elements: composition, emotion and the potential to ask what the story is. In some cases, the story is clear with photographers like Pete Oxford and Gerrit Vyn showcasing images that deal with animal struggle and our relationship with the natural world. Other photographs might not bring to

light an environmental issue so heavily, but rather offer the viewer a chance to discover the message that’s being told.

One example of an image from the 2024 Wildlife Photographer of the Year competition is from Matthew Smith. The image details a leopard seal diving under water, its eyes fixed on the camera as it looks to dive further down. The water around it and neighbouring ice is dark, murky and in many areas black. The animal looks curious about the camera, but its facial expression is somewhat ominous, as if ready to pounce and take action. The image in question is a fantastic representation of what makes a wildlife photograph incredibly successful. It’s compositionally masterful, expressing a foreboding nature while alluding to an environmental issue. As photojournalist and competition judge Tony Wu suggested when commenting on this picture:

“

The grey, sombre mood sets an otherworldly tone, accentuating the divide between terrestrial and aquatic. A single leopard seal staring straight into the camera seems almost like a sentinel, admonishing humanity for the shrinking sea ice on which it depends.

“

As mentioned in my initial paragraph, not every image demonstrates a clear message. We as the viewer must look deeper in order to understand how the image brings to light the issues that are surrounding our environment today. One photographer who does an extraordinary job in showcasing environmental issues throughout his work is Charlie Hamilton. His project titled End Times displays a variety of photojournalistic images which detail wildfires, deforestation and habitat loss. Each piece in this project is juxtaposed with individuals or items that reflect the loss of nature. The image titled Narcisuss for example, features a woman dressed in white taking a selfie of herself in front of the carcass of a dead elephant. The photograph points attention at the obvious lack of self awareness, the shock factor here is a clear metaphor for describing how detached we can be to the natural world and our relationship with the animals of this earth. Hamilton’s work brings to light a photojournalistic approach to wildlife photography, his images throughout this project detail the detachment and hubris of mankind’s work on the earth.

Click here to see the image

from the 2024 Wildlife Photographer of the Year, Matthew Smith.

Environmental activism: what’s being done?

Now that we have briefly discussed how impactful individual images can be, let’s have a look at some artists who explore environmental issues. The art collective Cooking Sections discussed the issue of open-net salmon farming in a 2021 exhibition titled Traces of Escapees . The performative installation detailed the effects of salmon movement, the pollution that these farms create and the restriction of movement, (both in and out of salmon pens). While the installation looked visually beautiful, their overall message was a clear analysis of how aggressive salmon farming and it’s practices can be on the environment and surrounding wildlife.

A short film recently published by Patagonia on the 9th of February 2024 also brought to light the issues regarding salmon farming in Iceland.

The short film was very well received with many interviews from fishermen, guides and researchers exposing the problems of salmon farming today. The environmental and cultural issues were discussed throughout the film with many people highlighting the mistreatment of farmed salmon and its effect on the wild salmon population. The film sparked a big debate in Iceland, culminating in a protest outside the city hall of Reykjavík whereby dead salmon were displayed on the pavement in an attempt to raise governmental awareness about the danger of open-sea aquaculture. The film titled: A Salmon Nation , produced by Patagonia Films is but another example of how photography and videography can be used to shed light on a very pressing topic, a topic that endangers not only the welfare of animals but the heritage of a community.

By Francesco Scalici

deCaires Taylor Jason

Having come across Jason deCaires Taylor at 17 years of age, he has stood as a great source of personal admiration and inspiration to me. As an award-winning artist, now listed as one of the top 25 Wonders of the World by National Geographic for his Moilinere Bay Underwater Sculpture Park situated off the West coast of Grenada in the West Indies, meeting Jason face to face has been an honour and a privilege.

Learning about Jason’s work, life, and overarching environmental messages brought to light through his work, holds such weight and gravitas. Having gained international recognition in his exploration of how art can be used to create change and preserve marine life, his site-specific underwater museums provide an artistic breakthrough for conservation and environmental activism.

Tell us a little bit about yourself and your professional journey as an artist.

It has been a very eclectic journey for sure. There’s been a path of various things that brought me towards it. I studied sculpture at art college, I was a diving instructor, and underwater naturalist for many years. I worked with cranes as part of set design, concerts and events, and I did a lot of photography. All these things came together and I started working underwater. I think I felt a little bit disillusioned when putting so much work into an exhibition, and then having to dismantle it, it always made me feel like it was slightly wasteful. I wanted to create something that had other practical applications. I could

use sculpture to talk about the human condition, and to bare the weight of permanence, contribute towards conservation and change artificial reefs, change how tourists integrate with natural settings, and create something that was evolving, changing and living.

As an award-winning sculptor, environmentalist and professional underwater photographer, what lead to you creating the best underwater museums in the world?

I actually almost made a project in Gibraltar, but due to trolling and the damaging of seabeds and various other complications it didn’t go ahead. I ended up doing it in Italy instead. In 2009, I created the biggest underwater museum in Mexico. I understood early on that for divers to go and see works, it would have to be something of a big magnitude to keep people there for an hour or so, and provide some sort of tour and to create a huge habitat for marine life. I knew it had to be vast, as the underwater space is vast, and the seabed is a desert. As soon as you place something there it starts to look very small. When I build works in the studio, I have to climb up ladders and look down at them because that’s the way you view them in the underwater world. Unlike with clay or graphic design, what’s fascinating about working in this environment is the

light that’s very different, the gravity, perspectives, the evolution and all these new things which are amazing to explore artistically.

What process did you use to create your underwater sculptures?

I used a blend of different processes. I always do life-casting, where I cast real people, and make moulds of them. I then use a special green cement that goes underwater, and I also texture them and tailor make them so that they don’t corrode underwater and remain permanent, also being beneficial to the environment. The heaviest piece was about 150 tons, so we had to use cranes, but on average they’re a few tons each. Trying to work out how to move them is definitely a challenge! You need to have them be light on land so you can transport them, but heavy in the sea so that they don’t move.

What are some of your favourite underwater pieces that you’ve created and why?

I think I really like the horses I did in a tidal area. I loved the fact that they lived in water for half the day, and then lived on land for the rest of the day. It was really powerful seeing how they changed, and I thought they had quite a strong environmental message.

What message are you trying to communicate to the world with your sculptures?

There’s lots of different things, and each project has a different story to it. Ultimately, it’s about us remembering that we’re part of the environment. We’re connected to the underwater world whether we like it or not, we are dependent on it, and there’s also something quite hopeful in that we see our destructiveness in lots of places. There’s something hopeful in seeing how we can stimulate growth and live in a symbiotic relationship with nature. It doesn’t have to be man versus nature all the time.

What have been the biggest challenges you’ve faced during these artistic projects?

There have been loads! There has never been a relaxing one to do. Politics comes into it, working in public is a challenge as this aspect gets involved. There have also been huge logistical challenges by moving hundreds of tons on boats, moving in the sea, with a crane moving up and down on water and unable to see where the object is going making it really difficult. Raising funds to do projects is also a challenge. We also had big dive teams that would help with the logistics. I would do this all myself when I first started, and now we have commercial divers with underwater cameras, connected by lines to the surface so there’s a lot less risk involved.

What have been your most memorable experiences during the creation of such trailblazing art projects in the world?

I’ve been really lucky to have met loads of amazing people, and I when I was younger, I always used to travel to all these amazing places, and you only touch the surface. It’s lovely to be able to live in these places, meet communities, spend time there and see how things work. Seeing the incredible sights underwater, such as whale sharks, schools of manta rays, reefs lit up at night, all sorts of different experiences have been very memorable. My projects also evolve and take on local characters, local history, and this makes a big difference.

What creative projects are you working on currently?

Well, I’m actually in the process of installing a major project which is a fleet of boats underwater made to look like origami! It’s a big piece about climate change. Then I’m also working on a monumental sculpture in Japan, in the southern islands near Okinawa. It’s really fascinating. The marine life is really healthy with really colourful reefs with not much bleaching or damage. There are a lot of plastics though! I walked along the beach there and there were thousands of plastic bottles with Chinese and Thai writing. None of it is from Japan, it’s actually all from across the ocean so there’s nothing they can do to prevent it. Mentioning

that you went to Bali, I myself was there too and I noticed a lot of plastic. I’d go to clean it up and you’d notice it was all back again three hours later! A neverending blow of stuff. The statistics at the moment stand at us having destroyed 70% of all wildlife. It should be so simple to solve, and should just require regulations to prevent us from doing these things. It really needs central government to implement these changes. You can have plastic but it just gets taxed!

Having a multifaceted career in the artworld, what would you say is your preferred medium?

I used to really enjoy photography and see it as a really specialist career, but now that it has changed so much and technology has changed too with images being bombarded on everything, I’ve lost a little bit of love for it. I think I just love materials. When you create something, it’s got this permanence about it, this texture and the quality to it. With everything being so digital and screen-based nowadays, it’s really lovely to have something you’ve made in your hands.

What inspires you to create, and who are your most iconic influences in the art world?

I think if you have an artistic inclination, it’s an in-built thing to have to express yourself in some way. It’s obligatory, not really an option. With the environmental side, it’s the fact of creating an incredible home for marine life with colours, textures, right down from micro-organisms to predators, there exists a whole chain of life. This establishment inspires me greatly, and in terms of my personal inspirations in the artworld, I’d have to say Agnes Denes, a very influential artist with her large-scale work about the environment and evaluating how we look at things and commodify the world around us.

Christo, who passed away last year, his projects and resilience in waiting 20 years to get his projects certified is inspiring. Another artist called Duprat makes interesting sculptures by putting precious materials into tanks of water and then these underwater larvae which collect objects and make nests out of pearls and gold. He’s fantastic.

By Tamara Bell

I could use sculpture... to contribute towards conservation and change artificial reefs, change how tourists integrate with natural settings, and create something that was evolving, changing and living. “ “

There’s something hopeful in seeing how we can stimulate growth and live in a symbiotic relationship with nature. It doesn’t have to be man versus nature all the time.

Jason deCaires Taylor “ “

Art Gallery Elephant

A unique artistic haven in Portland, Oregon

Nestled in the vibrant city of Portland, Oregon, the Elephant Art Gallery offers a new dynamic to art creation at the hands of none other than these majestic creatures. Redefining the boundaries of creativity and expression, the gallery dives into the primitive origins of visual imagery with its remarkable collection of paintings produced by their elephants for all to visit.

The gallery was founded by a group of animal lovers and passionate conservationists who aimed to bring to life the tremendous creativity and skill that elephants possess for the world to see. In celebration of these amazing animals, the gallery founders sought to highlight just how intelligent elephants are, being another species that can also produce art in their own unique way.

Endeavouring to primarily promote animal welfare and conservation, Portland is renowned for being a highly progressive and creative community. The elephants often produce whimsical abstract artworks which carry their own individual identity and can be purchased by gallery goers. Known for their great capacity to learn complex tasks, the elephants are able to manipulate their

brush strokes using their dexterous trunks and create vibrant paintings which pepper the exhibit and bring a smile to people’s faces.

The elephants are firstly introduced to various tools including paint brushes and paints which are completely free from any toxins, and trainers allow them to explore and interact with them at their own pace. Once familiarised and comfortable,

An example of an elephant painting.

the elephants are provided with a white washed canvas where their freeflowing movements can materialise and serve as a fun-loving endeavour for them to play with.

Met with much positive reinforcement and patience, each elephant brings their own creative flair to their artwork. From large sweeping strokes of vibrant colour to more meticulous patterns and shapes, these majestic creatures have also demonstrated a preference for brighter colours over darker and more subdued palettes. In line with the Abstract Expressionists and Colour Field painters of the 1950s, the elephants create pieces which are devoid of any preconceived notions one may have surrounding art. Considered to be uninhibited and raw, their canvases evoke emotion in the viewer through the use of colour.

While ethical concerns had been raised with such a practice, this is of the utmost importance to the Elephant Art Gallery. Trainers ensure that the elephants practice this skill willingly and at their own pace whilst being met with much positive reinforcement. Their well-being is top priority and involvement is entirely voluntary. With skilled mentoring, safe-guarding and respect, the elephants greatly enjoy playing with their tools and creating a unique work of art in the process.

Offering visitors the chance to purchase one of their unique canvases, these interactive exhibits allow newcomers to engage with the elephants and appreciate their intelligence and skills. Standing as a beacon of creativity which prioritises a deep respect for animals and the natural world, the Elephant Art Gallery is certainly an unmissable experience for any animal or art lover alike.

By Tamara Bell

In line with the Abstract Expressionists and Colour Field painters of the 1950s, the elephants create pieces which are devoid of any preconceived notions one may have surrounding art. Considered to be uninhibited and raw, their canvases evoke emotion in the viewer through the use of colour. “ “

in culture Colour

Where would we be in a world without colour?

Colour influences how we experience the world around us, affecting our emotions and stimulating our minds. Colour permeates all aspects of our lives and is an essential part of our cultural identity.

The history of colour in art begins over 40,000 years ago, where pigments derived from natural sources such as minerals, plants, soil, animal fat and burnt charcoal was used by artists to form the earliest record of pigments known. This created a base of five colours which would be the foundation of art for years to come: black, white, red, yellow and brown. Ancient Egyptian and Mesopotamian artists expanded on these colours, using malachite for green and lapis lazuli for blue, which was prized for its rarity and vibrant hue. These pigments symbolised power and wealth, as blue was as valuable as gold due to the difficulty of mining and processing lapis lazuli. Ancient civilisations such as the Greeks and Romans developed more refined pigment techniques, using colour to reflect ideals of beauty and divinity, while in the Middle Ages, illuminated manuscripts glowed with rich pigments, thanks to advancements in colour preparation.

Realism and depth

The Renaissance brought a revolutionary transformation in the use of colour, with artists like Titian and Vermeer exploiting new, brighter pigments that allowed them to achieve remarkable realism and depth. Innovations in oil paints enabled artists to layer colours for greater luminosity and detail, a technique which became essential in capturing the subtleties

of light and shadow. The period also marked the discovery of new colours, such as Naples yellow and Prussian blue, which allowed for increasingly diverse palettes. Colour symbolism became more codified as well, with specific hues carrying meanings: blue signified purity and the divine, while red represented passion and sacrifice. The invention of synthetic pigments in the 19th century, like cadmium and cobalt, brought brighter and more stable colours to the palettes of artists like the Impressionists, who explored colour’s potential to capture light and evoke emotion without strict adherence to realism.

Bringing colour to life

While vibrant colours in art can captivate and inspire, there's nothing quite like experiencing the stunning hues of real life, especially in Asia, where rich landscapes, vibrant markets, and traditional festivals bring colours to life in a way that no canvas can capture.

Colour holds deep significance across global cultures, each hue woven into the fabric of beliefs, traditions, and daily life. Different cultures perceive colours in diverse ways, with perceptions varying from region to region, and a single colour may have alternative, even contrasting, meanings in countries around the world.

Travellers to India can’t help but notice that they have stepped into a world displaying vibrant hues everywhere with a kaleidoscope of colours from clothing to food. The streets are alive with women in saris of brilliant reds, pinks, and oranges, flowing like rivers of colour against

the backdrop of bustling markets. The street hawkers line the roads, offering dishes bursting with rich spices and bold colour - from the golden yellows of turmeric-dusted curries to the deep reds of fiery chillies. Every detail seems touched by colour, infusing daily life with a sense of celebration, warmth, and tradition.

Colour holds a central place in Indian culture, where it is deeply woven into spirituality, caste systems, and social customs. The use of colours in India is often vibrant and intricate, symbolising diverse meanings across regions, religions, and festivals. From weddings to festivals like Holi, a Hindu celebration marking the arrival of spring, often known as the ‘Festival of Colours’, where people honour the divine love between Radha and Krishna by throwing colourful water and powders at each other whilst they dance and sing.

Vibrant and symbolic

Indian architecture is vibrant and symbolic, with deep reds, rich yellows, and brilliant blues often adorning temples, palaces, and forts. Jaipur, known as ‘The Pink City’ holds the title of being the first planned city in India.

The Maharaja painted the whole city with a shade of terracotta pink prior to a state visit in 1876 from Prince Albert Edward, the eldest son of Queen Victoria and her consort, Prince Albert. Later on, a law was passed that all the buildings and houses in the city must be painted pink. Neighbouring Jodhpur in Rajasthan is known as the blue city of India.

Bali, the popular island holiday destination in the Indonesian

archipelago, is a place where colour is deeply intertwined with religion, spirituality and traditions. Hinduism, which is the predominant religion in Bali, uses colours to convey symbolic meanings in rituals, festivals, and even architecture. Balinese colours, especially white, black, red, and yellow, carry specific meanings and are often linked to deities or natural forces. Most buildings in Ubud are adorned with brightly coloured tiles and doors or painted in bold shades of red, yellow, blue, and green.

In Thailand, colour plays a significant role not only in religious rituals but also in representing loyalty, monarchy, and astrology. Each day of the week is associated with a colour that signifies different attributes, influencing choices in clothing and decoration: Sunday (red); Monday (yellow); Tuesday (pink); Wednesday (green/grey); Thursday (orange); Friday (blue) and Saturday (purple).

This cultural system of colours is rooted in Buddhist beliefs, astrology, and an ancient association with the monarchy. Yellow has long been associated with Buddhism and the monarchy. It represents Monday, the day on which the late King Bhumibol Adulyadej was born, and has become a symbol of loyalty. Many Thai people wear yellow shirts on Mondays as a gesture of respect for the monarchy. Yellow is also seen during major Buddhist festivals, where it represents spirituality, morality, and the teachings of the Buddha. During the first week of December, some schools even require all teachers to wear yellow to pay respect to the King.

Colour in Balinese, Thai, and Indian cultures reveals not just aesthetic preferences but deeply embedded meanings that have evolved over centuries. Each hue holds a powerful message, shaping social values, reinforcing spirituality, and marking significant life events. Whether through the colours of daily offerings in Bali, Thailand’s day-specific attire, or India’s festive palette, colour remains a potent force connecting individuals to their beliefs and each other. As we learn from these cultures, we see that colour is far more than visual - it’s a universal language that speaks to our souls, connecting people across time and space.

By Jo Ward

Japanesecalligraphy

Calligraphy in Japan is called shodō, which literally translates to ‘the way of writing’.

Like so many forms of art, it is not immediately apparent that it is art at all. The value imparted to calligraphy as an art form in Japan is made clear, however, by its name: ‘the way of writing’ is a highly valued skill, one that has evolved considerably across Japanese history, and which some specialists dedicate their entire lives to mastering. Writing is a means of communication – the strong cultural interconnectedness between Japan and China was the conduit for the eventual use of logographic script in Japan, which was spread by the importation of Confucian philosophy and migrating Buddhist monks.

The origins of Japanese calligraphy can be traced back to Qin dynasty China, when the statesman Li Si initiated the standardisation of Chinese script for the purposes of imperial centralisation. Kanji¸ one of the three components of the Japanese alphabet, are ideograms that derive

most clearly from Chinese ideograms. The other two components, hiragana and katakana , are phonetic systems, and are more endogenously Japanese creations. Shodōrequires the use of all three, contributing to the complexity of the skill. Their development was particularly prominent during the Heian Period (794-1185) in Japan, when the ‘Three Great Brushes’ (Kūkai, Tachibana no Hayanari, and Emperor Saga) made several innovations, including developing the phonetic script still used in Japan today.

There are three different difficulty levels of Japanese calligraphy. The first, kaisho , is a block beginner script that follows a rigid style and is carefully proportioned. The second, gyosho (moving style), is semi-cursive, and places more emphasis on fluidity: the brush is not permitted to leave the paper. The third and most difficult style is sosho , a cursive script often used in abstract Zen art that is often not

intended to be legible. In this instance, the calligraphic script is meant more to be enjoyed (in John T. Carpenter’s words) as a ‘composition of ink on paper’, in which the negative space surrounding the ink strokes is deemed as important as the strokes themselves. Inherent to this endeavour is the concept of wabi-sabi , a cultural notion that embraces imperfection: unlike in Western art forms in which corrections and layering are commonplace methods in the process of creation, brushstrokes in Japanese calligraphy cannot be redone. The unstructured, unconfined form of sosho arguably imparts it with the most creative scope of the three forms, though they all possess artistic value.

The soshoscript demonstrates that Japanese calligraphy is much more than a mere tool for communication: it is also a meditative practise, one strongly associated with Zen Buddhism. Each brushstroke, and the accompanying bodily movements that are necessary to produce them, are integral to the calligraphic process for their aesthetic and sacral importance. Monika Bincsik, the co-curator of a 2024 exhibition showcasing Japanese art at the Met, emphasised the sensory experience involved in creating calligraphy: from the smell of the ink to the feel of the brush, there is an emphasis on the process as much as the outcome. This is partly intended, as a means of instilling mental discipline and creating a sense of mindfulness. The sensory significance of calligraphy is especially evident in tea ceremonies, a hugely significant Japanese cultural

ritual, where its display on hanging scrolls takes a central role in creating the proper ambient atmosphere.

Shodō continues to possess considerable cultural capital in Japan: schoolchildren are taught it compulsorily for several years, and it is a popular pursuit among adults and tourists. Like so much else, however, the continued impact of digitalisation and social media has provoked concerns that interest and capabilities in the skill are decreasing. A 2012 survey by a Japanese cultural agency found that 66.5% of respondents felt their ability to write kanji had decreased due to their technology usage. Nonetheless, the importance attached to such a

long-established tradition, so deeply embedded in Japanese cultural heritage and integral to pursuits across the arts, means it remains a highly relevant and lauded skill. The yearly tradition of kakizome , literally ‘first writing’, is still hugely popular: characters are written to reflect hopes and aspirations for the new year and are symbolically burned on the Sagichō festival on the 14th of January. The imagery of spiralling wisps of smoke conjured by this tradition evokes the unanchored form of sosho , a mimesis that encapsulates the beauty and concomitant implications of transience contained within the ‘way of writing’.

By Francis Devincenzi

Yugenconcept

Life evokes emotions that are difficult to capture wholly in words. Art is often a necessary complement to fully breathe life into experiences and feelings when language alone is unable to fully convey the depth and breadth of an emotion. The concept of yūgenin Japanese aesthetics seeks to bridge this gap, conveying simultaneously a sense of evocative beauty and a deeper sadness at the inevitability of human transience.

Yūgen has no single direct translation into English but seeks to encapsulate a sense of ‘mysterious profundity’, though its meanings and uses also expand far beyond this initial definition to include ‘dim’, ‘deep’ and ‘obscured truth’. The concept is intimately wedded to the spread of Buddhism in Japan and touches on several pillars of Japanese art, including literature, calligraphy, the performing arts, and painting. It is difficult to ascertain exactly when the concept became widely known or articulated, but one marker is the fifteenth century evolution of philosophic-religious concepts in Japan from their Chinese roots into a more unique, differentiated Japanese style: for example, the transition from kara-e (Chinese painting) to yamato-e (Japanese painting).

Even earlier than this, however, the concept of yūgen is manifest in the poetry of the renowned Japanese poet and Buddhist monk Fujiwara no Shunzei (1114-1204). His tanka (short poem) on cherry blossom hunting embodies the associations to transience, temporality, and beauty that have come to define yūgen :

Will I ever see this again?

Cherry blossom hunting In the fair fields in Katano; Snowflake petals falling In the spring dawn.

The immediate question posed guides the reader to a sense of reflectiveness and uncertainty: a universal human experience in which recognition of the transience of our experiences often invites reflections on our own mortality. The subsequent pastoral description of ‘cherry blossom hunting’, a pursuit among Japanese aristocrats of the era, evokes a contrast with this wistfulness by calling to mind the liveliness and colourfulness of a spring dawn, heralding a future yet unrealised with its promises of renewal. The beauty inherent in the imagery of cherry blossoms in spring is brought into sharper relief by knowledge

of the finiteness of the experience described, and the possibility it cannot be experienced again: this sobering reflection is perhaps the ultimate essence of yūgen .

Returning to the fifteenth century, these qualities are also evident in major paintings. For instance, Sesshū Tōyō’s celebrated 1495 work ‘Splashed ink landscape’ (that spawned several imitations and derivations in the same tradition) conveys the same sense of transience as evident in the tanka . The fading shapes thrusting up in the background immediately provide the viewer with the opportunity to engage with the painting and imagine whether they might represent towering mountains or the supporting pillars of a dolmen. The implication of their grand scale provokes thoughts of something lurking ‘beyond’, barely perceptible but discernible after careful consideration and some imaginative input. In the foreground, the suggestion of a tree or pond is intended to be merely allusive and mutable: the surrounding

empty space is as important for the intended effect as the ink splashes themselves. This sense of ephemerality is critical, particularly as Sesshū’s work is inextricably linked to his own pursuit of Zen Buddhism, in which the goal of self-negation is paramount.

The versatility and conceptual allure of yūgen is manifest in its presence across the Japanese artistic and cultural landscape. Straddling literature and the performing arts, its use in Noh drama presents a fascinating final insight. Two of the core concerns for a Noh performer are monomane (an imitation of things) and yūgen (its symbolic, spiritual core).

The latter concerns the ability of performers to encapsulate the ‘inner beauty’ of their characters, a task especially concerned with depictions of the lower classes who were deemed by contemporaries as less obviously ‘outwardly’ beautiful. In Murasaki Shikibu’s The Tale of Genji (circa early eleventh century), the heroines of the drama, court ladies, are described as

beautiful, but this effect is deemed to be heightened by their suffering as wrought by a mysterious force. The form of Noh drama itself, whereby visual appearance and movements are used to suggest the essence of a story rather than explicitly act out the plot, has led to them being described as ‘metaphors made visual’. Although spectators are expected to know the plot and allusions to Japanese history, that which remains implicit invites them to search for the hidden meanings and universal truths that permeate the drama. Artists always invite participation, knowingly or unknowingly, in their art: yūgen aesthetics draw attention to this fact with specific reference to the interrelation of beauty, transience, and the unknowable. The implicit is preferred to the explicit: less is sometimes more in its ability to strive for higher understanding. As the Taoist precept goes, ‘the great image has no form’.

By Francis Devincenzi

There’s the nagging sense in the back of my head that there is a painting or drawing to be made that will stop all viewers in their tracks.

Guy Denning “ “

& COMPOSITION COLOUR

THE FOLLOWING ARTICLE IS AN ANALYSIS OF THE IMPORTANCE OF COLOUR AND COMPOSITION. HOW COLOUR HAS BEEN USED OVER THE YEARS TO CONVEY A PARTICULAR MESSAGE OR TONE, HOW COMPOSITION HAS ALSO BEEN USED TO ELEVATE THE STRUCTURE AND BALANCE OF A PIECE OF ART.

Let’s begin with an analysis of the latter, ‘composition’. The composition of a piece of work in many cases is detrimental to the overall structure and balance of what is being presented to us. We seek artwork that is pleasing to the eye, artwork that stands out visually or that gives a sense of meaning and purpose to our own artistic expression. Yet, even in the chaos that some artworks present we look for clarity as our minds attempt to simplify the complexity of a piece of work, or logically break down the meaning behind it. Jackson Pollock’s drip paintings are a clear example of controlled chaos, devoid of any orthodox compositions but rather free flowing in nature. His paintings showcase composition as one whole, rather than analysing each part of the painting, Pollock finds balance in oversaturation, texture and material. Jackson Pollock is one extreme of how composition can still exist in this type of way. One of the best ways of understanding successful composition is in graphic design. Unlike painting or sculpture, graphic design or more specifically (typographers) are far more concerned with the rules of composition. How composition and colour work simultaneously to deliver a message to the audience or invoke a specific meaning and brand message is of vital importance in the world of graphic design.

Graphic design artists do take a lot of inspiration from traditional artistic practices. One obvious thread would

be the correlation between graphic design and pop art, with many graphic designers such as Paula Scher and Alan Fletcher revealing elements of pop art within their own designs. The use of text, bold colours and imagery all combined to form a cohesive message. This also raises the question as to what point would we consider a graphical piece to be more of an art piece? (This is of course a discussion for another time, but it is important to note the fine line between both artistic forms). Returning to my discussion on composition, two common features which are prevalent in graphic work is text and imagery. Typography in graphical pieces tend to be the strictest when conforming to the rules of composition. The typography of a graphical piece relates to the technique of arranging letters, numbers and or symbols with correct line spacing and size in accordance with the artist’s overall vision.

The composition of letters and sentences is vital in graphic design, in the case of designer Saul Bass’s work the layout and font seem to be the main body of each design. Take what is probably considered to be his most famous commissioned piece, the poster art from Stanley Kubrick’s film The Shining . To begin with, the text is bold and unapologetically the anchor-point of the piece. The word used, being the title of the film is separated into three individual parts with the letter ‘T’ acting as the headline and main point of focus. The letters

‘N’ and ‘H’ from the word ‘Shining’ adopt a completely different baseline with the overall font and character art evoking a foreboding persona. Colour is of paramount importance; the yellow is striking and immediately gives the audience a sense of warning and alertness. Like many insects and amphibians who manifest this colour as a way to warn off predators, Bass’s poster for the film communicates to the audience a clear sense of caution. Lastly, the negative space! In many works of art, negative space is a key factor in providing a sense of mystery, adding value to the piece and elevating its stature. In graphic design, the negative space is considered design and allows the overall concept to breathe, providing balance and empowering each individual element. In Saul Bass’s cover for the film, this negative space is essential as it filters out any other sense of interpretation while elevating the importance of colour and text. This artwork is a fantastic example of how composition, colour and imagery work in tandem to evoke a very specific message.

CLICK HERE to see TheShining poster in an article featured on The Design Museum website.

I would like to finalise this article by discussing the importance of colour and how colour is key in evoking a particular feeling or emotion. As mentioned in the previous paragraph, the colour yellow in Kubrick’s The Shining is a clear warning to the audience of the film’s direction, representing horror and fear. Graphically, colours like red, green, blue and yellow are used in a variety of ways to invoke a particular feeling or emotion towards a product. Green for example is a common colour used amongst companies which promote values like ‘sustainability’ and ‘healthy living’. While the colour red is commonly associated with fast food restaurants, triggering feelings of passion and lust for product. Artistically, colours are more expressive and free-flowing, with many traditional artists using colour as a way to express both emotion and an accurate representation of whatever it is they are painting… Mark Rothko’s paintings for example are a great analysis of this, his artworks are pure abstraction at first glance! Yet, as he himself puts it in the quote on the right.

By Francesco Scalici

I’m not an abstractionist. I’m not interested in the relationship of colour or form or anything else. I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on. “ Mark Rothko “

the master of Caravaggio shadows

Michelangelo Merisi de Caravaggio, a painter from the late renaissance period whose works have a particular and distinct style. His heavy use of shadows and manipulation of light give his paintings an almost foreboding nature.

Caravaggio is regarded as one of the masters of the ‘chiaroscuro’ technique, a technique that was adopted by artists such as Francisco Goya, Rembrandt and even Da Vinci, a style that is associated with Baroque art and popularised during the renaissance period as it complements well with themes of death, religion and philosophy. Caravaggio was no stranger to exploring these themes as much of his work often depicts scenes of torture and death with many items holding significant symbolic value.

His painting titled: Saint Jerome Writing is a clear example of this. In the painting we see St Jerome a doctor of the Roman Catholic Church who is depicted holding a quill in one hand with arm stretched out. It is theorised that Saint Jerome is attempting to translate a piece of Latin text known as the ‘Vulgate’ (a Latin translation of the bible). What is particularly interesting about Caravaggio’s composition is that herein we find a few smaller details of the paining, predominantly the skull on the table and what seems to be a halo

around Saint Jerome’s head. The skull in this instance is a clear representation of the passing of time, the reality which all humans must face at some point. It’s interesting to see that while Saint Jerome is attempting to finish his work, he is also confronted by the horrifying truth that he himself might not be the one to finish it! The skull on the table is a testament to human fragility and

the nature of the passing of time. Yet, the halo is something else. We see that Saint Jerome has been canonised; the thin line of the halo is a visible indication to the audience of Jerome’s canonisation as a saint by the Roman Catholic Church. A direct contrast to the passing of time represented by the skull, his body may die but his spirit will live on.

Caravaggio’s paintings are full of contrasting elements, symbolism and explore varying themes of light and dark with his signature style. Tying all these elements together to create a dramatic scene of some kind. The manipulation of light is a vital part of the story being told, it not only highlights the nature of dark and light forces but sets the stage for a scene. It’s as if his paintings are akin to theatre work and we as the audience must unmask the characters and reveal their true intentions. In some cases, the protagonist of the painting is telling us directly what is happening, especially if the painting deals with scenes of death, blood and gore. Yet there is always some deeper meaning with Caravaggio’s work, a canvas within a canvas of sorts.

Technically, composition is of key importance with Caravaggio’s paintings, in many of his paintings light is determined via a specific direction. In his painting Calling of

Caravaggio is known as the Master of Shadows; his work is a benchmark for creatives interested in learning about light manipulation and composition of subjects. “ “

Saint Matthew , sunlight is entering the frame from the top right-hand corner and shining on to several characters sat at the table. The window where the light is coming from is not in view, yet we as the audience know that it’s there. Much of the painting is in shadow but we understand that the light source is causing this extreme contrast. In today’s contemporary landscape, artists, filmmakers and photographers have used Caravaggio’s paintings

as a reference for their own creative projects. With film being one of the most popular ways of exploring this narrative of light manipulation. The Lighthouse directed by Robert Eggers for example is a fantastic example of how successful light manipulation can be when a director makes it their priority. Other than the fact that it evokes mystery and drama, it also makes a scene feel more real and true to life while still allowing creative expression to flourish.

Caravaggio’s work is a great example of how a renaissance painter has inspired artists living today. Elements of the chiaroscuro style can be seen in so many films and documentary photographs as artists look for the negative elements within a shot. It’s no wonder Caravaggio is known as the Master of Shadows; his work is a benchmark for creatives interested in learning about light manipulation and composition of subjects.

By Francesco Scalici

CALLING OF SAINT MATTHEW Caravaggio

The art of expression techniques Painting

Painting, a timeless form of artistic expression, continues to evolve as artists experiment with materials and techniques. From the traditional methods rooted in ancient practices to the cutting-edge mediums of modern times, painting is a versatile craft that reflects the culture, technology, and creativity of its era.

In this article, we’ll delve into the rich world of painting techniques and mediums, tracing the journey from traditional pigments to contemporary innovations like resin and mixed media.

The history of painting is deeply intertwined with human civilisation, often serving as a window into past cultures and values. Traditional painting techniques are rooted in craftsmanship, with artists relying on natural materials and painstaking methods.

Originating in the 15th century, oil painting revolutionised the art world. Artists began mixing pigments with linseed oil, creating a versatile and slow-drying medium that allowed for blending, layering, and rich textures. Renowned painters like Rembrandt and Vermeer used oil paint to achieve remarkable depth and luminosity in their work. The process of glazing, where thin layers of transparent paint are applied to create a glowing effect, remains a cornerstone of oil painting.

One of the hallmarks of oil painting is its permanence, as the hardened oil forms a durable film. However, it requires careful preparation of the canvas, typically primed with gesso, and considerable time for the paint to dry completely.

In contrast to oil painting’s richness, watercolour embodies fluidity and immediacy. This medium, used for centuries, involves pigments suspen-

ded in a water-based solution. Watercolour paintings are known for their lightness and transparency, as artists often exploit the whiteness of the paper to create highlights.

Mastery of watercolour requires control over water flow and timing. Techniques like wet-on-wet, where paint is applied to damp paper, produce soft, diffused effects, while dry-brush techniques yield crisp, textured strokes. Famous artists such as J.M.W. Turner pushed the boundaries of watercolour, using it for sweeping landscapes and dynamic light studies.

The history of painting is deeply intertwined with human civilisation, often serving as a window into past cultures and values. “ “

Before oil paints became dominant, tempera was a prevalent medium. Made by mixing pigments with a binder like egg yolk, tempera offers a matte finish and exceptional colour permanence. Often applied in thin, precise strokes, tempera was the medium of choice for early Renaissance painters like Sandro Botticelli. Despite its decline in popularity, tempera’s unique qualities

make it a fascinating medium for contemporary experimentation.

Fresco painting, a technique rooted in antiquity, involves applying pigment onto wet plaster. As the paint chemically bonds with the plaster as it dries, frescoes are incredibly durable, with many surviving from ancient Rome and the Renaissance. Michelangelo’s Sistine Chapel ceiling is a testament to the power of this technique. However, fresco demands precision and speed, as artists must work on sections of wet plaster, known as giornate (Italian for “day’s work”), before it dries.

Traditional painting owes much of its vibrancy to natural pigments, derived from minerals, plants, and even insects. Ultramarine, a vivid blue once made from the semi-precious stone lapis lazuli, was so valuable that it was reserved for the most sacred parts of religious paintings. Other iconic pigments include vermilion (made from cinnabar), ochres (earthbased), and carmine (extracted from cochineal insects).

The Industrial Revolution brought synthetic pigments, dramatically expanding the artist’s palette. The development of chemically stable colours like cadmium red and cobalt blue offered unprecedented intensity and variety. These pigments also improved lightfastness, ensuring that artworks remained vibrant over time.

The 20th century ushered in a

wave of innovation, giving rise to new painting mediums and techniques that challenged traditional boundaries. Developed in the mid-20th century, acrylic paint is a fast-drying and versatile medium that has become a favourite among contemporary artists. Made from pigment suspended in a polymer emulsion, acrylics can mimic the qualities of oils or watercolours, depending on how they’re diluted or textured. They dry quickly, allowing for rapid layering and experimentation.

Acrylics are also compatible with a variety of surfaces, from canvas to wood and metal. Artists like David Hockney have used acrylics for their bright, bold colour and ease of use, while the medium’s adaptability has made it a staple in schools and studios alike.

Resin, a more recent addition to the artist’s toolkit, offers a glossy, threedimensional finish. Used either as a topcoat or as a medium for mixing pigments, resin creates a durable, glass-like surface. Artists working with resin often pour it onto substrates, manipulating the flow to

create mesmerising effects.

Notable artists like Jean-Michel Basquiat and Robert Rauschenberg have used mixed media to challenge conventions, blending painting with found objects, photography, and text. The result is a rich, layered narrative that invites viewers to engage with the artwork on multiple levels.

Beyond the choice of medium, contemporary artists continue to explore new techniques to express their vision. The advent of tools like airbrushes and digital styluses has expanded the possibilities of markmaking. Textural effects, achieved through the incorporation of sand, fabric, or even recycled materials, have added a tactile dimension to paintings. Digital painting, while not a traditional medium, is also gaining recognition as a legitimate art form. Using software and styluses, artists can create works that mimic traditional techniques or invent entirely new styles.

The evolution of painting reflects a dialogue between tradition and innovation. For example, encaustic painting, an ancient technique

The most protective art bag on the market

Our art bags have been developed with first-hand knowledge in the industry and an awareness of standards needed to protect artworks and frames.

3 layers of protective material

Acid free soft lining & water resistant

No imprinting onto the artwork

Reusable with easy to use re-sealable flap

Environmentally friendly with insulation properties

See artpakk.gi for our ‘best match’ calculator

involving pigments mixed with molten wax, has seen a resurgence as artists experiment with its unique textures and translucency. Similarly, traditional Japanese nihonga painting, which uses natural pigments and sumi ink, has inspired modern interpretations blending Eastern and Western aesthetics.

From the luminous layers of oil paint to the shimmering allure of resin, the mediums and techniques available to artists today are more diverse than ever. Whether grounded in tradition or driven by innovation, each approach offers unique possibilities for storytelling, expression, and exploration.

As the art world continues to evolve, so too will the tools and techniques of painting. Yet, at its core, painting stays a universal language — a means of capturing the intangible and connecting people across time and space. Whether through the delicate strokes of a Renaissance master or the bold abstractions of a contemporary innovator, the art of painting will always find new ways to inspire and resonate. By Amber Williams

Contact (+350) 200 17788

Great choice of sizes

A master in the making Vecellio Tiziano

Titian, one of the greatest Italian Renaissance painters of the Venetian school was declared by Giovanni Lomazzo as “the sun amidst small stars not only among the Italians but all the painters of the world”.

Setting a standard for physical beauty in his canvases of pictorial brilliance, Titian’s universal genius is unquestioned and unparalleled. From inferring human character in his compositions, to the gaiety and abandon of the pagan world depicted in his mythological scenes, Titian’s humanist masterpieces and interest in Classical Antiquity is enriched with vibrant splendour.

Born in the quaint village of Pieve di Cadore in the late 1400s, Titian left the Alps in search of a better life with his brother Francesco. The pair relocated to Venice where Titian became an apprentice to the master of mosaics, Sebastiano Zuccato. Later working under the famous Giovanni Bellini, Titian’s early works and frescoes have been characterised by the teachings of his mentor in their topography and mood. Seeking to create a poetic Arcadian world devoid of all sordid attributes, Titian’s idyllic scenes are charged with allegory and divine love.

Bacchus and Ariadne (1522-23)

National Gallery, London

Commissioned by the Duke of Ferrara, Titian painted his famous Bacchus and Ariadne mythological scene which masterfully hangs in London’s National Gallery. Deriving its subject matter from Ovid, the canvas is dominated by Titian’s notorious ultramarine blue pigment, which sweeps across the starlit sky. With Ariadne being

deserted on the island of Naxos by her lover Theseus, Bacchus, the god of wine, emerges with his followers and falls in love at first sight with Ariadne. Leaping from his chariot, Ariadne is immediately fearful of the god, who then turns her into a constellation depicted on the upper left-hand side of the painting. Brimming with allegory and symbolism in every corner of the scene, Bacchus and Ariadne was also a major point of contention during its largest restoration period in the late 1960s. When discoloured varnish was removed, it caused major damage to the original pigment, and repainting was deemed necessary.

Venus of Urbino (1534)

Uffizi Gallery, Florence Powerfully charged with eroticism and sensuality, Titian’s Venus of Urbino (or Reclining Venus) represents the Dresden Venus reclining on a sofa or bed in a Renaissance palace. Holding an unwavering stare with the viewer, Venus covers her nudity and holds red roses whilst her dog is depicted in the background as a symbol of fidelity. The painting joined the Medici family collection in 1633 following the coalition of the Papacy’s duchy to the Papal States, and was later acquired by the Uffizi Gallery in 1736 where it

VENUS OF URBINO (1534)

still stands to this day. Having formed the basis for many artist’s works, later depictions of reclining nudes such as Édouard Manet’s Olympia, have all derived their inspiration from Titian’s Venus of Urbino.

Seeking to create a poetic Arcadian world devoid of all sordid attributes, Titian’s idyllic scenes are charged with allegory and divine love. “ “

Assumption of the Virgin (1516-18) Basilica di Santa Maria Gloriosa dei Frari, Venice

Showcased as a testament to Giovani Bellini’s teachings, Titian’s Assumption of the Virgin housed in the Santa Maria dei Frari cathedral in Venice is emblematic of the painter’s use of colour and atmospheric style. As his largest painting in existence, the artwork hangs over the high altar and is designed to be viewed from a distance. Recognised as a colourist execution on a colossal scale, the painting guides viewers towards it as they enter the space, feeling compelled to view it up close. Depicting the three layers of the assumption, apostles witness the scene from the foreground as the Virgin Mary ascends whilst flanked by angels where god awaits her among the strong golden light emanating from above.

By Tamara Bell

BACCHUS AND ARIADNE

ASSUMPTION OF THE VIRGIN (1516-18)

PSYCHE REVIVED BY CUPID’S KISS (1794) Antonio Canova

From

The lost age of classical

mythology

Sandro Botticelli’s TheBirthofVenus(1485),

to Titian’s Bacchusand Ariadne(1523), gods and heroes of the ancient world have intrinsically remained a fundamental part of Western cultural language.

For thousands of years people have sought to understand mythology, further exacerbated by research in the social sciences. Since the time of Plato, mythology has become an endless stream of unanswered questions that draws you in to evoke a lost golden age or analogous to dreams, revealing a collective unconscious, as proposed by Sigmund Freud. Allowing for reinvention and reinterpretation, Greek and Roman mythology heralds the Olympians, their unblemished anatomical perfection, and esoteric references which often become enigmatic in visual depictions of divine scenes.

With a rekindled interest in the human figure during the Renaissance, artists began to represent these divine figures in a humanistic and harmonious way. Using live nude models as from the 1470s, these artists were able to recreate a realistic sense of motion and greater variety

of poses in their work, thus leading to greater experimentation in the art of mythology.

Also using the gods as stoic symbols to present an allegorical work heavily based on morality and divine teachings, artists and philosophers alike embraced ancient mythological themes which were later celebrated by the Neoplatonists. Seeking to merge pagan philosophy with Christian beliefs, images of purification with idealised figures possessing unearthly beauty apprehended the divine. From love affairs, to didactic or allegorical artworks, mythology in art has provided an extensive database of thematic concerns for artists to portray and render throughout the ages.

One of the best-known classical myths endlessly recounted in the cultural world is that of the love affair between Cupid and Psyche. Originating from Metamorphoses (2nd

Myths have no life of their own. They must wait for us to give them body. “ “

Albert Camus

century AD), Antonio Canova’s Psyche Revived by Cupid’s Kiss (1794) marble sculpture, is an exemplary portrayal of the mythological allegory depicting the couple in a dynamic embrace as Cupid saves his lover from Aphrodite’s wrath. Residing in the Museé du Louvre in Paris, Canova’s masterpiece serves as a structural mirror to the overarching plot where Cupid awakens Psyche with a kiss in the height of tenderness and love. Characteristic of the emerging movement of Romanticism, Canova manifests his talent as a sculptor in the carving of the stone. Depicting levelled smooth skin contrasted with the surrounding elements which include drapery, curled hair and the opened jar, Canova’s tremendous skill perpetuates the ideals of the sublime, the exotic, and a fascination with how beauty transcends an affair of form, evoking a strong emotional response deeply rooted in chivalry and a high moral standing.

VENUS DISARMING CUPID (1742) Francois Boucher

Canova’s diaphanous technique further heightened the electrical charge of Renaissance mythology. Removing all earthly trappings served as a step closer to the divine. An increased knowledge of the ancient world became more prevalent during Canova’s time, and the dissemination of mythology as a common cultural language only exacerbated the education of artists. With dramatic narratives giving rise to voluptuous forms and exuberant pictorial techniques, the delicate shift of the Rococo movement began to introduce pleasure-seeking sensibilities with depictions of nymphs, satyrs and plump pastel pink cupids created for intimate private settings.

An example of this shift in didacticism towards a more hedonistic aesthetic is Francois Boucher’s Venus and Cupid (1760). Focusing on a single female figure in the mythological guise of Venus (the goddess of love), she lolls among the clouds provocatively,

accompanied by two doves and Cupid. Awakening the notions of desire, carnal wakefulness and eroticism, the goddess is a symbol of the sacred in her resistance against relegation to the profane. As critiqued by the renowned Denis Diderot, the artist epitomised “degradation of taste, colour, composition, character, expression... drawing... [and] moral depravity”.

Indeed, the complex relation between mythology and the psyche have prompted artists in previous centuries to explore their symbolic and didactic teachings in diverse ways. From actuating their historical foundations and allegories passed on through time, to utilising the concept of heroism as a showcase of irony and decoration. While mythology celebrates the glories of a lost age and instigates curiosity of the past, antiquity in both respects can be characterised as an expression of the ideal.

By Tamara Bell

Degradation of taste, colour, composition, character, expression... drawing... [and] moral depravity. “ “

Denis Diderot

Tolkien

the art of language in literature

When we think of influential literary figures, names like C.S. Lewis and J.K. Rowling often come to mind. Lewis, known for crafting enchanting tales like TheLion,theWitch,and theWardrobe, and Rowling, whose Harry Potterseries rapidly captivated millions worldwide, have both left an indelible mark on the literary landscape.

Despite the decades separating them, these authors share a common talent for reshaping reality and stretching the boundaries of imagination through their timeless works.

Even earlier, in the 19th century, literary giants like Mary Shelley and Robert Louis Stevenson introduced readers to dark and gothic masterpieces. Shelley’s Frankenstein and Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde created haunting narratives that drew audiences into shadowy worlds of monsters and moral dilemmas, offering readers a form of escapism during a difficult 1800s era that resonated deeply.

Then, in 1937, a new chapter in literary history began with the release of The Hobbit , a book that would redefine fantasy literature forever.

J.R.R. Tolkien captivated readers with a boundless imagination and an unparalleled gift for world building. The Hobbit was met with widespread acclaim, enchanting audiences with its whimsical charm and richly layered narrative. Tolkien’s ability to craft a complex, alien world, rooted in

mythologies and histories that take inspiration from our own human history, ignited a new era for the fantasy genre. This monumental work not only captured the hearts of its readers but also laid the groundwork for the stories that continue to shape modern literature and entertainment today.

Tolkien once again captured the world's imagination in the mid-20th century with the release of his highly anticipated sequel, The Lord of the Rings . Widely regarded as one of the most ambitious literary achievements of modern times, the epic weaves a timeless tale of love, friendship, and unity overcoming darkness and despair. At its heart, the story follows a fellowship of characters who rely on one another to endure a treacherous journey and defeat the malevolent dark lord, Sauron, who seeks to impose his tyrannical will. The narrative resonates deeply with themes from Tolkien's own experiences during World War I, which profoundly shaped his writing decades later.

Award winning gin, reborn from winemaking tradition

FOUNDED BY ALEX & EMMA WATSON

GOLLUM , THE LORD OF THE RINGS

J.R.R. Tolkien

While writing The Lord of the Rings , J.R.R. Tolkien drew inspiration from a wide range of real-world mythologies, including Norse and Old English folklore, to shape the Elvish, Orkish, and Goblin cultures of Middle-earth. His work was further enriched by his expertise as a professor of historical linguistics at Oxford University, which he used to create a detailed family of 15 fictional languages. Among these, the most famous are the Elvish tongues, Quenya and Sindarin. Quenya, heavily influenced by Finnish and touched by elements of Latin and Greek, was designed to be elegant, refined, and suited for noble or highborn characters. In contrast, Sindarin has a more natural and less formal quality, evoking the organic evolution of spoken languages spoken by the more common populace.

He started by establishing a cultural framework, crafting the sounds and grammar of his Elven languages based on a foundation of simple phonetic rules and grammatical structures. From there, he developed core root words, which he could expand into related terms through systematic modifications, much like how Latin-based languages, such as Spanish, evolve their vocabulary. For instance, in Spanish, the verb 'amar'

means to love, and its conjugated variants include 'amo' (I love), 'amas' (you love), and 'amamos' (we love), illustrating how a single root word can generate a family of related words. The same rules can be applied to the other descendants of the language which use an array of unique guttural and harsh noises to distinguish them and tie them further into his storytelling.

The distinct historical and cultural context used when envisioning a mythology tied to these languages included tales of war and alliances between other written races, creating regional dialects that reflect that and giving the reader a true feel that they are situated within a rich and developed realm. For Tolkien, language was more than a tool for communication, it was a vessel for storytelling and poeticism.

Although J.R.R. Tolkien claimed he had no real talent for drawing, he was as passionate an illustrator as he was a celebrated author. From a young age, he expressed himself through various artistic mediums, including calligraphy, decoration, and typography. His artistic ability, however, far exceeded his modest selfassessment. Tolkien had an innate and refined sense of design, which offered a fascinating window into his

often overlooked creative side. This artistic flair is especially evident in the covers of his works, many of which he personally illustrated and are directly influenced by the early work of the PreRaphaelites in the mid 19th century. A striking example of this connection can be seen when comparing John Everett Millais' painting Ophelia , which portrays a drowned woman lying lifelessly in murky marsh waters, to the depiction of The Dead Marshes in TheLordoftheRings . In Tolkien's work, the marshes are home to the eerie, submerged bodies of long-deceased elves, their lifeless eyes glowing faintly beneath the surface. Both images, though presented eras apart, and in different contexts, provoke a shared sense of haunting beauty and foreboding, linking literature and PreRaphaelite art through their ability to inspire a feeling of dread in the viewer. Tolkien's extraordinary creativity enabled him to seamlessly weave poetry, music, art, and tradition into the very fabric of his fictional languages and storytelling, which is a feat of genius that is rarely matched today. Though the author has long since passed, his spirit endures in the timeless artistic masterpieces he has left behind for us to enjoy forever more.

By Aiden Bell

The marshes are home to the eerie, submerged bodies of long-deceased elves, their lifeless eyes glowing faintly beneath the surface.

Juan Torres

Ophelia Millais’

and the Pre-Raphaelites

The artistic corpus of the Pre-Raphaelite brotherhood was founded upon a twofold desire: they sought to both disavow the High Renaissance and, simultaneously, introduce a renewal of the intense and varied compositions of Quattrocento Italian art.

The brotherhood consisted of a seven-member assemblage of English painters, poets and critics based in Bloomsbury. It was founded in 1848 by William Holman Hunt, Dante Gabriel Rossetti, William Michael Rossetti, John Everett Millais, Frederic George Stephens, James Collinson and Thomas Woolner. Together, they decided that these bifold aims would govern the Brotherhood: the principles of the movement would revolve around a defiance of the artistic conventionality that had emerged post-Raphael, and, above all, the production of good art through the attentive study of nature.

As such, the Brotherhood favoured naturalistic approaches to art, like those of Giotto and Masaccio, which emphasised emotional expression, turmoil and truth. They rejected Mannerism, a more mechanistic style that developed in the later years of the Italian High Renaissance and saw mimesis as central to the purpose of artistic expression. The brotherhood, instead, found great inspiration from the work of John Ruskin; an art

critic whose volume Modern Painters suggests the foremost dedication of artists should be truth to nature.

The Brotherhood’s truth to nature also took inspiration from Ruskin’s musings on religion, and religious backdrops permeated their works: William Holman’s evangelist tendencies inspired The Light of the World , and the works of Dante and William Michael Rossetti were influenced by the Italian Catholicism of their father. Christ in the House of his Parents by Millais also scandalised Victorian society -even Charles Dickens protested the physical appearance of Jesus Christ as a “hideous, wry-necked, blubbering, red-haired boy in a nightshirt”.

Millais’s Ophelia , one of the most widely recognised works of the PreRaphaelite Brotherhood, also stands as religious iconography within a bed of flowers. Ophelia is notable for its intricate details, emotional depth, and shocking depiction of the character’s death in Shakespeare’s Hamlet. The body of Millais’ Ophelia evokes saintlike imagery, presenting Ophelia’s

While contested in Shakespeare’s play, Millais’s interpretation of Ophelia’s death is framed as a quiet, tragic surrender to her madness. “ “

body with a certain purity and grace. Her pose, with open arms and an upwards look, resembles a Christlike iconography, accentuated by the blooming flowers around her as symbols of purity.

For a religious Victorian audience, unacquainted with vivid portrayals of suicide, Millais’ presentation of Ophelia floating down a river, with her eyes closed and body limp, roused Victorian anxieties, particularly about decorum. While contested in Shakespeare’s play, Millais’s interpretation of Ophelia’s death is framed as a quiet, tragic surrender to her madness; and, for a society ever-consumed by social order, Ophelia presented a window into the consequences of destroying that order.

In keeping with the Pre-Raphaelite dedication to truth to nature the foliage in the painting’s backdrop also mirrors the scene at play: Ophelia, like her flowers of purity, rests among an overgrowth along the riverbank, which emphasises patterns of decay along the natural ecosystem. This points to an instance in Act 1 Scene II, where Hamlet compares Denmark to “an unweeded garden, / That grows to seed; things rank and gross in nature / Possesses it merely”. Hamlet’s comparison harkens back to the Garden scene, where Claudius murders Hamlet’s father and catalyses his descent into madness. Abundances of foliage metonymically signal the corruption rife throughout

the play, and this is no different for Millais: his Ophelia's saintly purity holds against a garden of corruption.

Notably, John Milton’s Paradise Lost , a text that Shakespeare was thought to be familiar with, depicts the entry to Eden as barred by a “labyrinth” of foliage, with “mazy folds”, and is described as a “surging maze”. Satan, in serpentine form, works his way through this maze with difficulty, sprawling though a scene akin to the background of Millais’ painting. In this way, much inspiration is taken from literary depictions of natural scenes -scenes used to communicate notions of purity within fields of evil. Ophelia’s saintly pose within her own “unweeded garden” suggests that Millais’ painting can be regarded as a microcosm for innocence and Victorian morality. Ophelia lies as a symbol of disavowal and renewal: she repudiates corruption while her pose is emblematic of saintly forgiveness.

In this way, its religious imagery creates a sense of doubling inherent to Millias' work, a doubling that appears quintessentially Pre-Raphaelite. The Awakening Conscience by William Holeman Hunt depicts a woman rising from a man’s lap, transfixed by an image in the window. The title makes clear that this scene shows a mistress and her lover, a scene that epitomises what Victorians would have considered a sinful disregard of the order of marriage. Interestingly, TheAwakening Conscience is thought to be a sisterpainting, a companion to The Light of theWorld TheLightoftheWorldshows a picture of Christ holding a lantern as he knocks on a door with overgrown branches. It is thought that the image on which the woman is transfixed is that of Christ at the door.

Paired, these paintings depict sinfulness versus innocence, good versus evil. They convey themes that Millais' piece appears to exude. One wonders, then, if Ophelia ought to

have a companion, for which there seems to be a few options. If one takes Ophelia to be a martyred depiction of virginal purity, Hamlet holding Yorick’s skull, as he stares into the hollowed eyes of death, could be a contender. Aptly, it could also be Hamlet's final scene, where he utters the words "the rest is silence" before his death. Millais' Ophelia, consumed by madness, lies silently, taken by the same corruption inflicted on Hamlet.

It could also be when Fortinbras enters the palace, a move that symbolises the disavowal of Claudius' rule and the renewal of the state of Denmark. In Hamlet, Millais finds the same principles the Brotherhood swore to uphold: he finds the attentive study of nature, human nature. With this, he produces the kind of work intended by the Pre-Raphaelites: that which is "serious and heartfelt".

By Sophie Macdonald

OPHELIA Sir John Everett Millais (1829-1896) Oil on canvas

The romantic vision of Caspar David Friedrich

Stemming as a reaction to Neo-Classicism, the Romantic movement in art perpetuated human emotion, intuition and instinct over the rational. Deviating from a rule-based approach, Romanticism became a rebellion in which subjective states of mind dominated the cultural scene.

Concerning itself with ‘the ideal’ and raw authenticity, the movement was shaped by its rejection of utilitarian attitudes where the belief that man could be perfected through reason was rife in the artworld. Favouring the spiritual, Romanticism laid great emphasis on the sublime, whereby man was confronted with the vastness of the natural world, in recognition of his own transience and moral compass. Landscape painting became popular during this time, as well as supernatural and fantastical themes peppering the artistic climate during the 18th and 19th centuries.

A prominent artist of the Romantic movement was Caspar David Friedrich (1774-1840). In search for an emotional and subjective response to the natural world, the German Romantic painter typically portrayed a human presence in diminished perspective set against a vast backdrop directing one’s vision towards their metaphysical dimension.

Having experienced a growing disillusionment with a materialistic society, Friedrich studied in Copenhagen until 1798 and found solace in the works of J.M.W Turner and John Constable. These artists pioneered the notion of divine creation juxtaposed with the artificiality and industrialisation of human civilisation. Indeed, Friedrich was viewed as an eccentric, a recluse and somewhat of a melancholic character, who wandered through life in solitude. Sometimes focusing on darker thematic concerns, and baring much influence over the Existentialists, Friedrich truly transformed the conventions of landscape painting fuelled by his Gothic clichés and religious mysticism.

The artist should paint not only what he has in front of him but also what he sees inside himself. “ “ Caspar David Friedrich

Wanderer

above the Sea of Fog (1818)

As one of his most famous works of art, Friedrich captured a man standing on a rocky precipice with his back to the viewer. Depicting a thick sea of fog glaring over the infinite distance, the painting represents the Romantic ideals of how nature evokes the sublime. Cloaked in mystery, the painting leaves the viewer with many questions as the ominous celestial elements engulf all traces of land in its midst. Interpreted as an emblem for self-reflection and contemplation, the figure gazes out into the horizon mysteriously. In the words of Friedrich himself, “the artist should paint not only what he has in front of him but also what he sees inside himself”. “A region cloaks itself in mist, it appears larger and more sublime, elevating the imagination, and rousing the expectations like a veiled girl."

Two Men Contemplating the Moon (1819-20)

Painted as part of a series of similar works, Friedrich’s Two Men Contemplating the Moon depicts two figures silhouetted by a waxing crescent moon and dark foreground. A lifeless tree’s roots and branches contrast with the sky and create a jagged and ominous setting in a Gothic style. Emphasising the spirituality found in nature and the presence of the sublime, Friedrich’s painting exemplifies the ideals of Romanticism with its soft melancholic mood and juxtaposition between the palpable world and unending cosmos. Assumed to have both religious and political connotations with the depiction of the figures’ attire and uprooted tree suggesting eternal life, much speculation has surrounded this painting over the years.

Tree with Crows (1822)

Friedrich’s Tree with Crows depicts a weathered and lifeless tree devoid of lush bucolic foliage and its vibrant force of life. Set against a yellowed haze, the tree stands as a permanent and impenetrable reminder of death as an inevitable part of life. Inviting a melancholy response, Romanticism privileged nature as the source of truth about the human experience to be best expressed in an artistic and emotional manner. The intuitive composition sheds light on how death is not to be feared, but rather, accepted as part of the natural cycle of life.

By Tamara Bell

Époque La Belle

La Belle Époque translated directly as “the beautiful age”, retrospectively looks to years of glittering excess, hedonism and wealth in France. Historians mark this period as prospering between 1871 to 1914, as coming to a blinding halt with the outbreak of World War One.

The horrors of war made La Belle Époque all that more beautiful and its art all that more cherished: it is viewed as a gilded period, frozen in time, and untainted by war.

La Belle Époque was a time when art, literature and music reflected the vibrant creativity of the era that blended the industrial nineteenth century and twentieth century modernism. The visual arts were booming: artists like Monet, Cezanne, and Van Gogh left an indelible mark on the art world – they captured the booming energy of urban life, the elegance of the period and the beauty of nature. La Belle Époque fostered an array of artistic movements like Impressionism, PostImpressionism and Art Nouveau: it was a time of boundless artistic innovation.

After the Franco-Prussian War, the period was founded on notions of rebuilding and growth. This was an ethos that underscored pieces like Monet’s Impression, Sunrise (1872). The port of Le Havre that features in this painting symbolises that prosperity: a feature common to lots of Belle Époque pieces are scenes bountiful with people – Monet shows a busy harbour, but Pissarro’s The Boulevard Montmartre (1897) for example, shows a boulevard of people promenading around town – they emphasise wealth, be it of people, money or landscapes. Monet captures the duality of the natural world and industrial activity, a tension from which La Belle Époque was born. It was also an age characterised by an increasingly prominent middle class, and while this has subjected the period to criticism for celebrating elitism, critics also note how this signals the optimistic worldview of the time, one that was crippled by war.

Monet uses short, loose, and visible brushstrokes, an artistic choice that would come to make his Impressionist art instantly recognisable. The painting observes changing light, where warm hues juxtapose the cooler tones of the water and sky, and stand as a guiding light among the misty sea. Monet painted ‘en plein air’, and the blurred lines among the sea communicate the transient and fleeting beauty of natural light. That which is fleeting

would come to, in hindsight, categorise LaBelleÉpoque . Frozen at a standstill at the outbreak of war, France would come to realise just how fleeting its age of excess would become. Monet’s work would symbolise a focus on the present moment and the ephemerality of experience, an experience that was subsequently harrowed.

As Impressionism evolved, artists like Cezanne, Van Gogh and Seurat capitalised on the prosperity of the moment and pushed the boundaries of colour, form and emotion further. Van Gogh’s iconic Starry Night (1889) epitomises the period’s emotional intensity. While the introspective quality of Van Gogh’s work differs from his contemporaries, it shares La Belle Époque’s philosophical lenses. La Belle Époque saw a fascination with the poetic and mystical beauty of the natural world and its counterbalance to industrialisation. The swirling sky and incandescent sky romanticises nature as a source of wonder amidst rapid, technical, modernisation: it reflects the era’s preoccupation with reason versus emotion.

Moreover, Seurat’s A Sunday on La Grande Jatte (1884-1886) introduced Pointillism, the process by which tiny dots of pure colour are applied to create an optical mixing in the eye of the viewer, and captured the urban landscape in painstaking detail. Seurat’s landmark painting is a key work of the Neo-Impressionist movement and quintessentially reflects the cultural and societal concerns of the time: it shows an amalgam of people enjoying their time on the banks of the River Seine, emphasising themes of leisure that were central to Belle Époque pieces. While Monet’s Impressionism focused on fleeting moments, Seurat’s structured and deliberate strokes evoke an eternal vision, a desire to immortalise La Belle Époque in time. Seurat’s The Eiffel Tower (1889) also reflects a desire to capture and fossilise important features of the era. The Eiffel Tower was famously erected during La Belle Époque, and Seurat’s piece is a memorable interplay of artistic innovation, industrial progress and cultural identity.

France was literally going up, architecturally and culturally. This was a sentiment that Seurat’s work materialised. La Belle Époque, however, was not simply about artistic innovation: this innovation reflected a phenomenon that permeated French society at the time, that of radical societal change. Women emphasised and asserted their presence in the arts, sculptor Camile Claudel for example gained worthy recognition, and feminist voices like that of Marguerite Durand demanded equality. While the outbreak of World War One put this innovation on hold, its legacy endures. La Belle Époque remains a term frequently used to communicate a sense of nostalgia, to reminisce on the good old days. When we admire its paintings, we are transported into singular moments in time when art mirrored the spirit of its age – La Belle Époque continues to be a celebration of life in all its vibrant yet fleeting beauty.

By Sophie Macdonald

A ritual of offering by Gustav Klimt

Whoever wants to know something about me as an artist, which alone is significant, they should look attentively at my pictures, and there seek to recognise what I am and what I want.

Evoking an idealised world rendered in decorative colour and abstract patterns in shimmering gold, Austrian painter Gustav Klimt (1862 - 1918) epitomises the contemporary Art Nouveau style with The Kiss. At the height of his Golden Period in the early 1900s, Klimt’s recurring motif of intimacy found in the soft embrace of a loving couple has distinguished ‘Vienesse Secessionism’. The idealised, decorative and ritualistic key features of the artwork were paramount in shaping the avant-garde naturalistic paintings of the time, in search of independent artistic experimentation.

In a search for solo exhibitions, thus deviating from the cultural collective, Gustav Klimt pioneered and founded the Vienna Secession in 1897. Distinguished by his flat and highly decorative style, dynamic textures and strong use of colour, the ambiguous emotional nature of his subject matter often invites viewers to reach their own conclusions on the works of art, and open the doors to wider conceptual evaluation. With emotionally

intense works that established the link between commerce and aesthetic individualism, the stylisation of the human figure stemmed from an intrinsic need to satisfy the stringent geometries of the natural world.

Housed in the Österreichische Galerie Belvedere in Vienna, TheKissdepicts two figures locked in an intimate embrace and engulfed in a glowing golden meadow of flowers, swirling forms and geometric patterns. Both figures wear floral crowns, while the male figure is shrouded in a gold robe and bends downwards to kiss his partner on the cheek. While he cradles her face, she lovingly embraces him with one arm and upturns her head to receive his kiss with closed eyes in a dream-like state.

Utilising organic forms which were typical of the Art Nouveau style of the time, Klimt’s background brings rise to the conflict between two and three-dimensionality as the movement began to transgress from the works of modernist painters. Culminating in a visual manifestation of sensuality, opulence

and decadence of the Bronze Age, Klimt employed the artistic inspirations he gathered during his travels to Italy in 1903. Visiting the Byzantine mosaics in the Church of San Vitale in Ravenna, the flat nature of the figures represented, only seemed to enhance the medium used in their consecration. Illuminated by golden brilliance, Klimt’s desire to enhance the figures’ magnetic allure by using metallic silver and gold leaf, culminated in a sensational triumph still admired by millions today.

With a particular interest in the female body and an artistic oeuvre marked by frank eroticism, Klimt also gained much inspiration from his father’s profession as a gold engraver. Being met with much controversy, he transformed the traditional elements of allegory and narrative into a more symbolic and overtly sensual aesthetic. With some of his artworks being destroyed by German forces during the burning of Schloss Immendorf in 1945, Klimt continued in his overt activism against the establishment. Animated by resentment, the artist created many pieces which never saw the light of day due to their ostentatious

nature. In an act of iconoclastic transgression, Klimt became renowned as a “painter of women” in which he devoted the majority of his time to painting heroines of the Old Testament as “dangerous femme fatales”. Cloistering his world and confining himself to his art and family, Klimt was considered to be exponentially progressive for his time, and a meticulous master of decorative symbolism.

Representing absolute truths through the use of language, metaphorical imagery and having originated from poetry, the movement served as a reaction against anti-idealistic styles, in favour of the imagination and the human subconscious. Bringing forth taboo subjects with a hedonistic and decadent undertone became the overriding aesthetic of Viennese artistic expression. With his eclectic range of influences and erotically charged shimmering paintings, Klimt’s distinct style conveys important psychological ideas through the use of symbolic elements to celebrate the freedom from preconceived societal beliefs, and overarching traditional culture.

By Tamara Bell

Art is a bridge between the soul and the world.

Feminist

A corpus of political thought literature

Feminist literature mosaically weaves together centuries of feminist thought: a piece of feminist literature does not stand singularly, it reads like a palimpsest, through which erased narratives bleed and reshape the present.

Contemporary feminist literature cannot be discussed without winding back the clock and considering the historical weight behind its thought. Feminist narratives interlace through history like golden threads in a tapestry, together they reveal a formidable, and passionately fought for, corpus of political thought.

In which period feminist literature emerged has been contested; some look back to antiquity, to figures like Cassandra and Medea for feminist icons, while others claim Chaucer’s Wife of Bath was one of the first protofeminist pieces of literature. Issue has been taken with these characters being written by men, and it has been claimed that feminist literature did not truly emerge before the First Wave of

Feminism in the 19th century. While the First Wave certainly saw a shift in ways of thinking about Feminism, it would be reductive to dismiss the groundwork laid by classical and medieval thinkers, like Christine de Pizan, for feminist writings today. Feminism in literature presents somewhat of a looking glass: while there seems little connection between Christine de Pizan and, say, Bernadine Evaristo, both writers work within societal constraints to fight for the visibility of women.

By nature, the term ‘feminism’ itself demands retrospection: it was first used to refer to men who supported women’s rights in 1872 by Alexandre Dumas, and it was only really since that First Wave that literary scholars looked back to proto-feminist works

with a gender lens. Among her most famous works, La Cite des Dames was written as a reaction to (what we would today term) misogyny in other literary works. De Pizan, helped by forces of Reason, Righteousness and Justice, builds an allegorical fortress, within which women can seek refuge from the superiority of the male sex.

While some say de Pizan’s work was not feminist, insofar as it did not seek to dismantle patriarchal structures, it did have an important feminist component at its core: rebellion. One of her most famous works, Le Dit de la Rose was written as a direct attack on Jean de Meun’s renowned Romance of the Rose, a piece about courtly love which depicted women as evil seductresses. Although she wrote primarily about

the upper class in France, her works were reactions to perceived injustices against women. It is this same fervour with which women staunchly uphold feminist practices today.

Revisions of previous texts written by men would also come to define Feminism in Early Modern literature. ‘Eve’s Apology in Defence of Women’, by Aemilia Lanyer is a daring reinterpretation of Genesis, where the blame for the Fall of Man is cleverly redirected from Eve to Adam. The poem's rhetoric and structure is reminiscent of a court scene, in which Lanyer presents a unique approach to the idea of Eve as created from Adam’s rib. Instead of using this as justification for the subordination of women as companions for men, she claims “if any evil in her did remain, being made of him, he was ground of it all” (II.65-55). Lanyer unapologetically strays from traditional understandings of Genesis to dismantle the foundations of gendered hierarchies. Her poetry sets a literary trend for the rearticulation of hierarchies, of using language to revert blame from victims of patriarchal structures.

The Enlightenment, which saw revolutionary progression in art, politics, and philosophy also introduced a new way of thinking about Feminism. Mary Wollstonecraft’s The Vindication of the Rights of Woman is credited with putting forth calls for a feminist revolution; with calls for equal education for women and a recognition that women’s subordinate

Feminist narratives interlace through history like golden threads in a tapestry, together they reveal a formidable, and passionately fought for, corpus of political thought. “ “

status is not due to inherent weakness, but the societal prejudices of men. Taking a leaf from de Pizan’s book, she critiques multiple 18th century writers about women’s education, notably Jean-Jacques Rousseau, who argued that women only needed to be educated in preparation for serving men. Wollstonecraft’s work would tinge the pages of subsequent women’s writing a new colour, with ideas of suffrage for women like Jane Austen, Margaret Fuller and Louisa May Alcott.

These feminist writings are only a handful of examples; there is a vast history of feminism in literature, and this article, thus far, has only referred to white, Western women. Nonetheless, these women, whether through poetry, novels, or essay form, have been referenced as pioneers for the First Wave of Feminism, and influencers for Modernist Feminism. Virginia Woolf’s A Room of One's Own encourages Feminist literature. Woolf imagines her narrator as every woman (“call me Mary Beton, Mary Seton, Mary Carmichael, or by any name you please – it is not a matter of any importance”). Her narrator turns to history to find little data about the everyday lives of women in literature and constructs the figure of Judith Shakespeare to

implore women to take up the tradition of writing, for which they will need a quiet room of their own. Woolf went on to inspire other Feminist essays, like Simone de Beauvoir’s The Second Sex

In the US, writers like Maya Angelou and Alice Walker were writing about the feminist experiences and empowerment of black women, and planting the seeds for intersectional and post-colonial thinking at the forefront of Feminist writings during the Second Wave and today. They would also inspire pieces like Toni Morrison’s The Bluest Eye . This book challenges beauty standards, racial and patriarchal structures, and Morrison would influence Naomi Wolf’s The Beauty Myth , and pieces like Bell Hook’s FeminismisforEverybody

When we think about contemporary feminist literature, works like Margaret Attwood’s The Handmaid’s Tale and Maggie Nelson’s TheArgonauts , which explores queer and trans-Feminism, spring to mind. And, within these pieces, we can find threads woven by every feminist writer before them. Feminism in literature is not simply a field of literary scholarship, but a movement; it has been as important in inspiring tangible feminist movements as it has feminist writers.

By Sophie Macdonald

Emotionally we are connected to dark places. Some people may find that difficult, whilst some may find that appealing.

Lorna Bent “ “

SEE LORNA'S BIO ON PAGE 174

ChicagoJudy

A dinner party to remember

An icon of feminist art. A milestone of the 1970s. A ceremonial acknowledgement of women’s heritage. Judy Chicago’s The DinnerParty serves as a pivotal iconoclastic symbol which brings to light the most influential female figures in history. As a pioneer of feminist-driven art, American Artist Judy Chicago gained much notoriety for her radical retelling of human history and shrewd examination of women throughout the ages.

As an arts educator and writer, she reached the height of her career with her large collaborative art installation pieces exploring the themes of birth and creation. Uninterested in a world of patriarchy, Chicago confronts ideals of social inequity, the construct of masculinity, environmental disasters and mortality, turning ‘history’ into ‘herstory’ with her novel contextualisation of feminist methodologies.

Exploring mythology and goddess worship, Chicago’s illuminated manuscript titled Revelations became a foundational element to exacerbate her artistic practices and iconic installation The Dinner Party . Drawing on her intensive research dating back to the biblical city of Bethulia through to the Middle Ages, the Renaissance and 20th century America, Chicago challenged the male-dominated artistic landscape and became the most prominent and provocative trailblazer of the 1960s cultural space. By harkening back and challenging the eroticism of spirituality, religion, sexuality, equality and gender rights, Chicago can be considered a modern suffragette and activist of the 20th century.

In a fight against suppression and the erasure of women’s creativity, Chicago has always aimed to give a voice to her journey as a female artist in a world long dominated by male critics, artists and curators. Exploring the emotional effects of colour aided by technology and a wide variety of mediums, Chicago’s installations have ranged from large explosions of

smoking colour bombs, rhetoric-filled and thought-provoking interactive artworks, and visceral environmental pieces which impact society and dominate her overall oeuvre. Stating “It is ironic that after all these years, where I was once critiqued, I am now being lauded. My goal has been to make a contribution to a more equitable world through art and I am honoured and thrilled that my work is being recognised now”.

A pop-cultural touchstone being The Dinner Party, is considered to be Chicago’s most celebrated work. Aged 78 at the time, Chicago carefully curated a vulvic-inspired table with ceramic plates prepared to host 39 influential women from across the centuries. From Artemisia Gentileschi (16th century artist) to Virginia Wolf (20th century author), Chicago’s triangular shaped table featured handpainted China plates, ceramic cutlery, chalices and napkins individually resting on embroidered runners consisting of impressive needlework styles and techniques. Giving rise to traditional textile arts which were less culturally valued as opposed to the male-dominated fine arts, Chicago celebrated this craftwork accompanied by the butterfly and flower-like imagery in representation of the vulva.

In an aim to “end the ongoing cycle of omission in which women were written out of the historical record”, The Dinner Party travelled to 16 venues in 6 countries on 3 continents reaching an audience of 15 million people. Now resting in its final destination, the

Brooklyn Museum in New York, Chicago successfully made The Dinner Party into a form of high-art both in her choice of mediums and non-hierarchical project leadership.

Drawing comparisons with Leonardo Da Vinci’s The Last Supper (15th century), Chicago purposefully arranged her 39 place settings into 3 groups of 13, thereby not only representing equality in her equilateral dinner table, but subliminally commenting on Da Vinci’s iconic masterpiece by substituting the place settings for women; a pivotal comparison for the artist.

Having been met with much controversy and criticism, Chicago’s The Dinner Party has been described using terms such as “monotonous”, “single-minded”, “solemn” and “ceramic 3-D pornography”. Being considered from a multitude of angles in academicism, Chicago ultimately created a risqué artwork which stood for and was fuelled by intent alone. Her feminist ethos permeates every corner of the table, and has captivated sceptics and advocates alike. Amplifying marginalised voices, and challenging historical paradigms, Chicago’s artwork has served as a ground-breaking and visually captivating celebration of women throughout history; a transformative masterpiece which incites viewers to reconsider their historical narrative and shape the course of civilisation with resilience and fearlessness.

By Tamara Bell

My goal has been to make a contribution to a more equitable world through art and I am honoured and thrilled that my work is being recognised now.

The confessional works Emin Tracey

THE MOTHER Tracey Emin Munch Museum, Oslo

Being one of the most prominent feminist artists characterised by fearlessness, vulnerability, and the explicit, Tracey Emin’s infamous installations have been fused with honesty as “the most beautiful thing… even if it’s really painful to look at” (-Emin).

Exploring controversial topics and philosophical realisations, her retrospective serves as a culmination of existential crises which turn the conceptual into a visual emotional representation of the passage of time and the notion that we as humans are fundamentally always alone.

Born in London in 1963, and having experienced a chaotic upbringing in the seaside town of Margate, Emin left home at the early age of fifteen. Experimenting with all types of mediums including drawing, film, photography, sculpture, neon and writing, the artist has presented us with the vicissitudes she endured during her life. From toxic relationships to abortions, Emin’s bold and raw artistic statements have challenged societal constructs and pushed the boundaries of what is considered taboo.

Emotional suicide

After assembling her personal memorabilia which presented her body as a battleground for “emotional suicide”, the artist has highlighted moments of epiphany throughout her personal life in her work. One of her most popular installation pieces created in 1998 and exhibited at the Tate was the artwork titled My Bed , shortlisted for the Tuner Prize as a venerated YBA (Young British Artist).

In a blatant exhibit of what one would most likely keep private, Emin’s uncensored presentation of her home environment came in the form of

her bed. Staged on the gallery floor in London and surrounded by an accumulation of objects including slippers, cigarettes, underwear, condoms, and even menstrual stains, the artist’s bed presented a candid reflection of her worst life events. From childbirth and depression, to illness and suicidal tendencies, My Bed showcased a repulsive picture of Emin’s dishevelled life.

Widespread shock

Causing an uproar of media furore, My Bed was met with widespread shock around the world. Being sold at auction by Christie’s in 2014 for £2,546,500, the artist solely aimed to shed light on the four days that she spent without eating or drinking anything but alcohol in bed during a sexual and depressive phase of her life. Parallel to Emin’s bed was her artwork titled Everyone I Have EverSleptWith (destroyed in 2004 by a warehouse fire).

The installation was acquired by Charles Saatchi which lead to its iconic status, and exhibited a tent with the names of everybody that Emin had ever shared a bed with sewn into its interior fabric. Otherwise known as The Tent , the piece served as an invitation for the viewer to introspectively reflect on their own romantic past and personal inventory. This intimate retrospective journey contained in four walls of fabric became a euphemism for sexual partners, although played on words in its title to include friends and family that

may have shared a bed with Emin whilst growing up. Described by the artist as “seminal, fantastic [and] amazing”, she drew inspiration from the Shell Grotto in Margate, thus choosing to present a blue tent and drawing upon religious symbolism in its choice of colour.

Striving to shake traditional norms of decorum within the artworld, Emin’s acute profanity has served as an unfiltered and unabated statement against fine art and the male-dominated cultural sphere. Bringing awareness to issues that she personally experienced such as sexual assault and pregnancy traumas, Emin’s claim to fame was exacerbated further after her appearance on a Channel 4 television programme in 1997 titled Is Painting Dead? The artist was interviewed alongside others and claimed to be “drunk, slurred and swearing” during the show, which caused considerable media attention and outrage. Described by Madonna as “intelligent and wounded and not afraid to expose herself”, Emin’s reputation although met with much backlash, has lead her to instantly become one of the greatest pioneers of Ready-made Installation Art and feminist work. Leaving a bold impression in the minds of her followers and critics, Tracey Emin is a force to be reckoned with in her crude and unashamed controversial masterpieces.

By Tamara Bell

With soul-searching candour, she probes the construct of the self but also the very impulse to create. Unfiltered, irreverent, raw, she draws on the fundamental themes of love, desire, loss and grief in works that are disarmingly and unashamedly emotional.

White Cube

MY BED

Tracey Emin

Finch Nick

Director of Christie’s Auction House

Speaking with Nick Finch, the Director of Christie’s has been an absolute delight and a privilege. From starting his career at one of the most prestigious auction houses in the world by working in the mail room as a youngster, to now spearheading the Global Auctioneering Programme and so much more.

Nick recounts his cultural and professional journey with me in this candid Q&A where we delve into some of the most world-renowned auctions that have ever taken place at Christie’s and their upcoming projects for 2025!

Tell us a little bit about yourself and the work that you do.

At Christie's, I head the Global Auctioneering Programme and lead the International Bid Departments. I oversee the selection, training, and development of auctioneers, provide active support during international marquee auctions as Chief Auction Clerk, and ensure governance and integrity across all live auction categories.

Having worked at Christie’s for over thirty years, I’d love to know a bit more about your professional journey, from starting out in the mail room, to being Director. My journey at Christie’s began humbly in the mail room, where my responsibilities included collecting and delivering post around the building, distributing auction catalogues, and generally assisting wherever needed. During my initial days, a wise colleague advised me to volunteer for everything and always keep my passport handy. This advice proved invaluable as it helped me raise my profile and travel extensively within the Christie's network over the next 42 years.

Starting in the mail room, I was soon offered a part-time role within the sales office. This position allowed me to witness and be involved in all the sales events at King Street, where each week was filled with a variety of auctions: Porcelain on Mondays, Drawings and Watercolours on Tuesdays, Jewellery on Wednesdays, Furniture on Thursdays, and Picture sales on Fridays. I thoroughly enjoyed this dynamic environment, gaining invaluable experience and knowledge in the auction process.

As I progressed from Junior to Chief Sales Clerk and then into management, I witnessed Christie’s evolution and its expanding reach. The art market was transforming, with

Christie’s shifting from being primarily a wholesaler for galleries and antique dealers to engaging directly with private individuals, thus changing our place in the art world. My willingness to embrace change played a significant role in my career advancement, ultimately leading to my appointment as a Director.

Did you study at university, and if so, what academic subjects did you read?

At 16, I had completed my exams and was contemplating my future. The plan was to complete my A-levels and then transition into the workforce. University was never on my radar; it simply wasn’t the customary path at the time. However, it soon became evident that further education was not well-suited for me, and I found myself struggling at school. It was suggested that perhaps leaving school and starting my career earlier than planned would be beneficial. Coincidentally, as my school was one of the closest to Christie’s, they contacted us to see if any boys were interested in a job opportunity in the mail room.

How did you begin your journey at Christie’s, and how did you initially get involved in this line of work?

So, having never heard of Christie's and after a conversation with our Careers Advisor, I went along for the

interview in my school uniform for the role described as Catalogue Boy (it was deemed an inappropriate role for women at the time). This was, in fact, a glamorous title for what was essentially the job in the mail room, as described earlier. After correctly naming Paris as the capital of France in the interview, I got the job. It was rather a shock for my parents at the time as I had left in the morning for school and by the afternoon, I was going to leave school and start work on Monday at one of the most prestigious auction houses in the world. It was something I had never planned for, an incredible piece of luck, and a moment of being in the right place at the right time. It changed my life, and I have not regretted a minute.

Tell us a bit about Christie’s as a world-leading art and luxury business.

Christie’s is a world-leading art and luxury business, renowned and trusted for its live and online auctions, as well as its bespoke private sales. Founded by James Christie in 1766, Christie’s has a physical presence in 46 countries throughout the Americas, Europe, Middle East, and Asia Pacific, with flagship international sales hubs in New York, London, Hong Kong, Paris, and Geneva.

Christie’s offers a full portfolio of global services, including art appraisal, art financing, international real estate, and education. The company’s auctions span more than 80 art and luxury

My journey at Christie’s began humbly in the mail room... during my initial days a wise colleague advised me to volunteer for everything and always keep my passport handy... this advise proved invaluable.

categories, at price points ranging from $500 to over $100 million. Christie’s has sold 7 of the 10 most important single-owner collections in history and achieved the world record price for an artwork at auction.

The company is committed to advancing responsible culture throughout its business and communities worldwide. Christie’s is also known for its pioneering vision, embracing innovation as a catalyst for progress and pushing the art world forward by opening new pathways for people to create, explore, and be enriched by art and culture.

I would love to know about the auctions that take place at Christie’s. What process does this entail, and have you seen changes in the global art market over the years?

One of the most notable changes within Christie’s over the last five years has been the division between live and online-only sales. This split has enhanced our interaction with art

enthusiasts and collectors globally, allowing us to offer a wide range of art and luxury sales in various formats. Christie’s operates as an agent on behalf of sellers, dedicating significant effort to sourcing properties for sale through long-established relationships, utilising advanced marketing tools, and accommodating walk-in clients with items they wish to sell. Our goal is to secure the optimal price for these items at auction, which we aim to achieve by ensuring accurate descriptions, authentication, and cataloguing of each item.

Organising an auction involves thorough research and verification of provenance using expert knowledge. The sale is scheduled and advertised, with many auction categories occurring at consistent times annually. During the auction, bidders are prepared, and the auctioneer for live sales is ready, setting the stage for the auction proceedings. Bidding can be an intense experience, where participants aim to acquire their desired pieces or acknowledge having bid their maximum amount. Notably, there has been significant growth in global participation and a shift towards direct engagement with end buyers, transforming major auction houses into international businesses generating substantial revenue annually.

What are some of the most memorable art pieces that have been auctioned at Christie’s?

Over the last 40 years, I have had the incredible privilege of being present at some of the most historic auctions that have ever taken place. Here are my highlights, in no particular order:

The selling of Van Gogh's Sunflowers in London in 1987 for an incredible hammer price of £22,500,000, an amount that was never thought possible at the time. This moment was made even sweeter by the fact that all staff received a £500 bonus the day after the sale.

The Yves Saint Laurent collection in Paris at the Palais-Royal, a simply incredible week of sales that, at the time in 2009, sold for an unimaginable total of $484 million. The atmosphere was electric, with many thousands attending the viewings and auctions.

Of course, the most outstanding item being the sale of Leonardo da

Vinci's Salvator Mundi in New York in November 2017 for the astonishing hammer price of $400 million. Nothing will replicate the drama, excitement, and tension of those 20 minutes as the highest price for any work of art at auction was achieved.

But I guess my favourite item would be the first ever lot I sold as an auctioneer at Christie’s, at our saleroom in South Kensington - a Georgian silver plate that made £2,500, a moment I shall always remember.

Do you have any favourite artists?

People often ask me about my favourite artwork, but I don't have a particular one. My career has exposed me to so many incredible pieces that it's hard to choose just one.

Despite not having an art background or initial interest before joining Christie's, I have one of the best jobs in the world. The diverse and rich art I encounter daily continually inspires and amazes me.

Are there any specific time periods or movements within the history of art that you’re particularly interested in?

Having said that I do not have any

significant art or artist interest, I do have a fondness for the art of the Napoleonic period. The pomp, dramatic historical portraits, and battle scenes have always moved me ever since I saw Sergei Bondarchuk's 1970 movie Waterloo . The grandeur and intensity captured in the artworks of that era evoke a sense of history and heroism that is profoundly captivating.

What projects are you currently working on, and can you give us an insight as to any upcoming auctions and events that will be taking place at Christie’s?

Going into 2025, we have a number of exciting sales and projects we are working on which will keep me busy throughout the year. In London, we kick off 2025 with the sale of Jeff Beck's guitars on 22nd January, a wonderful opportunity for connoisseurs of this icon to acquire one of his legendary pieces. This will be followed by the eclectic personal collection of Barry Humphries (you may know him as Dame Edna Everage), which I am thrilled to be one of the auctioneers for.

By Tamara Bell

Despite not having an art background or initial interest before joining Christie’s, I have one of the best jobs in the world. The diverse and rich art I encounter daily continually inspires and amazes me.

Ono Yoko

My Mommy Was Beautifulexploring the female form

Yoko Ono is an artist who has experimented with and mastered multiple mediums, from traditional art to using movement and music to make a name for herself throughout her career as a performance artist.

Ono has extensively explored themes of identity, social justice, and overall raw human experience. One piece in particular that was both thoughtprovoking and controversial was My Mommy Was Beautiful. This piece displays abstract depictions of the female form and highlights its many layers of controversy that surround women, depicting breasts and female genitalia. This artwork rapidly gained notoriety for its bold and striking elements. Ono’s intention was to dive into the impact the female form has on a child’s early experiences of the world around them.

The piece MyMommyWasBeautiful highlights key points of Yoko Ono’s overall philosophies surrounding her work, as she challenges societal norms and perceptions. This series of large banners and its suggestive imagery has been interpreted as rather explicit and inappropriate as well as eliciting other strong reactions. However, Ono’s aim with this piece was not sexual in nature, but rather to show the innocent, natural and essential functions of the human form. Ono explained the inspiration behind the project was to emphasise and draw attention to the female form and how it plays an essential role in a child’s early life, not only for their sheer survival but also as a source of comfort, nurture and familiarity. Therefore, her work seeks

to foreground the idea that a child’s earliest associations, memories and connections are tied to their mother’s body, often in ways that are extremely emotional.

Ono has spoken openly about how this piece addresses the experience of the child and how that experience changes and is vastly different for adults. The simple act of presenting the female body so openly and abstractly on a canvas so large and public directly argues against the sexualisation and objectification women often face. By depicting the body in this nature, the artist highlights the deep connection between mother and child. Indeed, the reaction to the project was mixed. The image of breasts and female genitalia sparked widespread shock and discomfort, as some viewers held the opinion that they were both offensive and inappropriate, especially in public areas where provocative imagery is usually censored. Despite this, others held the opinion that the artistic display was instead powerful and

a necessary intervention in a world where the female form is often reduced to objectification for the male gaze. Furthermore, the level of controversy surrounding the project speaks to a much larger societal tension regarding the representation of the female form. Historically, women have been sexualised and demonised for their body. Yoko Ono took on the challenge in an attempt to reclaim the body as a symbol of motherhood, creation and a source of nourishment. By focusing on the bond between mother and child, she invites viewers to open up their perceptions of the body to confront these longstanding internalised thoughts and pressures.

One of the more notable aspects surrounding the response to the artwork was the discourse between those who saw the work as a feminist victory and those who disregarded it as inappropriate. The visceral nature of the work, particularly considering its public display, made it difficult for some to allow themselves to connect

By focusing on the bond between mother and child, she invites viewers to open up their perceptions of the body to confront these longstanding internalised thoughts and pressures.

with the work. Instead, they found themselves solely focusing on the artwork’s controversy. This brought to light how there still exists an underlying discomfort surrounding the female body in its raw and natural state, despite social progression throughout history. Yoko Ono has indeed dedicated her career to addressing identity, gender and nature in both radical and intimate ways.

For Ono, breasts and female genitalia are not something that necessarily need to be commodified or objectified. Instead, they hold the ability to symbolise life’s possibilities and creativity. Her art allows people to question their immediate reactions to such blatant imagery and think deeply about connection, love and our natural physical state as human beings. Further to this, Ono aims to draw attention to the role a mother’s body plays in shaping a child’s emotional and psychological development.

The controversy in response to My Mommy Was Beautiful continues to highlight debates about gender in art. The discomfort felt by so many of the viewers highlights how we are programmed to sexualise female body parts even when that is not the intended purpose. In contrast to how the male form has always been portrayed in art and media as something heroic and devoid of controversy and criticism, Ono’s work solidifies that regardless of the societal progress made, we still have a long way to go in terms of breaking through taboo topics regarding women.

By Kassidy Spight

For Ono, breasts and female genitalia are not something that necessarily need to be commodified or objectified. Instead, they hold the ability to symbolise life’s possibilities and creativity.

YOKO ONO in front of her artwork MyMommywas Beautiful as part of Liverpool's Biennial International exhibition

BALLOON GIRL

Mr Brainwash

or artist? Vandal

Graffiti has existed for as long as mankind has been able to make marks on surfaces. There’s evidence throughout time, across all cultures and on every continent that we as a creative beings have always enjoyed leaving our art out in the wild for others to see.

Regardless of the rich history there's still the opinion that graffiti is just a rebellious mess left behind by vandals and to some degree that's true but there’s also a rich culture and history to graffiti.

In Sulawesi Indonesia there's evidence that early man enjoyed leaving engravings on walls around 43,000 years ago, with Neanderthals doing something similar 20,000 years before that! Ancient Egyptians left hieroglyphic graffiti carved into tombs and monuments, Romans would write about their favourite gladiators, sexual preferences and sometimes make political statements. Often insulting opposing religious beliefs, which would

swiftly be removed from public spaces. There are examples of lost Arabic languages that are only remembered thanks to graffiti etched into ancient ruins. Some eras even saw popularity in political graffiti due to the main populace spreading the views of some "edgy" artists and using them to help in their rebellion against the powers that be.

Graffiti became less popular in the Middle Ages as religions exploded further across the globe and into different cultures. Regardless, there are still examples to be found in certain holy places and later there were even some Renaissance artists that would spend their time marking surfaces that they shouldn’t have just to practice their art: Michelangelo painted his name in the ruins of Nero's Domus Aurea probably thinking that no one would ever see it.

Moving forward in time James J Kilroy, a shipyard inspector during WW2, would write "Kilroy was here" on sections of ships he had cleared. Unknowingly becoming a champion for graffiti artists that like to leave their mark in hard-to-reach places (and children that like drawing on their school books). In the 60's graffiti was adopted by gangs in New York and Philadelphia, used to mark territory as well as individuals that enjoyed going where they shouldn’t and leaving their art in more and more difficult to get to places. Eventually subways and trains became common place for

LONDON, UK. The entrance to the colourful Leake Street Arches, a tunnel in Lambeth, London where graffiti is legal.

"tagging" which in its simplistic form is using a marker or spray paint to write your "tag".

As Hip-Hop culture exploded in the 70s so too did graffiti, the two arts seemed destined for each other. Teenagers that used to sneak around in the dark were suddenly able to publicly create their art for DJs and rappers. As the music grew in popularity so too did the graffiti art scene and fans started to want to buy pieces or have commissions done. Once graffiti was being put up for auction in galleries that was that: a new art form was fully born and many saw graffiti as much more than just a mess of scribbles in the hood.

Modern graffiti is a strange creature as there’s now two distinct schools. There's the street life side, which is still very linked with rebellion and marking territory. If anything in certain areas it has become even more guerrilla as a direct response to the mainstream side that has grown since the 90s. Modern graffiti artists or street artists have become a large

part of the contemporary art scene and as such are now popular household names and a must-have for collectors. Some guerrilla artists dislike the more mainstream artists as they feel they have sold out on their roots and don't deserve the accolades, whereas the now wellknown artists feel as though they’ve brought an under-appreciated and sometimes misunderstood art into the light and opened up a whole world of opportunity.

We’ll never be able to stop people scratching, marking and painting our surroundings. It seems that graffiti is a natural part of human culture. What we can do though is appreciate the desperate need to create and be recognised. Next time you’re out and about and you see paint scrawled on a wall take a second to try and see the artist, not the vandal. They’re most likely a desperate creative and in the right circumstances could be the next big contemporary artist that makes their mark in history.

By Ian Law

We’ll never be able to stop people scratching, marking and painting our surroundings. It seems that graffiti is a natural part of human culture.

The shape of beauty.

Ferrari invite you to discover the Ferrari Roma Spider. A timelessly elegant high-performance car, encapsulating a contemporary take on the chic, pleasure-seeking Italian lifestyle of the 1950s and 60s.

Contact your Official Ferrari Dealer to discover more.

Fuel economy and CO2 results for the Ferrari Roma Spider in mpg (l/100km) combined: 14.7 (19.2) – 29.7 (9.5). CO2 emissions: 437 –217 g/km. Figures shown are for comparability purposes; only compare fuel consumption and CO2 figures with other cars tested to the same technical procedures. These figures may not reflect real life driving results, which will depend upon a number of factors including the accessories fitted (post-registration), variations in weather, driving styles and vehicle load.

attack Art

From religious iconoclasms to climate protests, the vandalism of art is something that has continued to reoccur throughout the ages. Typically stemming from political or religious motives, an endless stream of crimes against art have been recorded, with one of the most prominent having taken place more recently in 2022.

During Frieze week at the London National Gallery of Art, two climate activists who had previously held a series of protests in which they glued their hands to the frames of famous artworks in Germany, decided to attack Vincent van Gogh’s Sunflowers (1888). In an attempt to turn governing heads towards the ecological disaster in the world, they plunged a can of tomato soup at the painting whilst wearing t-shirts with the words “Just Stop Oil”. Sheer luck saved the artwork which was protected by a glass barrier and remained undamaged, although public dismay was rife. The activists also decided to attack Rokeby Venus (1647) by Diego Velázquez the following year with hammers. They referenced a previous attack on the same painting in 1914 in which Mary Richardson struck the canvas various times with a meat cleaver, leading to its removal. In a discovery of various notorious art attacks to have taken place, we delve a little further into the world of creative vandalism.

JustStop Oil

My Bed by Tracey Emin (1998)

Tracey Emin’s My Bed installation gained international acclaim for its provocative and audacious connotations. Installing her bed at the Tate Gallery in the same state that she left it after struggling with depression, the artist was nominated for the Turner Prize. During its time on display, two Chinese artists decided to use Emin’s work to create their own performance piece in which they jumped on the bed and engaged in a pillow fight for fifteen minutes. Security stopped the two men before one of them had the chance to put on Emin’s underwear which was part of the installation, and titled the work Two Naked Men Jump onTracey’sBed

Danaë by Rembrandt (1636)

Hailed as Rembrandt’s masterpiece for its youthfulness and sensuous delight, a deviant visitor to Russia’s State Hermitage Museum proceeded to slash Danaë’s stomach with a sharp knife, and then throw sulphuric acid on to her which ate away at the canvas. The artwork underwent a painstaking twelve-month period of restoration before being exhibited again.

Fountain by Marcel Duchamp (1917)

Duchamp’s Dadaist tongue-in-cheek artwork that rose to fame after its creation is heralded for its anarchic sensibility. The artist Pierre Pinoncelli decided to utilise the urinal for its intended purpose in a public space during its exhibition in Nîmes, France in 1993. Once used, Pinoncelli proceeded to strike the Fountain with a hammer and spent one month in jail after being fined. Upon his release, he attended its next exhibition at the Pompidou Centre in Paris where he chipped the sculpture yet again, leading to its restoration thereafter.

The Night Watch by Rembrandt (1642)

Emblematic of the Dutch Golden Age, Rembrandt’s The Night Watch was thankfully kept in outstanding condition to outlive its murderous attack. The canvas was targeted in 1972 with a bread knife by a man claiming that the Lord had sent him to carry out the deed. As the security guards arrested the attacker, he successfully cut a foot-long piece from the painting. While The Night Watch remained unscathed thereafter, in 1990 it was targeted yet again with an unknown chemical.

Mona Lisa by Leonardo da Vinci (1503)

The past 110 years have seen numerous attempts at vandalising the famous Mona Lisa . These have included being hit with a teacup, stolen, sliced and caked. The most infamous however, was the attack by a Japanese woman who visited the Mona Lisa during its tour to the National Museum of Tokyo, and who attempted to spray paint the artwork in protest of crowd control. Following a trial, she was made to pay 300,000 yen for her outburst.

The Madonna della Pietà by Michelangelo (1498)

Resulting in deportation to Austria and placed in an asylum, an unemployed geologist proceeded to hammer the Madonna twelve times. Her nose was knocked off and her head covering was dented. This led to a ten-month restoration period where conservators were thankful that the attacker’s angle gave way to the Madonna’s head remaining intact. Exhibited behind bullet-proof glass thereafter, the attacker was deemed socially dangerous by the Roman court. By Tamara Bell

the end

Van Gogh & Post-Impressionism Vincent

Dutch Post-Impressionist painter Vincent Willem Van Gogh, is truly among the most influential figures in history. His ground-breaking canvases pushed art in fertile new directions after the age of Impressionism, pioneered by those such as Degas, Renoir and Monet.

While this pivotal movement in the history of art was characterised by a subjective depiction of the natural world in its experimental usage of colour and texture, the PostImpressionist movement rejected this previous emphasis on capturing momentary perceptions in time.

Van Gogh’s expressive experimentation with paint reflected his overwrought disposition in an exaggerated swing of unease and religious euphoria. The artist’s most prominent works were consecrated in the last few years before his untimely death and are notorious for their swirling brushstrokes, bright colour tones, and transcendent candour. Having created approximately 2,100 artworks during his lifetime, Van Gogh’s oeuvre mainly consisted of landscapes, portraits, self-portraits and still-lifes.

Born into an upper-middle class family, Van Gogh showed signs of mental instability during his childhood. Characterised as a “serious, quiet and thoughtful” individual, he began to descend into solitude and depression throughout the years, as is reflected in his portfolio of works during the course of his life. With his life and art

capturing the attention of the world as an emblem of misconstrued genius, the romanticised ideal of the tortured artist is forever encapsulated in his memory.

With the letters of Van Gogh being the most comprehensive primary source of evidence for his life events, the artist regularly communicated with his best friend and brother Theo over the duration of his life. Van Gogh recorded his thoughts, experiences and theories of art between 1872 to 1890 in an expressive and intimate autobiographical journey which came to light in 1914. His eloquent and candid letters have given the world an insight as to his human experience and thorough understanding of his fragile mind.

Prior to his artistic breakthrough, Van Gogh’s tumultuous life story was heavily shaped by his experience in Paris, and fragmented friendships with fellow artists such as Paul Gaugin. Befriending each other in 1887, the pair shared a two-storey abode, later to become immortalised in Van Gogh’s The Yellow House painting. Despite living in a utopian paradise, both artists were on diverging artistic pathways, thus culminating in a turbulent end to their friendship. Seeking to steer away from the pastel-hued scenes of Parisian life, Gaugin embarked on a nomadic venture to Panama while Van Gogh suffered from “acute mania and generalised delirium”.

"I put my heart and soul into my work, and I have lost my mind in the process."

"I don't know anything with certainty, but seeing the stars makes me dream."

Attending the Saint-Paul-de-Mausole asylum in 1889, Van Gogh produced some of his most ground-breaking artworks. These include his famous Cypresses , Lilac and The Starry Night . With The Starry Night being the only nocturne painting in his series during the time, Van Gogh’s pictorial elements contained much creative freedom. Gaining inspiration from his bedroom window in the asylum, his Post-Impressionist interpretation of the view from such a vantage point has been deemed inaccurate, with the moon and stars being rendered from memory. Encountering endless difficulties to continue painting due to the stringent rules of the asylum, Van Gogh ensured to at least have access to limited mediums with which to express himself. From pencils and charcoal on paper, and a series of drawings and etchings, the artist’s drive to create and express himself was pivotal in his mental health journey.

Stating that “hope is in the stars” upon the creation of The Starry Night , the painting has been deemed as one of Van Gogh’s final and most iconic visionary creations with a “religious inclined longing for the beyond”. Engulfed in thick flowing ripples of Indian and zinc yellow with ultramarine and cobalt blue, Van Gogh spent his life striving to be a painter of nature and rural life. Indeed, his memory and legendary distinction in the world continues to move and inspire the hearts and minds of all.

By Tamara Bell

"Normality is a paved road: It's comfortable to walk, but no flowers grow on it." the end

& Rivera Kahlo

It is a commonplace tragedy that so many revolutionary artists only receive the full attention they deserve posthumously. Frida Kahlo is no exception to this pattern. Interest in her art and life has expanded considerably since the 1980s, elevating her to the canon of great twentieth century artists.

She has attained the status of a symbol of resistance, challenging social norms and defying contemporary expectations of womanhood, becoming an icon for the feminist and queer movements. Part of this complexity and depth is reflected in the dualisms that characterised her life: the tension between the ‘modern’, European and Christian, and ‘traditional’, Mexican and Aztec.

This dualism was echoed in her major romantic relationship. During her lifetime, she was dwarfed (literally and figuratively) by her long-time partner Diego Rivera, a significant artist in the Mexican mural movement who had attracted international patronage and attention since his childhood. Kahlo’s parents described them as ‘the elephant and the dove’, caricaturing the almost comical physical disparity between them. Their love (if not their first marriage) would survive mutual infidelities, ill health, and political upheaval.

Born and raised in Coyoacán on the outskirts of Mexico City amidst the turmoil of the Mexican Revolution to a German father and a mestizo mother, Kahlo’s youth was riddled with health issues that impacted her across her life. She contracted polio at age six, and her involvement in a bus accident in her teens left her with permanent damage to her body, a theme she explored extensively in her work. It was during her recovery from this accident that she began painting, having already made the acquaintance of Rivera, twenty years her senior, while he was completing a mural at her school in 1922. They were re-introduced via their involvement in the Mexican Communist Party in 1928 and were married the following year, when she became his third wife.

Their early years together were characterised by travel. A sojourn in the city of Cuernavaca, where Rivera was commissioned to paint a mural, was the catalyst for her expanded engagement with indigenous culture, which she affirmed by depicting herself wearing traditional dress in her 1931 painting Frida and Diego Rivera . She is shown wearing an orange rebozo , a Mexican shawl, and gripping it with one hand. Perhaps, in

addition to acting as a symbol for her allegiance to Mexico, it was intended as a shield against the mechanistic American spirit of capital she was both fascinated and disgusted by. Produced while the couple were in San Francisco, the painting provides a fascinating insight into their relationship. Rivera physically dominates the image, his imposing frame and dispassionate stare conveying a sense of control. By contrast, Kahlo depicts herself leaning into him, head tilted quizzically, as if her being is incomprehensible without him. Who is dependent on whom is up for interpretation: while Kahlo conveys a sense of dependency through her body language, Rivera’s disdainful, stiff posture almost emulates that of a petulant child begrudgingly being photographed. Kahlo and Rivera’s hands are touching, but not entwined, eliciting a feeling of cool formality that is ironic when viewed in the context of their conflictual and impassioned relationship.

Kahlo portrays herself with much more vulnerability and frankness in Henry Ford Hospital (1932), in which she lies naked and bloodied on a bed following a miscarriage. Her bodily frailties here are made manifest in contrast to portrayals of Rivera’s robustness: although riven by debilitating bodily weaknesses across her life, in this instance he is (at least indirectly) partly responsible for her pain, made more excruciating by her self-expressed desire for motherhood. The bleak, industrial cityscape behind her illustrates an isolation from Mexico, heightening the effect of her suspended alienation in the foreground. The couple returned

to Mexico City in 1933, a homecoming that dissatisfied Rivera and helped precipitate their short separation later that decade.

Theirs was not a conventional marriage, with both having several extramarital affairs: between 1934 and 1940 Kahlo’s romantic partners included Leon Trotsky and Georgia O’Keeffe, and Rivera’s included Kahlo’s younger sister, Cristina. They divorced in 1939, ostensibly because of these multiple indiscretions, but were reconciled and remarried only a year later in 1940. During this brief interlude, she began painting Self Portrait as a Tehuana , which was completed in 1943. It depicts Kahlo clad in a traditional Tehuana costume, her face unblemished by the fractured canvas around it, a symbolic manifestation of the incredibly difficult circumstances she faced: by 1944, her deteriorating health meant that she was required to wear at least eight corsets at a time to support her damaged spine. At the eye of the storm, located between her eyebrows, is Rivera, acting almost as a ‘third eye’, a motif in Mexican folklore that identifies him as a constituent part of her being. His presence accounts for the painting’s alternate name: Diego onMyMind

There is far more to Kahlo than her relationships, and it would be unforgivably reductionist to solely view her work through this lens. They are, however, part of the colour of her life. Her bisexuality has given her significance as a queer icon, and her tumultuous relationship with Rivera deeply affected her work. Her love for him endured until her death: they attended a protest together against the American-backed coup in Guatemala ten days before her untimely death in July 1954, a testament to their shared political vision. The enduring significance of him on her is encapsulated in a 1951 diary entry, in which she described him as miamorde miles de años , her ‘love of thousands of years’. Indeed, his influence on her work will ensure that their storied relationship will persist alongside her own legend, a crucial component for fully appreciating her undying genius.

By Francis Devincenzi

& his lovers Picasso

Pablo Picasso’s long and storied love life needs little introduction. A cursory glance at the artist’s romantic liaisons reveals a revolving door of women, serving as muses and figures of lust, frustration, and idealism. He had two wives and six mistresses of note, in addition to countless lovers, each of whom left an indelible imprint on his art in some form or other.

His long-term fascination with the female form reflects this amorous obsession, though there is little doubt his womanising derived as much from creative necessity as a voracious sexual appetite and a deeper misogyny emblematised by his notorious assertion that ‘there are only two types of women: goddesses and doormats’.

Critics have remarked on the fact that a new woman in his life often signalled a change both in his art and lifestyle, closely intertwined as they are. The transition from his ‘Blue Period’ (1901-1904), which deployed saturated blues and conveyed a melancholic mood, to his ‘Rose Period’ (1905-1906), which employed a much warmer, vivacious palette, coincided with his relationship with French artist and model Fernande Olivier. Olivier, who is described by writer Alexandra Schwartz as Picasso’s ‘first great love’, was the basis for one of the prostitutes depicted in his 1907 Les Demoisellesd’Avignon , as well as some of his early Cubist work, including the bronze sculpture Head of a Woman (Fernande). Amidst increasing artistic recognition and success, the couple separated in 1912. The tempestuous, affair-afflicted nature of their time together came to characterise many of Picasso’s subsequent relationships.

It was in 1917, while Picasso was working on the decorations and costumes of the radical ballet Parade in Rome, that he met the RussianUkrainian dancer Olga Khokhlova, who would become his first wife. After marrying in 1918 in Paris, the two became a notable couple in the bustling Parisian cultural and artistic scene, becoming synonymous with the contemporary avant-garde. Their relationship heralded Picasso’s flirtation with Neoclassicism, including a 1918 portrait of his wife Portrait d’Olga dans un fauteuil in the style of Ingres. The portrait is characterised by an indeterminate background, with Olga seated leisurely in an armchair, her contemplative gaze conveying a sense of contentedness. Her flawless marble skin is juxtaposed against the blacks of her dress and armchair, with the few floral patterns suffusing the

portrait with warmth in an otherwise austere but striking portrait. The birth of their first child, Paulo, in 1921 engendered a softening of his portrayal of familial subjects. His Mother and Child , painted the same year, depicts an infant in their mother’s lap. Although using more muted greys and whites, there is an obvious tenderness in the composition of the painting.

This was, unfortunately, a temporary tenderness. Growing bored of domesticity and fatherhood, his paintings of Olga adopted an entirely different form by the late 1920s. His 1929 Le Grand nu au fauteuil rouge , now in Surrealist style, is imbued with a violent, angry aura. The nude female figure splayed amidst the red armchair has monstrous proportions, with her head thrown back and mouth agape in an almost predatory fashion. By this point, his relationship with Olga had already disintegrated considerably: he had begun an affair with 17-year-old MarieThérèse Walter two years prior in 1927. As the apocryphal retelling goes, Olga realised his infidelity when confronted with portraits of a blonde woman, including his 1932 work Le Rêve , during one of his exhibitions. The sensuality and libidinousness of this painting are in stark contrast to the distorted, unflattering portrayals of his wife. The birth of Picasso’s daughter, Maya, with Walter in 1935 was the death knell for

his marriage: he and Olga separated the same year, remaining married until her death in 1955.

Only several months after the birth of his daughter, he began a relationship with the artist Dora Maar, who had a major influence on arguably his most renowned painting, Guernica Painted in 1937, it depicts the infamous bombing of the town of Guernica during the Spanish Civil War. Maar, who was herself an active anti-fascist, encouraged his experimentation with political protest. Critics and scholars generally concur that the black-andwhite composition of the painting derives from Maar’s own photographic work: John Richardson argues it gives the painting ‘the immediacy of a photograph’. This shared bond in the pursuit of politics and art was only one dimension of their relationship, which can broadly be characterised as tormented. His 1937 Cubist painting La Femme qui pleure , ‘The Weeping Woman’, was at least partly inspired by their anguished relationship, during which Picasso physically abused her. They parted for the last time in 1946.

Picasso married for the second and final time in 1961, to Jacqueline Roque. They remained married, and together, until his death in 1971: he created over four hundred portraits of her during their time together. A conundrum that will forever confront admirers of Picasso is the seeming centrality of his unscrupulous treatment of women for large swathes of his creative life. Two lovers, Marie-Thérèse Walter and Jacqueline Roque, and a grandson, Pablito, committed suicide. It is a sobering reflection on the price of artistic genius that in his wake so much anguish and destruction was wrought, so many women relentlessly consumed and tossed aside as the price of creative inspiration. Nonetheless, without these experiences (confected or genuine), it is doubtful whether he would occupy the masterful status he does today.

By Francis Devincenzi

There are only two types of women: goddesses and doormats.

LES DEMOISELLES D'AVIGNON Picasso

Kays Hayden

Hayden Kays

After visiting every Moco Museum in the world, the work of Hayden Kays instantly stood out and left an indelible mark on me from the moment I stepped foot inside the gallery. The subversive nature of his typewritten large scale bold coloured canvases certainly do not go unnoticed!

Finding out more about Hayden’s journey, professional work and creative mind has been an absolute delight. His witty sense of humour infuses his professional repertoire as much as they do my interview questions! Delving into Hayden’s stand-out pieces, interests and experiences has been such an enjoyable Q&A to conduct…

Tell us a little bit about yourself and the work that you do.

My name is Hayden Kays. I'm an artist born in Westminster, London, on 3rd October 1985. I'd like to think my work is eclectic, often borrowing tactics from advertising in terms of design and layout. Wordplay is a recurring theme, and humour is prevalent throughout my art. I believe too much art carries an unnecessary solemnity. Humour, to me, is the ideal tool for observing the most serious subjects we experience as humans.

Tell us a bit about your professional journey and how your work initially began to gain such recognition.

I've been making art my entire life. I started selling my work while at art school and quickly realised that to pursue art full-time, I needed to make it financially viable. Over the years, my work has been acquired by many highprofile collectors, which has, in turn, directed media attention my way. This exposure has led to further sales and allowed me to continue working as an artist. It’s a wonderful model!

When did you first develop an interest in art, and what message do you seek to convey to the viewer with your artwork?

My dad took me to the original Saatchi Gallery when I was six years old. I saw Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living . It blew my tiny mind. I instantly thought, "If THIS is what art is, I want to be part of this party."

I recently visited your exhibitions at the Moco Museums in Barcelona and London, and fell in love with your largescale piece that reads: “If you think sexuality is a choice, how do you explain the fact that women still like men”.

What did the process entail in creating this artwork, what inspired this particular piece, and what message are you trying to convey with this amazingly blatant statement?

That work actually started life as an A4 typewriter piece. Initially, I never intended to make it a large painting (300 x 300 cm). However, Kim Logchies Prins, the founder of Moco Museum, messaged me, expressing her love for the sentiment of the original and suggesting it be transformed into a painting. It was a masterstroke on her part, as it has proven to be incredibly popular. I love the journey of this piece: from a tiny Instagram post to a large-scale painting, and then back to Instagram as visitors photograph themselves in front of it. The original quote highlights the absurdity of certain beliefs around sexuality.

Are there any specific time periods or movements within the history of art that you’re particularly interested in?

I particularly loved witnessing the rise of the Young British Artists (YBAs) while growing up. It was an exciting time. I’m also deeply inspired by the Pop Art era. My work is essentially an amalgamation of the two.

Do you have any favourite artists?

Steven Spielberg is one of the greatest image-makers alive. Damien Hirst has created some brilliant works, and David Hockney is simply sublime. Andy Warhol changed the game forever. Early Banksy works were incredibly exciting to me. I’ve always admired Yayoi Kusama’s aesthetic. Honestly, the list is endless. I’ve said before that I’m basically just a massive fan of art — so much so that I had to make art myself.

What are some of your favourite and most memorable artworks that you’ve created?

Recently, I’ve enjoyed seeing my spin on the Tesco logo, Tories - Very Little Help, take on a life of its own. Watching striking nurses I support waving homemade versions of this work while picketing was an amazing moment for me.

From painting, sculpture to printmaking, which would you say is your favourite medium to work with and why?

I love the speed of screen printing. I’m fairly impatient; once I’ve had an idea, I want to touch and hold it as soon as physically possible. However, I enjoy experimenting with different techniques and materials. There’s nothing I wouldn’t try.

What challenges have you encountered throughout your career as an artist?

I’ve always said being a successful artist is easy; it’s only the first 150 years that are tricky.

Can you give us an insight as to any future projects that you have in mind or are currently working on?

I’m hoping to release another book — it’s been ten years since my first, so it feels like the right time. I’m also taking part in The Big Egg Hunt, which will be on the streets of London in April. The best way to stay updated is through my Instagram: @haydenkays

By Tamara Bell

COLD TURKEY 2011 Hayden Kays

art fair Marbella

Excited to present its portfolio of artists at the Anantara Villa Padierna Palace Benahavís Marbella Resort, the Marbella art fair hosted by the Art space gallery brings its cultural talent to the Costa del Sol for a limited time. Indeed, this picturesque coastal city is not only renowned for its stunning beaches and luxury resorts, but also serves as an idyllic place to showcase the work of local and international artists.

Art Fair dates: Friday 1st - Sunday 3rd August 2025

Boasting rich cultural heritage that blends traditional Andalusian influences with contemporary artistic expressions, Marbella attracts numerous art enthusiasts from around the world to celebrate creativity and artistic innovation. From its charming streets situated in the Old Town centre peppered with sculptures and murals, to festivals and public art installations, Marbella offers a dynamic landscape for art lovers to explore and appreciate.

Carefully curated by our expert team, the space brings together a series of artworks which take into consideration its context, theme, and audience. Through curation we can engage viewers by conveying stories and evoking emotions. It involves filtering through vast amounts of information to highlight the most relevant, valuable, or interesting pieces for a specific audience.

Curating a space, involving intentionally arranging and organising elements within a physical environment, requires careful consideration of layout, design, lighting, décor, and objects to create a cohesive and aesthetically pleasing

setting that resonates with its intended purpose of theme. This is essential for creating environments that reflect our personalities, values, and aspirations. A well-curated space can inspire creativity. By carefully selecting and arranging elements within a space, we can cultivate a sense of comfort, harmony, and authenticity that enhances our daily lives. As well as enjoying an aesthetically pleasing environment, curating a space artistically can have a profound impact, on an emotional, mental and psychological level, as one enjoys a stimulating and culturally enriching experience that serves as a sanctuary for inspiration and rejuvenation.

Aiming to foster the cultural climate in Andalucía, Art Space is delighted to present this carefully curated artistic space for all to enjoy.

Marbella offers a dynamic landscape for art lovers to explore and appreciate.

our Marbella Art Fair

Anantara Villa Padierna Palace Benahavís Marbella Resort

Mark Chagall

One of the most inventive and significant artists of the 20th century, Marc Chagall (1887–1985) combined aspects of European modernism, Eastern European Jewish culture, and a profoundly personal, almost mystical worldview.

Chagall is well-known for his surreal landscapes, quirky characters, and brilliant use of colour. His creations went beyond the conventions of conventional art. His tapestries, paintings, and stained glass are replete with symbolic imagery that frequently reflects themes of spirituality, love, and exile. From his early years in the Russian hamlet of Vitebsk to his later years in Paris and the United States, Chagall's artwork transports spectators to a realm where fantasy and reality coexist and the spiritual is interwoven with daily existence.

Known for its bold use of colour and dynamic composition, Marc Chagall's America Windows (1977) is a striking series of stained-glass windows made for the Art Institute of Chicago. Commissioned to commemorate the bicentennial of the United States, the windows capture Chagall's interpretation of American ideals like freedom, democracy, and the pursuit of happiness. The vibrant, abstracted imagery includes American cultural symbols like the Statue of Liberty, the American flag, and scenes of joyous celebration. The America Windows are a powerful visual tribute to the nation's values.

Another iconic work created by the artist is The Birthday (1915). This is a playful and personal depiction of love that captures Chagall’s joyful celebration with his wife, Bella. Chagall and Bella are suspended in mid-air in this surreal, floating composition, which is encircled by vivid colours and mystical motifs. A sense of fantasy and emotional intensity are produced by the warped perspective, which shows objects and humans floating weightlessly. Regarded as one of Chagall's most cherished and aesthetically striking pieces, it captures his intense love for Bella and his skill at fusing intimate moments with the poetic and the surreal.

semiotic components were regarded as revolutionary. Its frantic, fantastical style is attributed to Chagall's childhood memories, which, according to researcher H. W. Janson, became a "cubist fairy tale” that was altered by his imagination, disregarding size, colour, and even gravity.

His artworks present an almost childlike nostalgia as one steps into Chagall’s world of dreams and youthful innocence.

Chagall’s interest in Surrealism and whimsical dreamlike scenes is also prevalent in his previous work titled I and the Village (1911). Here the artist depicts a Cubist visual of a vibrant and surreal environment. The painting is significant because it skilfully incorporates aspects of Yiddish and Belarusian folklore and Eastern European culture. At the time, its boldly whimsical design and well-defined

Chagall was one of the most unique artists of the 20th century because of his ability to combine imagination and reality as well as his creative use of colour and form. His artworks present an almost childlike nostalgia as one steps into Chagall’s world of dreams and youthful innocence, fusing together contemporary elements with joyous emotion. Indeed, Chagall left behind a lasting legacy through his significant impact on contemporary art, especially in the fields of painting, stained glass, and tapestry, where his timeless beauty, spiritual concerns, and emotional depth continue to inspire.

By Ben Lemmon

I AND THE VILLAGE

Mark Chagall

Paradox of a clown 1, 2 and 3

Rosanne Victor

Koons Jeff

BALLOON DOG

Jeff Koons

Jeff Koons is a trailblazing modern artist whose work creates a startling fusion of luxury and kitsch by fusing high art with popular culture. Koons is well-known for his enormous sculptures that frequently mimic commonplace items like balloons, flowers, and inflated toys. He transforms the ordinary into imposing, elegant shapes.

His works are characterised by their vivid colours and glossy, reflecting surfaces, which provide them with a lively and approachable feel. Koons' work, which is frequently referred to as postmodern, questions conventional lines that separate high art from mass manufacturing and raises issues of consumerism, beauty, and value, much like the artists whose work gained notoriety during the rise of Pop Art.

One of Jeff Koons' most famous and well-known series of work is the Balloon Dogs , which consists of enormous sculptures of balloon animals made of stainless steel with mirror-like surfaces in vivid colours. The sculptures are based on the whimsical forms of balloon animals that are frequently seen at celebrations and parties, but Koons makes them enormous, transforming them into representations of happiness, purity, and the artificiality of commercial culture. A simple, transient object is transformed into a timeless work of art by the careful craftsmanship and

reflective surfaces, which inspire awe and mirrored viewer interaction. Koons invites viewers to re-evaluate the worth and significance of commonplace items by fusing high art and popular culture in his Balloon Dogs.

Pop star Michael Jackson and his pet chimpanzee named Bubbles, are shown in Jeff Koons' eye-catching porcelain sculpture Michael Jackson and Bubbles (1988) in a bizarre, almost reverential, intimate stance. The artwork transforms a fun moment of camaraderie into a polished, largerthan-life piece, reflecting Koons' preoccupation with celebrity culture and its relationship with art. While the piece's blend of pop culture references and high art materials challenge conventional ideas of both its shiny smooth surfaces and vivid colours, this gives it an impression of kitsch and artificiality. Koons makes a daring statement about the nature of contemporary celebrity worship with this sculpture, which examines issues of fame, innocence, and celebrity idolisation.

As one of the most significant and contentious artists of the modern era, Jeff Koons has solidified his position. His daring, life-size sculptures and avant-garde artistic style subvert accepted notions of commercialisation, value, and taste. Koons has pushed the limits of what constitutes great art by fusing kitsch and high art, making it more approachable while also criticising the commercialisation of culture. Discussions concerning originality and craftsmanship have been sparked by his use of mass-production techniques and cooperation with talented fabricators, which have altered the position of the artist in the creative process. Modern art is still influenced by Koons' work, which has drawn praise for his inventive technical skills as well as criticism for his overreliance on popular culture. His legacy is distinguished by his capacity to elicit reflection, question assumptions, and elevate the everyday into the realm of high art, making him a key figure in the evolution of contemporary art.

By Ben Lemmon

MICHAEL JACKSON AND BUBBLES

Jeff Koons

TAMARA DE LEMPICKA

Tamara de Lempicka, one of the most distinctive and celebrated artists of the 20th century, defined the glamour and sophistication of the Art Deco movement. Known for her striking portraits of aristocrats, celebrities, and socialites, de Lempicka’s works are a blend of modernity, sensuality, and timeless elegance. Her bold approach to art mirrored her equally bold life — a life filled with luxury, intrigue, and relentless ambition.

In this article, we’ll take a closer look at Tamara de Lempicka herself, her artistic style, and the cultural context that shaped her iconic body of work.

Born Maria Górska in Warsaw, Poland, in 1898, Tamara de Lempicka grew up in an affluent and cultured family. Her early years were marked by travel, a strong artistic influence from her grandmother, and exposure to the finer things in life. After her parents’ divorce, she moved to Saint Petersburg, where she lived among the Russian elite and married Tadeusz

Lempicki, a handsome lawyer from an aristocratic family.

The Russian Revolution of 1917, however, upended Tamara’s privileged life. Forced to flee to Paris with her husband, de Lempicka transformed adversity into opportunity. While her husband struggled to adapt, she enrolled at the Académie de la Grande Chaumière and studied under noted artists such as Maurice Denis and André Lhote. These formative years marked the beginning of her artistic reinvention.

De Lempicka’s determination to thrive in Paris led her to pursue painting not just as a passion but as a career. “I live life in the margins of society,” she once said, “and the rules of normal society don't apply to those who live on the fringe.”

Tamara de Lempicka’s style is at once recognisable: a fusion of Art Deco geometric elegance, Renaissanceinspired precision, and a modern sensuality that captured the spirit of the Roaring Twenties. Her work celebrated the contemporary woman — bold, independent, and unafraid of her sexuality.

Art Deco, with its clean lines, symmetry, and opulence, emerged in the early 20th century as a reflection of industrial progress and modern luxury. De Lempicka was one of the few painters to fully embrace and embody this aesthetic in her work. While many of her contemporaries were influenced by abstraction or surrealism, she stayed committed to figuration, portraying her subjects with an architectural clarity that echoed the era’s fascination with design and innovation.

De Lempicka’s portraits often depicted glamorous women with sharp features, striking gazes, and angular forms. She imbued her subjects with a sense of power and allure, blending realism with an almost metallic sheen. One of her most famous works, Autoportrait (Tamara in the Green Bugatti)(1929), epitomises this aesthetic. Commissioned by a German fashion magazine, the painting portrays de Lempicka herself as the epitome of chic modernity—a woman behind the wheel of a luxury car, wearing sleek leather gloves and a matching scarf.

Other iconic works, such as Young Lady with Gloves (1930) and The Musician (1929), highlight her mastery of texture, light, and composition. The smooth, polished surfaces of her paintings echo the industrial materials of the Art Deco era, such as chrome and glass, while the carefully modelled figures exude a timeless sensuality.

De Lempicka’s admiration for the Old Masters is clear in her attention to detail and use of chiaroscuro. Her time in Italy, where she studied Renaissance art, influenced her

treatment of form and her fascination with the human body. Yet, she reinterpreted these classical elements through a modern lens, combining them with Art Deco’s streamlined geometry and bold colour palette.

De Lempicka’s paintings are inseparable from her extraordinary life. She moved in elite social circles, mingling with writers, intellectuals, and nobility. Her bisexuality, unconventional relationships, and unapologetic ambition made her a figure of both fascination and scandal. Paris of the 1920s was a city alive with creativity and decadence, and de Lempicka embraced it fully. She became the portraitist of choice for the wealthy and influential, painting socialites, aristocrats, and celebrities. Her clients admired not only her artistic talent but also her magnetic personality and ability to elevate their status through her depictions.

Her personal life, however, was far from idyllic. Her marriage to Tadeusz disintegrated, and she later married Baron Raoul Kuffner, a wealthy art collector, which further cemented her position in elite society. Yet, even as she enjoyed wealth and success, de Lempicka’s work reflected an underlying tension—an awareness of the fleeting nature of beauty and the relentless march of time.

By the late 1930s, de Lempicka’s style began to fall out of Favour. The Art Deco movement waned, replaced by the abstract and minimalist trends of the mid-20th century. Her relocation to the United States with her second

husband marked a period of decline in her career. Although she continued to paint, her work during this time lacked the vitality and innovation of her earlier years.

It wasn’t until the 1970s that her work was rediscovered, thanks in part to the Art Deco revival. Collectors and critics began to recognise de Lempicka’s unique contribution to modern art. Celebrities like Madonna became ardent admirers, with the pop icon incorporating de Lempicka’s imagery into music videos and collecting her paintings. Today, her works command millions at auction and are celebrated in museums worldwide.

Tamara de Lempicka’s art endures as a testament to a specific moment in history — a time of glamour, liberation, and rapid change. Her portraits, with their blend of modernity and classicism, continue to captivate audiences, embodying the spirit of the Jazz Age while remaining relevant to contemporary conversations about identity, gender, and self-representation.

More than just an artist, de Lempicka was a symbol of empowerment, a woman who defied societal norms to create a life and career on her own terms. She once declared, “I was the first woman to paint cleanly, and that was the basis of my success.” Indeed, her clarity of vision, both in art and life, remains a beacon of inspiration for artists and admirers alike.

In an era that celebrated innovation and individuality, Tamara de Lempicka stood out as an icon — a painter whose boldness and brilliance continue to resonate. Whether through the confident gaze of her subjects or the shimmering elegance of her technique, de Lempicka’s work invites us to revel in the beauty of her world — a world where art and life are inextricably intertwined.

By Amber Williams

YOUNG LADY WITH GLOVES

Tamara de Lempicka

For the love of fashion

Fashion isn’t just about the clothing industry: it can be found in all warps of life from the architecture that surrounds us to the entertainment we choose but for now we’re going to concentrate on the clothing industry.

As a species we love to express ourselves in a large variety of ways but nothing is as instantly a form of selfexpression or social status than the clothes we choose to wear.

Over the centuries clothing has evolved from a necessity to protect us from the environment into a global fast fashion machine. There are times when societal norms and the overwhelming need to fit in has caused explosions in certain shapes, colours or materials and other times when these “norms” started to become stale and out of date. This is fashion. Popular trends in clothing and design that come and go depending on social and cultural trends of the time.

There are certain iconic fashions that since their conception have simply never gone away though: after WW1 a white T-shirt and jeans became an

odd mix of military undershirt and a sailors hardy leg wear that has stuck around and most likely will never go out of fashion.

Some fashion is based on music preference such as heavy metal and hip hop and as manga and animé are becoming more and more popular outside of Japan so is partial cosplay becoming part of everyday fashion. What suits some may not suit others but there’s always something to help an individual feel unique even when they’re wearing the same type of style as millions of others.

Designers have played a large role (if not the largest) in shaping fashion trends and how or if they come and go. Charles Frederick Worth is hailed as the “father of haute couture” after founding the House of Worth in the mid 19th century and receiving

attention from European royalty he exploded in popularity and started to create the foundation for what is now the fashion industry, using living models to advertise his designs. Madeline Cheruit is often called “the first lady of fashion” after having a label take her name in 1906 and being credited with introducing such fashion as afternoon dresses and walking suits.

Some designers are known for their style such as Spanish designer Agatha Ruiz de la Prada who has one of the most distinctive styles in the fashion world today. Known for her colourful heart designs she shows that fashion can be fun and carefree as well as comfortable. Beginning her career in the 1980s she has used the internet and marketing to expand from just Europe to the whole world and introduce them to her unique and whimsical designs not just in clothing but household and fun items.

It’s strange to think that one day thousands of years ago one of our ancestors skinned an animal or stripped some bark and strapped it to themselves, eventually leading to today’s global fashion industry.

Looking to the future modernday designers are concerned with sustainability and inclusivity as well as smart features such as shapeshifting and elements of interactivity. I’ll still be rocking a t-shirt and jeans, but they may be able to change colour or design at the press of a button.

By Ian Law

The decorative arts & Opulenceartistry

The decorative arts, an essential yet often overlooked facet of human creativity, are a testament to the enduring desire to marry functionality with beauty.

In Mesopotamia, artisans crafted beautifully glazed tiles that adorned temples and palaces, while Egyptian craftsmen created elaborate inlaid furniture and jewellery that celebrated their gods and rulers. Similarly, the decorative arts of China, such as porcelain and lacquerware, exemplified the delicate interplay between aesthetics and utility. The famed blue-and-white porcelain of the Ming dynasty remains one of the most iconic contributions to global decorative traditions.

During the medieval period, the decorative arts flourished within the context of religious devotion. Illuminated manuscripts, stained glass windows, and intricately woven tapestries became hallmarks of this era, blending artistic skill with spiritual significance.

The Renaissance brought a renewed focus on humanism and classical antiquity, ushering in an era of unparalleled innovation in the decorative arts. Italian majolica pottery, Flemish tapestries, and gilded furniture exemplified the period’s commitment to opulence and artistry. Renaissance patrons, from Medici princes to European monarchs, invested heavily in commissioning artisans to create works that reflected their power and taste.

The Baroque and Rococo periods of the 17th and 18th centuries elevated the decorative arts to new heights of extravagance. The Baroque style favoured dramatic contrasts, bold motifs, and gilded embellishments, as

seen in the furniture and interiors of Louis XIV’s Versailles. In contrast, the Rococo style leaned towards playful, asymmetrical designs, pastel hues, and whimsical themes, creating an atmosphere of intimacy and charm.

The 19th century saw the rise of industrialisation, which profoundly impacted the decorative arts. Mass production made decorative objects more accessible, but it also sparked a backlash among artists and designers who championed craftsmanship over machinery. The Arts and Crafts movement, led by figures like William Morris, sought to revive traditional techniques and emphasise the value of handwork in response to the perceived soullessness of industrial design.

The decorative arts serve as a reminder of the value of human creativity and connection.

The decorative arts encompass a vast array of materials and techniques, each with its own history and cultural significance. Below, we delve into some of the most prominent mediums and methods that have defined this artistic realm.

From ancient clay pots to contemporary porcelain sculptures, ceramics have played a central role in the decorative arts. Techniques such as throwing, glazing, and firing allow

artisans to shape and adorn pottery with intricate designs. The Chinese mastery of porcelain, often referred to as “white gold,” revolutionised global ceramics, influencing European factories like Meissen and Sèvres.

Textile arts, including weaving, embroidery, and dyeing, showcase the marriage of practicality and creativity. Persian carpets, for example, are renowned for their intricate patterns and vibrant colours, while silk weaving in East Asia has a history spanning millennia. Techniques like Jacquard weaving in the 19th century introduced a new level of precision to textile production, paving the way for innovations in both fashion and interior design.

The art of working with metal — whether in the form of jewellery, tools, or furnishings — demonstrates a blend of technical skill and artistic vision. The delicate filigree of Byzantine goldsmiths, the ironwork of Gothic cathedrals, and the Art Nouveau silverware of the 20th century all highlight the versatility of this medium.

Glassmaking, with its origins in ancient Mesopotamia and Egypt, became a prominent art form during the Roman Empire and flourished in later periods. Venetian glassmakers, particularly in Murano, developed ground-breaking techniques like millefiori and lattimo, which remain celebrated to this day. The Art Deco movement of the early 20th century brought further innovation, with figures like René Lalique and Louis Comfort Tiffany transforming glass into a

Elite Jewellers

medium for bold, modern designs.

Furniture represents one of the most direct intersections between utility and aesthetics. From the clean lines of Shaker craftsmanship to the flamboyant marquetry of French Rococo, furniture design reflects changing tastes and technological advancements. The 20th century saw revolutionary shifts, with designers like Charles and Ray Eames embracing minimalist forms and industrial materials to redefine modern living spaces.

In today’s world, the decorative arts continue to evolve, blending traditional craftsmanship with contemporary innovation. While the rise of minimalism and digital design has influenced many aspects of modern aesthetics, there is a growing appreciation for the handmade and the bespoke.

The intersection of tradition and technology has given rise to exciting new possibilities in the decorative arts. 3D printing, for example, allows designers to create intricate patterns and forms that would have been impossible to achieve by hand. At the same time, many contemporary

artisans are reviving ancient techniques, ensuring that traditional skills are preserved and adapted for the modern era.

As environmental concerns take centre stage, the decorative arts are increasingly aligned with sustainable practices. Artisans are turning to recycled materials, natural dyes, and eco-friendly processes to create pieces that are as responsible as they are beautiful. Movements like “slow design” echo the ethos of the Arts and Crafts movement, emphasising quality over quantity and fostering a deeper connection between maker and consumer.

The decorative arts are deeply tied to cultural identity, serving as a means of storytelling and preservation. Indigenous pottery, beadwork, and weaving, for example, carry the traditions and histories of communities that span generations. These works often transcend their utilitarian purposes, becoming symbols of cultural pride and resilience.

Museums and exhibitions dedicated to the decorative arts play a vital role in showcasing these traditions.

Institutions like the Victoria and Albert Museum in London and the Cooper Hewitt, Smithsonian Design Museum in New York City offer invaluable insights into the history and impact of the decorative arts across the globe.

The decorative arts, with their focus on beauty and utility, remain a vital part of human expression. They challenge us to see the artistry in the everyday, to appreciate the craftsmanship behind the objects that surround us, and to recognise the cultural narratives embedded within them.

As we navigate a world increasingly dominated by technology and mass production, the decorative arts serve as a reminder of the value of human creativity and connection. Whether through a handwoven textile, a sculpted vase, or an intricately designed piece of furniture, the decorative arts continue to inspire, delight, and enrich our lives.

Their enduring legacy is a testament to the universal desire to infuse the practical with the poetic, ensuring that beauty remains an integral part of the human experience.

By Amber Williams

MAKING A SPLASH

Doug Hyde

Art of the Ages Middle

The Middle Ages is a period of time that spanned roughly 1000 years, originating around 476 A.D and ending somewhere between 1400 and 1450. The artwork during this period saw significant artistic innovation and change.

Medieval art, which emerged from the fall of the Roman Empire and was influenced by the spread of Christianity, is an intriguing fusion of technological invention, religious devotion, and cross-cultural interaction. This period saw a shift from the symbolic and spiritual to the elaborate and realistic, from the magnificent illuminated manuscripts of Celtic monks to the towering cathedrals of Gothic Europe.

The art in the Early Medieval period, also commonly referred to as the Dark Ages, is characterised through its fascination of visualising religion, with this tradition being carried throughout

the later Middle Ages. In fact, almost all Medieval art was created in service of religion. An example of this is The Book of Kells (c.800); A masterwork of mediaeval art, it is renowned for its exquisite designs and stunning illumination. This Gospel text, which was made by Celtic monks, combines Christian themes with indigenous Irish artistic talent through its rich colours, intricate interlacing patterns, and symbolic imagery. Its vellum pages have detailed illustrations of biblical scenes as well as elaborate decorative elements like knots, spirals, and animal representations.

A monumental work of Medieval art, the Bayeux Tapestry (c. 1070s) is notable for its narrative storytelling through stitching. Measuring approximately 230ft in length, it vividly portrays the events leading up to the Battle of Hastings and the Norman Conquest of England in 1066. Simple, energetic figures, strong contours, and vivid colours are characteristics of its art that blatantly portray action and emotion. The tapestry's scenes are surrounded by elaborate patterns and vibrant animal representations, which combine artistic decoration with historical record. The Bayeux Tapestry

BAYEUX TAPESTRY

offers an unmatched glimpse into the political and cultural climate of the eleventh century as both a historical document and a piece of art.

The Annunciation by Simone Martini, painted around 1300, is a striking example of Gothic art, renowned for its grace and passion.

The angel Gabriel is shown in this altarpiece, which was made for the Siena Cathedral, telling the Virgin Mary that she will become pregnant with the Son of God. The artwork is renowned for its elaborate gold backdrops, exquisite draperies, and elegant, elongated figures — all of which are traits of the Gothic style. A sense of divine presence is created by Martini's use of vivid colour and shimmering light, and the setting is given grace and reverence by the flowing lines and

graceful forms. The Annunciation is a reflection of Mediaeval art's growing emphasis on human emotion and the close, intimate relationship between the divine and the human.

As mentioned earlier, almost all artwork throughout the Middle Ages was created in service of religious

teachings. This is because artistic forms of expression such as painting, sculpture and architecture were used to reflect a society shaped by feudalism and its deep connection to religion, and to perpetuate the religious ideologies that were so prominent in society.

By Ben Lemmon

THE ANNUNCIATION

Simone Martini

In 1967 the artist Barnett Newman created a piece which hung in the Stedelijk Museum in Amsterdam and instigated a storm of controversies which led to various crimes. Newman’s piece titled Who’sAfraidofRed, Yellow,andBlueIII, consists of a five-metre-wide and two-metre-tall wall hanging depicting a large expanse of red colour with two fine lines (or “zips” as coined by the artist himself) of blue and yellow on either side.

The artwork was met with widespread ill-feeling at the time, which led to the painting being kept in solitary confinement for its own protection. Preceding its eventual fate, a begrudging artist by the name of Gerard Jan van Bladeren visited the exhibition and assuming there was no security, vandalised the artwork by creating various fifteen-metre-long slashes across the canvas using a box knife! The artist claimed that abstract art enraged him and was therefore sentenced to five months in prison.

As a result of such heinous vandalism, Newman’s long-standing friend and art conservator Daniel Goldreyer took it upon himself to restore the painting back to health.

Not only did the artwork present various technical difficulties being a wide expanse of solid colour thus making any interruption on the surface more noticeable, but the artwork’s reputation began to dwindle upon its re-hanging in the museum.

Feedback from gallery-goers became increasingly negative as they noticed a difference in tone, and loss in depth. A forensic team was acquired to evaluate why the shimmering quality of the painting had faded, only to find out that instead of solely re-painting the damaged areas of the canvas,

Goldreyer had re-painted the entire red section using nothing but regular household acrylic paint. The painting not only lost its original intended purpose at the hand of the artist himself, but also led to van Bladeren’s threats for a second attack upon its reinstallation in the public space.

With this story in mind, it brings to the fore one of the most heavily debated topics in the history of art, that of the ethicality of resurrecting deteriorating artworks. How to go about conserving and restoring an artwork when discoloured or damaged

Should we restore? more....

raises an endless stream of questions and concerns. While there exists a current debate between art historians and conservators, it fundamentally begs the question, ‘at what point does a painting stop being that which was created by its originator?’

‘Are we erasing history by saving art’ is a notion that has caused so much fear regarding an artwork’s preservation and which process to use. The alteration of any artwork in an attempt to restore it or increase its longevity is a questionable and pressing matter that requires one

The painting is simply known as a Da Vinci, rather than the plethora of conservation artists names that restored it.

This image is not the original but a reproduction of Da Vinci's Salvator Mundi.

We are left to solely ponder on who and what is art’s greatest enemy: time or those who yearn to preserve it.

to consider a multitude of factors starting with the conservation process, its authority, and the initial intent of its author. By utilising specific techniques to maintain the original aesthetic of an artwork or address any surface deterioration, conservators attempt to ‘save’ the art, while art historians wish to prevent such alterations so as not to lose its original essence at the hand of its master. Much like Newman’s painting, neglect at the hand of a conservator or restorer can often lead to irreversible damage.

Indeed, we attach cultural significance to paintings created by well-known artists. With Da Vinci’s Salvator Mundi being sold for $450 million in 2017, the painting is simply known as a Da Vinci, rather than the plethora of conservation artists names that restored it. In the knowledge that this Da Vinci was altered with layers of paint by unknown artists, would one still pay the same price for it over an untouched masterpiece?

Ultimately, at the heart of such a debate is the original intent of the artist, and whether or not they wished for their artwork to be altered or left to age naturally, a question that is often overlooked by conservators. With ‘Intentional Fallacy’ referring to the artist’s intent when judging a work of art, such an issue is frequently and easily disregarded, thus leading to a process that cannot be reversed or stopped halfway. As has happened

with artworks in the past such as Rembrandt’s The Syndics , the public has been unhappy with its unusually bright colours, lack of varnish and aged appearance.

While the ethical concerns of such a debate continue to remain in place, Caitlin O’Riordan advised that the ‘authorities at the National Gallery have themselves confessed that a great number of cleanings are done to make the paintings more attractive rather than to restore the original work or illuminate the old master’s technical skill and innovation’ in her review Art Conservation:TheCostofSavingGreat Works of Art . Indeed, the reality of life is that nothing lasts forever. Such celebrated masterworks will inevitably age, wither and fade with the passing of time. While the practice of conservation and restoration should not be taken lightly, the inevitable alternative to rejecting it is the complete loss and irreparable damage to some of the greatest treasures in the history of our time. With this being said, we are left to solely ponder on who and what is art’s greatest enemy: time or those who yearn to preserve it.

By Tamara Bell

THE SYNDICS

Rembrandt van Rijn 1662

REMEMBERING ARPITA SINGH

Serpentine North 20 March - 27 July 2025

Gaga Lady

& The Death of Marat

LADY GAGA: THE DEATH OF MARAT Robert Wilson

In 1792, amidst the French Revolution, the radical activist Jean-Paul Marat joined the National Convention which comprised of two opposing factions, the Montagnards and the Girondins. As one of the most prominent members of the Montagnards, Marat became a symbol of the revolution, and a martyr following his death at the hands of a political noblewoman Charlotte Corday.

As France’s foremost painter at the time, Jacques-Louis David was commissioned by the French Government to paint Marat in order to establish a canon of revolutionary heroes. Serving as a form of political propaganda for the Convention, The Death of Marat continues to proudly stand as an emblem of the French Revolution and classical antiquity.

The didactic artwork presents the Neoclassical values associated with the Republic of Rome; simplicity, heroism and stoic virtue. David depicts the revolutionary lying limp in his bathtub, with his right arm lifelessly positioned towards the viewer, and holding a quill pen and letter from his murderer. A bloodied knife is depicted on the floor, and his wound is prominently shown underneath his collarbone. Marat suffered from a skin condition which caused him to spend much time soaking in his bathtub. He is presented with a towel wrapped around his head, used to treat his condition, and shown in a soft glowing light in an idealised and heroic manner.

Following the principles of Neoclassicism, David’s painting has often been likened to that of Michelangelo’s Pietà and Caravaggio’s Entombment of Christ , as the artist mirrors the sacred qualities of martyrdom, drama and light. Marat’s expression remains neutral, as if caught in a state of deep sleep, with an almost dream-like quality. His pose, youthful face, muscular body and pristine skin likens Marat to Christ, as a hero who sacrificed his life for humanity’s salvation and the Revolution’s cause.

Blaming Marat for the September Massacre, Charlotte Corday gained

entrance to the revolutionary’s private dwelling, promising to divulge the names of traitors to the French Revolution. Finding him working from his bathtub upon entry, Corday drew a knife from underneath her dress and fatally stabbed Marat in the chest. Not attempting to flee the crime scene, she was immediately arrested, convicted by the Revolutionary Tribunal and guillotined on the 17th of July, 1793.

THE DEATH OF MARAT Jacques-Louis David

The feudal regime continued to weaken, and public opinion towards Marat saw a shift between 1793 and 1794. With Maximilien Robespierre’s rise to power, Jacques-Louis David was put on trial, escaped a death sentence, was imprisoned, and later exiled to Brussels after Napoleon’s defeat in 1815. Taking The Death of Marat painting with him, his descendants bequeathed the artwork to the city of Brussels in the early 19th century, which now stands in the Royal Museum of Fine Arts in Belgium.

Indeed, the artwork has stood the test of time, and is weighted by

a plethora of social and political references. Continuing to hold relevance in the present day, the contemporary artist Robert Wilson held his solo exhibition titled Living Rooms , which premièred his Lady Gaga series in the Louvre in Paris in 2013. Drawing inspiration from the artworks held in the Louvre, and conversations with Lady Gaga about the ideas of sainthood, perception, pain and beauty, Wilson responded to David’s 1793 masterpiece with a video portrait depicting Lady Gaga in lieu of Marat, the revolutionary leader.

The synchronous work also serves as a commode to the cabinetmaker Pierre Langlois in the mid 18th century, as Wilson’s series attempts to cover twenty centuries of pivotal historical accounts, influences and most art forms. Creating an original aesthetic which has brought him much recognition as an avant-garde theatre artist, light, movement and overall design are elements that have taken precedence in many of his artistic creations.

Created as a video portrait on a plasma screen, Wilson’s Lady Gaga: The Death of Marat serves as a dedication to the original masterpiece. Offering an unprecedented approach to the 1793 version, Wilson has been the first to fuse the historical and symbolic significance of the Neoclassical painting with contemporary culture and modern technology. Bringing to light the principles of classical antiquity from the perspective of modern day, Lady Gaga: The Death of Marat applies the same social and political concerns to the world we live in, in the 21st century.

By Tamara Bell

Born from a passion for classic watches

THE SCARIFOUR COLLECTION

Defined by its classically inspired proportions, with a focus on comfort, balance and design, the Scarifour delivers a refined aesthetic and exceptional wearability.

a subject Framing

Contemporary cinematography.

This article will focus on the current contemporary landscape with respect to video makers and artists who have been highlighting subjects of interest, new ways of approaching video production and how framing subjects have led to some iconic shots over the years.

The task of framing a subject and depicting a character or group of characters in a specific environment is no easy feat. Framing a subject under the correct lighting conditions, the proper use of colour to balance an individual from the background, even the angle of the camera itself is vital for achieving a very specific look and feel to the overall story being told. Some films or short projects rely heavily on framing to move a plot along, to introduce detail to a protagonist’s expression or to simply give the audience a scope of where the actor/actress is in the chosen environment. There are several films and famous scenes which immediately come to mind that bring attention to the importance and success that framing can have, yet successful cinematography is about bringing together a variety of elements that play off each other and work in tandem.

Aspect ratios are the first part of this puzzle that I’m going to discuss when we look at framing. The aspect ratio of an image is the ratio of the frame’s width to its height. A 35mm film negative has an aspect ratio of 3:2. 35mm film negatives (the film rolls which we add to old photo cameras) are 24mm by 36mm ‘tall/wide’. The 35mm film is what’s commonly known as the ‘Academy Ratio’ or the ‘Academy film size’, which became the standard film size adopted by the Academy of

Motion Picture Arts & Sciences. This standard film size does have a few variations in terms of its crop with other factors playing into how one is determined to use the film. If we dive even deeper into the mechanics of film and how it’s implemented, we start to see just how difficult it is for directors, producers and camera operators to determine what kind of film negatives will be used for production to achieve accurate creative visions. Things like perforations on a strip of film for example are just one small but

ultimately important detail that a team must consider for achieving an overall look and feel to a project. Although technical elements like perforations are to be considered when using film, the very beginning of a movie project today would start with considering the aspect that it’s planning on adopting. Directors such as Quentin Tarantino for example still choose to record movies in film over digital as it’s not just about his interest in framing but about the whole process of shooting a movie which lives on a film roll and not on a

hard drive. This reversal or renaissance of film has sparked many creatives to think about how their content lives on, movies such as The Hateful Eight , The Lighthouse and Oppenheimer were all shot on film, with Oppenheimer being the first movie ever to have been shot on a 65mm large format black & white film negative.

The aspect ratio of a film is therefore a key part of the cinematographic process, but what about the other elements? Elements such as lighting, colour and shadows… In contemporary films today we are seeing a very big split in how we consume movies and TV shows. With many relying heavily on CGI, special effects and high-octane scenes to grab attention while others are relying on the core aspects of filmmaking. Elements like established lighting, practical effects, the use of heavy black or shadows to create mystery and of course a revert to film such as the movies discussed in my previous paragraph. The point here being that many films today which focus on the latter showcase the very

best of what can be achieved when all the elements from a creative vision work simultaneously. One shot that specifically comes to mind is from Sam Mendes’ 2012 film: Skyfall starring Daniel Craig as the famous James Bond agent. The scene which I find to be especially gripping is actually from the very beginning of the film, as the protagonist James Bond walks into frame from a dark corridor, only a small part of his face and eye is illuminated as he holds up a gun and points it forward. Breaking this shot down, we can see just how impressive of a contemporary interpretation it is at providing mystery and suspense in only a few short seconds. The scene works well due to the lack of light and how Bond walks into frame, stopping at precisely the correct moment. The slither of light on the protagonist’s face is an indication of who he is as a person. James Bond is dark, mysterious, an agent who plays in the shadows but does so with good intentions. The symbolism of darkness and light in this scene is particularly strong and

undercut only but the introduction of a gun! The gun in this instance is our reminder that the protagonist is still in danger and must face the reality which he is confronted with. The camera angle is tight and intrusive, focusing on a still shot of the protagonist’s face while the rest of his body is slightly out of focus.

The composition of this scene is a great analysis of how successful framing can be at delivering a message to an audience without saying a single word! In a more recent film by Sam Mendes titled: 1917 we see how a movie is framed and shot taken to its most creative extreme. The whole movie, start to finish is filmed in what seems to be one whole take! This is another fantastic analysis of how framing subjects and its environment can lead to an extraordinary cinematic experience.

By Francesco Scalici

The play Barcelona

Having graced the stage at the Duke of York’s Theatre, the Barcelona play has been described as “what starts as passion in Barcelona becomes a deadly game”. In London for a limited time between October 2024 to January 2025, both Lily Collins and Álvaro Morte have made their debut in London’s West End with this theatrical and seductive thriller.

Based around an American tourist by the name of Irene (Lily Collins) who takes Manuel (Álvaro Morte), a Spanish stranger home, their whirlwind lustful romance becomes something much more sinister. Exploring the themes of danger and the unexpected, personal and political thematic concerns intertwine as Barcelona bridges the gap between pretence and truth.

The Cast, Writer & Director

Starring Lily Collins as Irene, the actress has been performing on-screen since the age of two. Critically acclaimed for her films including The Blind Side (2009), Mirror Mirror (2012), The Mortal Instruments: City of Bones (2013), Love, Rosie (2014), To the Bone (2017), and more recently the popular Netflix series Emily in Paris (2020), Collins’ creative genius has captivated the hearts of many with her varied roles.

In the words of Collins herself, "It has been a childhood dream of mine to perform in the West End and I'm hugely excited to make my stage debut in Bess' exciting play, Barcelona. Working with this team has truly been a gift and I cannot wait for audiences to be taken on a thrilling journey as the play unravels. I knew the moment I finished reading the script, I had to play Irene" (- London Theatre).

Accompanied by Álvaro Morte, the Spanish actor who gained worldwide recognition for his role as The Professor in the Netflix series Money Heist (2017), he was the mastermind behind the heist which took place in the Royal Mint and the Bank of Spain. The character of Sergio avenges his father by carrying out the sophisticated heist and leading the police to several dead ends. This enigmatic character has been described by Morte as “a tremendous box of surprises”, thus creating the perfect foundations for Manuel in Barcelona.

Directed by the award-winning British playwright and artistic Director Lynette Linton, she has been critically acclaimed as one of London’s most influential people in the Evening Standard. Appointed to her current role in 2019, the United Kingdom’s theatrical community has met Linton’s professional success with much celebration and support.

Having been appointed as Director of Barcelona, Linton has brought Bess Wohl’s artistic vision to life. With many plays having been produced in Broadway, some of Wohl’s plays include Grand Horizons, Make Believe, American Hero and Cats Talk Back, earning Tony Nominations and making the top ten in The New York Times.

Review

Barcelona is a captivating theatre production based around the simplest yet most effective storyline. Starring two major actors who skilfully bring the characters to life, Barcelona has the viewer on the edge of their seat at every instant. The play is centred around a time frame of 90 minutes spent by Irene and Manuel in a small apartment in the capital city of Cataluña. The couple meet each other on a wild night at a nearby bar. American Irene and Spanish Manuel not only realise their cultural

differences by way of political ideology which comes to fruition during their conversations at the small apartment, but they also come to terms with the breakdown of their own personal problems which slowly unravel and see the light. With the play’s staging being carefully crafted to reach a balance between comfort and discomfort, events unfold in a dramatic dance of laughter, passion and pain, exploring the themes of mortality and trust in this candid emotional journey when two paths collide.

By Tamara Bell

Click here to find out more about Barcelona the play.

Goodrich Melissa

Introducing Melissa Goodrich, the Director, Franchise Management at WildBrain, their nostalgic exhibition in Soho London last September was greeted with so much joy and excitement. Inviting renowned and emerging artists to celebrate whimsicality & childhood memories, WildBrain left its mark on the ever-changing artistic landscape.

Tell us a little bit about yourself and your professional journey. I’m Melissa Goodrich, Director, Franchise Management at WildBrain. Throughout my career I’ve had the privilege of working on many storied brands in the entertainment industry. I joined the team at WildBrain just over three years ago, focused on our favourite colourful quartet, the Teletubbies!

Tell us about WildBrain and some of its renowned creative projects. As a global leader in kids’ and family entertainment, we are experts in 360° franchise management across content creation, audience engagement and global licensing, cultivating and growing love for our own and partner brands around the world. With approximately 14,000 half-hours of kids’ and family content in our library — one of the world’s most extensive — we are

home to such treasured franchises as Peanuts, Teletubbies, Strawberry Shortcake, Yo Gabba Gabba!, Inspector Gadget and Degrassi.

Having produced award-winning series such as The Snoopy Show and Teletubbies, tell us a bit about the mission, vision and values of WildBrain in today’s creative climate.

At WildBrain we inspire imaginations through the wonder of storytelling. Our mission is to create exceptional entertainment experiences that

captivate and delight fans both young and young at heart.

More recently, you hosted the House of Teletubbies London: Art Takeover exhibition in Soho. Tell us about the exhibition.

Last September, WildBrain’s Teletubbies invited Londoners to embrace the colourful quartet in an entirely new way at our House of Teletubbies London: Art Takeover . 15 Bateman Street, Soho was transformed into a colourful celebration of creativity, nostalgia, and artistic expression with

iconic characters – Tinky Winky, Dipsy, Laa-Laa and Po – stepping into the world of fine art! The event sparked inspiration for a new generation of artists and reconnected fans of all ages with the joy and imagination of childhood.

Tell us a little bit about some of the artists who partook in the exhibition.

We partnered with a whole host of internationally acclaimed and emerging artists with the exhibition featuring a curated collection of Teletubbiesinspired artwork across a variety of mediums. Some of the incredible artists, illustrators and designers featured we’ve previously collaborated with, such as Christian Cowan, ONCH, Will Marsten and MurWalls, while others were completely new partners who were fans of the Teletubbies such as Austin Call and Ben Gore, or those who we felt could bring the brand to life through art in a new and fresh way like Stella Lin.

What was your favourite artwork in this exhibition and why?

There were so many hugely talented artists with such different and unique takes on the Teletubbies that it would be impossible to choose a favourite! In fact, we have commissioned additional artwork from multiple artists that were showcased in London – each of them truly brought so much joy to their interpretations of the Teletubbies and brought to life the essence of the brand, which is about wonder and discovery!

In celebration of such iconic characters from our childhood, what was the main goal of this exhibition, and why were the Teletubbies chosen as its main theme?

For the past 27 years, the Teletubbies have continued to engage new audiences, reminding us of the universal desire to connect, play, and explore. The exhibition aimed to celebrate this timeless connection by merging the worlds of art and heritage, reminding us that the creativity we held as children never fades – it merely evolves. The Teletubbies are the perfect muses for reinvention through art, and this multisensory experience invited fans to step into a world where whimsical characters meet bold artistic vision — a place where our favourite childhood friends come to life in ways we’ve never imagined.

What sort of activities and workshops took place during the exhibition?

Fans were able to get involved in workshops, interactive installations, Teletubbies-themed activities and even meet the Teletubbies themselves! With activities ranging from doodling on giant canvases to creating Tele-tubbiesinspired accessories, the weekend was packed with joyful moments designed to spark creativity across generations. The event offered fans the chance to reconnect with their own childhood while experiencing the whimsical joy of the Teletubbies in a new and inspiring context. Guests also received a tote bag featuring art from the gallery packed with one of the brand new Teletubbies Trendy Figures from our fantastic global partner, Pop Mart! The Pop Mart Trendy Figures collection centres around nostalgia transporting fans back in time. This latest collection is Pop Mart’s third collaboration with the Teletubbies, following the initial two series of blind boxes. After the exhibition, the Teletubbies also headed over to the Pop Mart store in Soho for the after party where they did a meet a greet.

Why was London the first stop to see this rotating exhibit, and what’s next in store for our beloved childhood characters?

London is such an iconic city and the Teletubbies originated in the UK and are broadcasted on the BBC! The next stop on the tour saw our colourful

quartet head to Art Basel in Miami in December 2024 followed by more cities still to be announced. At each location, new artists and fresh interpretations will be added to the collection, ensuring a constantly evolving experience that keeps fans engaged and inspired. This tour is about more than just nostalgia; it’s about bridging the gap between generations, using art as a medium to celebrate wonder and discovery. As the Teletubbies evolve alongside modern culture, their universal message of friendship, curiosity and play remains timeless. Whether you grew up watching the show or have only recently discovered these icons, these art gallery events serve as a reminder of the boundless creativity of childhood that’s still within us all.

Can you share any future projects that WildBrain is working towards in the near future?

“I can’t say too much right now, but the Teletubbies will be continuing their world tour in 2025 with lots of exciting and colourful partnerships and events to come! Watch this space.

By Tamara Bell

WILL MARSTON ONCH

STELLA LIN

We

partnered with a whole host of internationally acclaimed and emerging artists with the exhibition featuring a curated collection of Teletubbies-inspired artwork across a variety of mediums.

Melissa Goodrich “ “

TELETUBBIES BOOTS

Christian Cowan

2025 art exhibitions art hop London

Welcoming

in 2025,

London’s art scene has a vibrant selection of exhibitions catering for all tastes and styles. From contemporary to more traditional art that preceded our times, below you will find a careful selection of must-see exhibits for the coming year.

Moco Museum

Healing Frequency

Spending a short time at the Moco Museum, Marina Abramovic’s Healing Frequency is placed in the spotlight between September 24 and March 25. The artist’s performance art exhibition is conceptually immersive, and marks the inauguration of the Moco Museum in London. Inviting viewers to participate and blur the boundaries between the material and the immaterial, Marina’s spiritual journey comes to life in this thought-provoking exhibit.

Modern Masters

Weaving together a vibrant tapestry of artworks by some of the greatest masters such as Andy Warhol, JeanMichel Basquiat, Keith Haring and Damien Hirst, the Moco Museum celebrates the legacy left behind by a number of revolutionary artists through the ages. Shedding light on the evolution of art throughout history, a cultural dialogue blossoms and invites the viewer to contemplate on the power of art, the societal changes it has brought about and its continuing global impact.

Digital and Immersive Art

Embracing this new medium in art, the Moco presents a digital art exhibition which creates a multi-sensory museum experience. Featuring a rare selection of NFTs, the work of artists such as Six N. Five, Miranda Makaroff and Jake Chapman among others, take centre stage in this interactive and immersive

experience, in which the viewer is at one with the digital landscape.

Moco Contemporary

Impacting our surroundings in all facets, the Moco contemporary artists draw attention to popular culture, politics and the environment. In an attempt to instigate change in the

JEAN-MICHEL

world around us, artists such as Tracey Emin, Robbie Williams, Banksy Takashi Murakami and KAWS engage with their childhood selves and denounce the topics of consumerism and the media through implementing collectible items such as plushies and clothes in their artworks and installation pieces.

BASQUIAT Untitled, 1981

Wallace Collection

Keeping Time: Clocks by Boulle

Ending in March 25, this exhibition explores the rich and intricately carved golden clocks of André-Charles Boulle, Louis XIV’s notorious cabinetmaker. Five exceptional timepieces relay the story of how science began to gain precedence during the time, and was thus implemented by Boulle in his clocks. With their glittering, pompous, baroque style, leading artists and craftspeople from 18th century Paris, came together to design this intricate weaving of stylistic elements, paying a nod to the concept of time and exhibited in the museum’s Billiard Room alongside the works of Nicolas Poussin, Henri Perlan and François Anguier.

Sculpture & Painting

Featuring the works of Giambologna, Bertrand, Houdon and others, the collection explores a variety of masterworks which include an eclectic mix of what we deem as sculpture. Featuring a gothic altarpiece in intricate miniature boxwood carving with biblical scenes of the Adoration of the Magi, to reliefs of King David and Bathsheba carved from ivory, the collection’s pieces are timeless creations which permeate the centuries.

Renowned for its early master works, the Wallace Collection features hyper-realistic paintings following the painterly traditions of the old school of art. Some of these artworks include Frans Hals' The Laughing Cavalier , Paul Rubens’ The Rainbow Landscape , Rembrandt’s Titus , Canaletto’s Two Views of Venice and Fragonard’s The Swing among a plethora of others.

Arms & Armour

Featuring an extensive collection of arms and armour from medieval Europe to 19th century Asia, the collection includes items such as a 1615 jewelled dagger, a pair of flint-lock pistols of King Louis XIV, the armour of Sir Thomas Sackville from 1587 and parade shields.

Decorative Arts

With a diverse range of Queen Marie Antoinette’s furniture and porcelain of the Sèvres manufactory, one can enjoy the artworks of Jean-Henri Riesener, Pierre Gouthière, Jean Ducrollay, Flaminio Fontana, and Jean de Court. From goblets, wine coolers, mosque lamps and snuff boxes to chests of drawers and console tables, the delicate pieces in the collection serve as a royal time-machine to the 17th and 18th centuries.

Tate Modern

Mike Kelley: Ghost and Spirit

Ending in March 25, American artist

Mike Kelley hosts his first major UK exhibition at the Tate Modern. Kelley’s provocative artworks meld into a variety of genres, from popular culture to surrealism. Using various mediums including textiles, found objects and plushies, Kelley creates his artworks which situate themselves somewhere between installations and performance pieces. Immersing yourself into the fantastic world of imagination and childhood memories, the artist presents conceptual references to identity in his solo and unmissable exhibition brimming with colour and unique objects bound together.

Anthony McCall: Solid Light

Blurring the boundaries between cinema, drawing and sculpture, British artist Anthony McCall plays with a variety of light beams which create shadows and outlines of figures and objects cutting through a misty haze. Three rooms contain different pieces which relate to the same theme, including his Solid Light, Landscape for Fire and Line Describing a Cone . Regarded as an avant-garde artwork for its time in the 1970s, these projections of dust, smoke and mirrors rely on the viewers participation and interaction to complete it and exacerbate the artist’s connotations.

Electric Dreams: Art and Technology Before the Internet

Celebrating the early innovators of digital, optical and kinetic art, the Tate Modern features an international pool of over 70 artists who focus on the presence of technology in daily life. With a number of psychedelic and immersive installations, the exhibition presents new cultural horizons, radical experiments and a shift in colour and spatial perceptions. With kaleidoscopic patterns emanating from the artworks, the ethereal quality experienced by the viewer serves to highlight the rise of abstraction and cybernetics in the global art stage.

Leigh Bowery!

Running from February until September 25, Leigh Bowery’s outlandish exhibition celebrates his life and work. Testing the boundaries of decorum and being a ‘jack of all trades’, Bowery’s refusal to adhere to artistic conventions made a prominent mark on the artworld. From his portraits of Lady Gaga and Alexander McQueen to his vibrant path of fashion and makeup experimentation, Bowery’s portfolio was shaped by his emergence in the London nightlife of the 1980s and challenged the norms of aesthetics, sexuality and gender.

By Tamara Bell

London’s art scene has a vibrant selection of exhibitions catering for all tastes and styles.

ANDRE-CHARLES BOULLE

Clayton Martin

Head of prints and drawings, Royal Collection Trust

Having had the privilege to delve deeper into the DrawingtheItalian Renaissance exhibition at The King’s Gallery at Buckingham Palace, Martin Clayton, joins me for a Q&A about the exhibition.

As my personal favourite time period within the history of art, and subject specialism, it has been a true delight to interview Martin and find out more about this exclusive exhibition which celebrates the most iconic and pivotal artists that have shaped the art world and history. Situated in Buckingham Palace, Martin’s beautifully curated exhibition shines a bright light on the revival of classical antiquity’s ideals of humanism, proportion and perspective which marked its profound cultural shift in the world.

Tell us about the Drawing the Italian Renaissance exhibition at The King’s Gallery at Buckingham Palace.

The exhibition Drawing the Italian Renaissance at The King’s Gallery in London explores the diversity and accomplishment of drawings made across Italy between 1450 and 1600. It includes 160 big, bold, and colourful studies by more than 80 artists – in fact it’s the widest-ranging show of drawings from the period ever to be shown in the UK. As well as many works by the great names such as Leonardo da Vinci, Michelangelo, Raphael and Titian, there are also drawings by highly skilled but lesser-known artists, and over 30 works are on display for the first time.

The Renaissance saw a transformation in artists’ use of drawing. The book-printing revolution, starting in Germany in the 1450s and quickly spreading across Europe, required unprecedented quantities of paper, and in response paper mills sprang up to service this demand. Paper became an industrialised product, much more available and much less expensive. Artists could now use paper more freely, even wastefully, to explore new artistic ideas, to study figures from the life, and to prepare their compositions. New drawing materials were also adopted – primarily red and black chalks – and over the course of just a few decades, drawing became central to artistic activity.

How does showing the drawings at The King’s Gallery add to their story?

There was such a wide range of drawing types during the Italian Renaissance, evolving over time and varying from city to city and from artist to artist. But rather than presenting the exhibition in an ‘art-historical’ way, by date and artist for example, I wanted to explore the ways in which drawing was used. The exhibition is therefore arranged by the type and purpose of the drawing –figure studies, head studies, designs for the decorative arts, studies of nature, composition studies for religious and secular works, and drawings made as finished ‘works of art’.

THE VIRGIN AND CHILD WITH INFANT BAPTIST, AND HEADS IN PROFILE

THE THREE GRACES

Leonardo da Vinci, c.1478-80

A SEATED MALE NUDE

Ludovico Carracci, c.1590

Raphael c.1517-18

The biggest challenge was deciding what to leave out!

The Royal Collection is so rich in Renaissance drawings that the exhibition could easily have been twice the size.

Martin Clayton “ “

THE VIRGIN AND CHILD WITH THE YOUNG BAPTIST

Michelangelo Buonarroti, c.1532

By juxtaposing works from different times and sometimes by very different artists, I hope the visitor will be made more aware of the similarities and differences between all these drawings. There are around 2000 Renaissance drawings in the Royal Collection, and they can’t be on permanent display due to the potential for light damage, but by presenting such a rich selection at The King’s Gallery the visitor will be able to see for themselves the great fertility of drawing in this period

What was the process for selecting the pieces on display?

To be honest, I began by choosing my favourites! – drawings where the creative process is fully on view, where you can see the artist using paper to ‘think aloud’. I also wanted as wide a range of techniques as possible, to show how beautiful and varied drawings could be – metalpoint, pen and ink, dark washes and white heightening, natural and artificial chalks, on white, brown and blue papers and sheets coloured by the artists themselves, sometimes in bright hues of orange or pink. Finally, I selected works that show the full range of drawing types – from first sketches to finished ‘presentation’ drawings, taking in figure studies from

live models and from the imagination, portraits and other head studies, studies of plants and animals and so on.

What have been some of the most memorable moments whilst curating the exhibition?

One of the highlights was the conservation of a large preparatory ‘cartoon’ by Bernardino Campi – a drawing that had never been displayed in modern times due to its terrible

condition, a result of having been framed and hung at an early point in its history. The paper conservators at Windsor, led by my colleague Victoria Button, transformed the work – removing an old backing of rough canvas and a thick layer of animal glue, flattening and lining the work, repairing damage from insects and tears, and mounting the drawing so that it can be displayed for the first time in centuries.

What challenges have you come across whilst curating the exhibition?

The biggest challenge was deciding what to leave out! The Royal Collection is so rich in Renaissance drawings that the exhibition could easily have been twice the size. I also wanted to include some novelties – such as a rare ‘votive’ drawing made in thanks for a miracle, and a large study of an ostrich by Titian – so that however well a visitor might think they know the period, they will find many works that surprise them.

What would you say are your favourite pieces in the exhibition?

I love Fra Angelico’s study of the head of a fellow monk, made in preparation for his frescoes in the Vatican. It’s the earliest drawing in the exhibition, made around 1450, but it is already so bold, with strong but delicate lighting glancing across the features

of the subject, and a compelling sense of solidity. And as a piece of pure drawing skill, Michelangelo’s complex Bacchanal of Children is unsurpassed – drawn with a finely sharpened piece of red chalk, it must be one of the most accomplished drawings of this or any other period, and as it’s in pristine condition we can see it exactly as Michelangelo intended it.

Do you have any favourite artists?

By any measure, Leonardo da Vinci is the most endlessly fascinating artist/scientist, and of all the artists in the Royal Collection he’s the one that I keep coming back to. There are sixteen drawings by Leonardo in the exhibition, and while these don’t come close to covering all his many interests, you can get a great sense of his relentlessly curious mind. And from a century later, I must confess to a fondness for the Carracci family – brothers Annibale and Agostino, and their cousin Ludovico – who drew incessantly ‘with a piece of bread in one hand and a pen in the other’, according to a contemporary. More than any other artists they wanted to explore everything that drawing was capable of, and their works range from full-blown studies for altarpieces, to nude studies of their studio assistants, to playful sketches such as caricatures and even a landscape with a lobster holding a nutcracker.

By Tamara Bell

Drawing the Italian Renaissance

The King’s Gallery, Buckingham Palace 1 November 2024 – 9 March 2025

A LANDSCAPE WITH A LOBSTER

Annibale Carracci, c.1590

THE HEAD OF A YOUTH

Attributed to Pietro Faccini, c.1590

THE HEAD OF AN OLD MAN

Giovanni Bellini, c.1460-70

A COSTUME STUDY FOR A MASQUE

Leonardo da Vinci, c.1517-18

THE VIRGIN AND CHILD

Bernardino Campi, c.1570-80

The

Family Chapman

Collection

The British artist duo Jake Chapman and Dinos Chapman are brothers who are fascinated with the visual arts. The aim of their collaborative artwork is to achieve the shock factor and gain an emotional response from their audience as well as open the door to much needed cultural conversations. One of their more controversial series of works was undoubtedly TheChapmanFamilyCollection. This series included thirty-four individual wooden carvings.

The British artist duo Jake Chapman and Dinos Chapman are brothers who are fascinated with the visual arts. The aim of their collaborative artwork is to achieve the shock factor and gain an emotional response from their audience as well as open the door to much needed cultural conversations. One of their more controversial series of works was undoubtedly The Chapman Family Collection . This series included thirty-four individual wooden carvings.

The problematic nature of these carvings lies within the fact that when you first see them, they appear as authentic tribal art and evidence of rich history. Due to the sensitive history surrounding tribal people, it is understandable that symbols of their tribe or culture are highly regarded and protected within their communities. Therefore, the fact that these ethnographic relics seem to be genuine but turn out to be false replications can feel as though the intension and result becomes morally questionable.

The Chapman brothers take a unique approach to their art. Their aim is to perform a social experiment on society by purposefully recreating convincing sculptures to see if the

general public believes if they’re real, or if they can spot the exaggerated lookalikes. Linking back to their fascination with the shock factor, this gives their art and their position in the artworld a level of uniqueness and edge. They use optical illusions and deceit to shape and form the end result of their carvings and to also make the audience question the appreciation of a culture and appropriation.

The brothers used their art to not only question the ethics in the production of these objects, but also blurred the lines for those who purchased and displayed them. These controversial carvings opened up a conversation surrounding the importance of heritage and what it means to a community and culture. The symbols used in tribal art form social narratives which are carried down through generations, and are met with inauthentic versions of them throughout the history of art, as demonstrated by Jake and Dinos Chapman.

The sculptures in question have been delicately crafted to resemble rare and culturally significant objects that historically have been found in various public spaces such as museums, galleries and

private collections. Another point of controversy was that the sculptures were not made to mimic any specific indigenous culture, but rather, serve as a generalised artwork not specific to a particular country or tribe. This lack of attention to tribal culture can be viewed as a disregard to the rich history that lies in tribal art and its heritage.

Despite its controversial nature, each sculpture has had time, consideration and effort put into it in order to capture the most microscopic of details, differences and imperfections. Although genuine and authentic tribal art holds a lot of spiritual meaning and significance, the intention behind the Chapman brother’s artworks is somewhat sinister. They play with optical illusions and often master the art of trickery and deceit.

The collection of sculptures however, aims to do more than promote feelings of shock and discomfort. They also aim to further historical awareness, promote the contemplation of what it means to own a piece of tribal art which is not indigenous to your Western culture and upbringing, and the role that the artwork has to play in being reduced to nothing but mere decoration. The brothers purposefully created the sculptures to make a statement and highlight how the artwork has been changed over time to fit the Western aesthetic, instead of honouring its cultural significance. Ultimately, the Chapman brothers achieve their purpose of instigating conversations and both internal and external reflections about what truly matters when it comes to both culture and identity.

By Kassidy Spight

The Chapman brothers achieve their purpose of instigating conversations and both internal and external reflections about what truly matters when it comes to both culture and identity.

THE CHAPMAN FAMILY COLLECTION

fine art Clarendon

In the ever-evolving world of fine art, galleries like Clarendon Fine Art have long been the gatekeepers of both the established and emerging artists who define contemporary art.

For nearly four decades, Clarendon, under the visionary leadership of CEO Helen Swaby, has been at the forefront of this dynamic industry. Originally a small operation, it has blossomed into a powerhouse with nearly 90 galleries across the UK and a growing international presence, including locations in Dubai and the United States. The gallery’s success is rooted in its ability to nurture established artists while also unearthing fresh talent.

To understand the significance of these emerging artists, it’s essential to grasp the journey of Clarendon Fine

Art itself. What began in Sutton Coldfield with a local gallery has expanded into a global brand synonymous with quality and innovation. Claire Soden, the Brand Development Manager at DeMontfort Fine Art, the UK’s leading international publisher and distributor of Original Paintings and Collectable Limited Editions - Clarendon’s parent company - offers a unique perspective on the gallery’s growth. "We’ve always been about discovery," Claire explains. "From our first gallery to now, the mission has been to find and promote artists who resonate with contemporary audiences."

This commitment to discovery extends beyond just the UK, with Clarendon playing a pivotal role in introducing new artists to international markets. The gallery’s reach is evident in its diverse collection, which spans from the avant-garde to the traditional, catering to a global clientele.

While Clarendon is home to a distinguished group of established artists, it’s the fresh faces that are capturing the attention of collectors and critics alike. Each year, the gallery introduces a select group of new artists,

We’ve always been about discovery... From our first gallery to now, the mission has been to find and promote artists who resonate with contemporary audiences.

THE SILENT WAY

Danielle O'Connor Akiyama

many of whom debut at the prestigious art fairs that Clarendon participates in. Although details of the latest additions are often kept under wraps until the official launch, a few names have already begun to make waves.

One such artist is Simon Kenny, whose work is described as a fusion of abstraction and emotional expression. Kenny’s paintings are known for their intense use of colour and texture, which evoke a sense of movement and depth. His ability to translate complex emotions onto canvas has earned him a rapidly growing following. "Simon’s work is incredibly powerful," Claire shares. "It speaks to people on a visceral level, and his upcoming shows are highly anticipated." See an example of his work on the next spread.

Another rising star is Danielle O’Connor Akiyama, whose work is a harmonious blend of Eastern and Western influences. Akiyama’s delicate brushwork and vibrant palette draw on her background in both fine art and flower arranging, creating pieces that are both meditative and dynamic. Her recent work has been featured in several key exhibitions, solidifying her place as a noteworthy talent in the contemporary art scene.

The international art scene has also become a fertile ground for Clarendon’s new artists. Mr. Brainwash, a name that is quickly becoming synonymous with modern pop art, has enjoyed a meteoric rise since joining Clarendon’s roster. With sold-out shows that have generated significant media attention and impressive sales figures, Mr. Brainwash has become a cultural phenomenon. "He’s not the new Banksy, but there’s definitely a parallel," Claire notes. "People are drawn to his work because it’s accessible yet thoughtprovoking. It’s a reflection of our times." Mr. Brainwash’s success is a testament to the importance of international exposure for emerging artists. His shows in London, New York, and Dubai have attracted a diverse audience, further cementing his status as a global art icon. Similarly, other artists like Philip Gray, who is set to be introduced

to new audiences at upcoming art fairs, are benefiting from this broader reach.

As Clarendon continues to grow, so too does its commitment to fostering new talent. The gallery’s annual trade show in September is a key event where new artists are often unveiled. While Claire remains tight-lipped about specific names, she hints at exciting new additions. "We’re always looking for that next big thing, and we have some fantastic artists lined up," she teases. "It’s an exciting time for us and for the art world."

In addition to its focus on emerging artists, Clarendon is also expanding its reach through innovative channels. The gallery’s presence on luxury cruise ships and its partnerships with independent galleries around the world are part of a broader strategy to bring contemporary art to new and diverse audiences.

What sets Clarendon apart is not just its impressive portfolio of artists, but the personal relationships it fosters

with them. Claire, who has been with the company for nearly 20 years, embodies this approach. "I’ve worked closely with many of our artists over the years," she says. "It’s not just about selling art; it’s about understanding the artist’s vision and helping them share that with the world."

“It’s nice when new accounts come on board, like Art Space and it was a privilege to come to Gibraltar to visit their beautiful new gallery,” Claire comments. Clarendon collaborated with Art Space Gibraltar at the first Contemporary Art Fair in the world to be held aboard the 5-star Sunborn Yacht in August 24 featuring some of their most celebrated artists, including Mr Brainwash who is represented by Clarendon.

There’s no doubt that Clarendon remains at the cutting edge of contemporary art, and its roster of exciting up-and-coming artists is a testament to that enduring spirit of innovation.

By Jo Ward

THE SEEKER

Simon Kenny

Simon’s work is incredibly powerful. It speaks to people on a visceral level, and his upcoming shows are highly anticipated.

“ “

Claire Soden Brand Development Manager

DeMontfort Fine Art

THE BLESSING

Simon Kenny

With many exciting projects on the horizon, Art Space gallery serves as a fluid environment to support the talent and artistic skills of many. Art Space celebrates artists who offer something different to the current cultural climate with an amazing and proactive team of young professionals based in London and Gibraltar. The gallery seeks to exacerbate new and fresh perspectives to maintain a forwardthinking approach to art today, and serves as a breath of fresh air in its modern revival of the contemporary art scene and curatorship.

The following pages showcase some of our wonderful artists.

See page 198 for our first Art Fair in March based in London.

Dargas Michael

Mike Dargas is a German hyperrealist painter renowned for his ability to capture human emotion with precision. His journey into the art world began at an early age, initially inspired by the works of Salvador Dalí and Caravaggio.

It was in 2014 that he made a name for himself with his iconic Honey Portraits , a series that set him apart in the hyperrealism movement. Dargas’ fascination with the fluidity of honey began as an artistic experiment — capturing how the viscous substance interacted with human skin, creating

an interplay between light, texture, and gravity. These portraits, featuring subjects coated in golden, translucent drips, became his signature. The series explored themes of vulnerability and transformation, as the honey both obscured and enhanced his subjects' expressions, forcing the viewer to engage with the tension between realism and abstraction. His groundbreaking technique not only earned him international acclaim but also solidified his status as one of the most innovative hyperrealist painters of his time.

Click here

to find out more about Michael Dargas.

The series HoneyPortraits explored themes of vulnerability and transformation. “

FLEUR DE LIS Oil on canvas 48 x 72"

ENDLESS COLOUR II Oil on canvas 40 x 60"

MICHAEL WITH ONE OF HIS HONEY PORTRAITS

Neo-emotionalism with

Perez Fabian

Influenced by his travels to Japan, Argentinian artist Fabian Perez aims to combine figurative & abstract styles. He believes the purpose of art is to perpetuate beauty and therefore gives colour to mood in order to make the viewer feel with complex rhythmic patterns.

Likening painting to music, Fabian “compare[s] colour and technique with music and rhythm, the subject matter and composition with lyric and poetry. [He] want[s] to invite the viewer to remain in front of [his] paintings, not feel rejected by them”.

When did you first realise your skill and passion for art creation? I started drawing, like any kid, when I was very young. When I was 7 or 8 I would do portraits for those who came to our home and asked me to.

My mum, of course, was the one who introduced me to art. When I was 10 my mother signed me up to a drawing class, but it coincided with the month of the Soccer World Cup of 1978, so I attended a couple of classes, and then I dropped out so I could watch the matches on TV. I continued to draw and paint with watercolours, tempera, etc. I would grab any material and I would manage to paint, even with synthetic enamel.

It was in Italy when my teacher Oscar Higa, after seeing the drawings I would do at dawn, suggested I should take art more seriously because I could have a great future with it. He was amazed by the proportions, the expressions, the details, etc., because I would draw from my imagination, without copying from anywhere. He knew how hard that was

because he studied fine art. I followed his advice and I signed up for various classes so I could compare myself to others and figure out what level I was at. I won a few prizes and gained confidence that way.

My passion for art creation comes from the imagery from my past that I draw from and place on to my paintings. I paint inspired by beauty and I find a lot of beauty when I recreate my view of my parents’ era from my own memory. I remember a really romantic period full of class, manners and values.

Do you have any other cultural interests aside from painting?

I have various cultural interests, although my collections of Balconies and Tango dancers are a representation of Argentine culture, my studies of the Geishas, the Venetian collection, and the Flamenco dancers are inspired by the other cultures I faced in my life.

Part of this cultural interest is Tango culture from Argentina. What makes Tango culture so special is the passion with which the people leave the dance. The romanticism the couple demonstrates in each tango step. The drama and the passion in the movements, always, in a sensual and respectful way. Very different from the way young people dance today...!

Fabian Perez.

NARCISSUS

Furthermore, I learned to play musical instruments, so that one day I can play in a band with my children, Los Perez Band! I also write to express my thoughts and for my children to read in the future

How did your work begin to gain such recognition?

Some time after I arrived in Los Angeles, I came across a well renowned agent in the world of art which led me to make an exhibition in New York City, at one of the most important shows in the USA: from then on my art was catapulted to the galleries of China, Europe, and Australia.

Commercially, it was the first show I ever did in England, and before the show started, my entire collection of twelve paintings was pre-sold. Also, many students from the whole world write to me, and they ask me questions, and tell me how much I inspire them. And this is among other beautiful stories that fulfil my soul.

I believe my art is popular because people feel themselves in the scene of my paintings. The English women and men with classy, good manners and values, refined... what we can call the “old school”.

What challenges have you experienced in this profession?

Despite everything, whenever I was able to get a moment of mental clarity, I would look at things in a positive way. I had many doubts about my future, but I would take that as a challenge. All these events made me grow up very fast, and I was hopeful that something

good would come out of it. I never felt like a victim. When my friends would come over to comfort me during the worst times, I would tell them... ‘Oh well, it's a good thing that it happened to me and not someone else because I am strong enough and I can take it.’

I would get caught in a feeling of anguish, uncertainty and emptiness when it was time to say farewell to friends and acquaintances, whenever I did those drastic changes between cities, countries and even cultures but I see adversity as an opportunity to learn, mature, and grow.

The good part was that when I would get to an airport, train or bus station, I would leave everything behind me and I would feel as though it was the beginning of a new adventure. But, when I sold a painting for the first time is when I realised that if I sold one, I can sell all of them. From then on I dedicated myself to being a professional painter. Until that point I thought that painters had to be dead to be recognised!

What would you like to accomplish with your art, and what are your future goals?

With my art, I hope to accomplish capturing my subject's soul, because it is the essence of where you will find their true beauty.

When a painter transmits his emotions to the canvas, and one of those emotions is love, he paints even better. Clear goals, discipline, and selfconfidence. The more of these qualities an artist can gather, the further they will be able to go.

It is fantastic when you get a canvas and a few colours for a few bucks, and after you mix them together, they become really valuable. It’s like an alchemist transforming a cheap material into gold.

In terms of future goals, I would like to add something for the kids and students that look forward to making a living through their art. I would like to tell them that most things can be achieved in life with clear goals, discipline and self-confidence. The more of these qualities they can gather, the further they will be able to go.

What are your favourite and least favourite mediums to use?

I usually work with acrylics because it dries faster and I can add texture quicker. The fact that I am not depending on the media to dry allows me to be more focused on the execution.

Acrylics are water base colours and do not need the use of solvents to clean the brushes avoiding harming myself and the environment from toxins. Even though acrylics dry fast on the canvas, I can save my paint sludge for a couple of hours allowing me to use it later or the day after. That way I don’t have to dispose of paint all the time. Another way of helping nature.

I also use watercolour, ink and charcoal. I rarely worked with oils in the past.

Have any specific artists influenced your work, if so, which ones?

I used to study the old masters and I admire many of them for different reasons, like Cezanne for his brush-

SUNNY AND HOT

SUMMER NIGHT WALK II

For the kids and students that look forward to making a living through their art, I would like to tell them that most things can be achieved in life with clear goals, discipline and self-confidence. “

strokes; Picasso for his versatility; Dalí for his imagination; Rembrandt and Caravaggio for the palette and drama, etc. Even though I never feel identified with them. Since the beginning my work was naturally different from them. That’s why I created my own technique called Neo-Emotionalism, a movement with no technical boundaries.

Although my favourite, Pablo Picasso, was capable of painting as traditionally as the academies of art requested, and at the same time, he became the inspiration to contemporary and conceptual artists. He was constantly working and improving his skills.

Do you have any memorable or funny anecdotes to share with us from your journey as an artist?

This question is nice to remember an old story. Around the year 2000, I had one of my all time favourite paintings exhibited in a museum in Coral Gables, FL. The curator of the museum called me because he had a buyer for my painting. I let him know that I would keep the painting in my own private collection. He insisted, but I didn’t change my decision. After the exhibition finished, I got the painting back. A few weeks later, a big fire in my studio burned my collection, and the painting I didn’t want to sell previously. After that event I learned a really valuable lesson, that the things you create, over all, belong to the universe.

What are your favourite movements within the history of art?

I always explain that for a long time, I did not want to define my way of painting, so as to not limit myself, but a few years ago I felt the need to create my own movement, that I called Neoemotionalism. A movement where the importance of creating with emotion goes beyond the technique used.

Neo-emotionalism will be recognised by the artists who, after creating their work, will simply feel liberated and also by the viewer, when they feel the creation in their heart.

Now, on social media I am beginning to see new artists that tag Neoemotionalism, who identify with the flexible themes that I have expressed. They post their paintings created with emotion.

What projects are you currently working on or will you be working on next?

The most important project at the moment is the opening of my own gallery in Melrose Art District, Los Angeles. For now, we are receiving clients by appointment only but I really look forward to open the doors to the whole public.

After living in the city for more than 20 years I will finally show my work to the Angelinos. My team is very enthusiastic and we are strong believers that physical galleries are not dead.

Beyond considering myself a traditional thinker, the modern world leads me to have to adapt to the actual virtual technology that was presented even stronger to us during Covid. Many consider the virtual art to be the business of the future for artists and galleries.

I am working on a couple of projects that involve virtual reality. The first released was the app created with my last book, “Neo-Emotionalism - The New Era”. The app includes an Augmented Reality experience. When you scan the book cover or the Fine Art Giclee titled “The New Era” you can see the figure from the painting coming to life and talking.

Several commissions are also on my waiting list and a new collection will be released in the UK by summer 2025 and for that I prefer to keep the mystery until then!

FLAMENCO EN BLANCO (With musicians)

ARTIST BIO

Hawes Graeme

Graeme Hawes is an experienced glass-blower who fuses together traditional handmade techniques with a contemporary edge in his brightly coloured glasswork.

Working from his studio in an awardwinning restored hosiery factory of Leicester, Graeme works for private commissions, galleries and retail outlets including hotels and wellrespected lighting and chandelier outlets. His colourful compositions

of circular sculpted glass gracefully reflect the sunlight at all angles which can be paired together to create a unique and special centrepiece design, or as larger individual sculptures to decorate and uplift any space with their surge of colour.

Hawes.

The abstract colours of

Breitkopf Isabelle

Isabelle Breitkopf is a renowned contemporary artist that lives and works in Mainz. With a passion for modern art, Isabelle studied cultural anthropology and business administration all while discovering her passion for abstract painting.

With painting being a break from everyday life since she was a young child, her current portfolio of paintings and sculptures captivate the viewer with its abstract play of colours. Ranging from soft to cheerful compositions, her body of work incorporates complex structures and a unique expressiveness which instantly calls the attention of the viewer. Featured in numerous magazines including House & Garden, Isabelle’s bold colour choices have gained much recognition over the years, and create a rich palette reminiscent of the colour field and action painters of the Abstract Expressionist movement.

When did you first realise your skill and passion for art creation? I developed my passion for art as a small child, where I painted pictures of flowers, especially for my grandmother. Since then, art has accompanied me throughout my entire life and hopefully will continue to do so until the very end.

Do you have any other cultural interests aside from painting?

I am actually very interested in every form of art. I love design, architecture, going to concerts, and I enjoy all kinds of different forms of creativity.

As long as my art makes others happy, I have achieved everything that I want and set out to do. “ “

here

find out more about Isabelle Breitkopf.

NOODLE PACK

Art has accompanied me throughout my entire life and hopefully will continue to do so until the very end. “ “

MANNI, GUNTER, PETER, UWE

Each 70cm X 70cm

Acrylic on canvas

How did your work begin to gain such recognition?

It all started because I had a lot of time and boredom at the beginning of the Corona Virus pandemic, and that's why I thought I could put my pictures on Instagram. Of course, I also had a lot more time to paint and little by little I received inquiries as to whether my art could also be purchased. I then slowly started to sell my pictures, which is still a huge gift and reward for me.

What challenges have you experienced in this profession?

The art market is huge and there are many other great artists, so it's not always that easy to assert yourself. Especially as an artist that hasn’t studied or learned art formally. I always have the feeling that I'm not really recognised, especially by more established galleries around the world. But thankfully I've met people who simply see my art for what it is, like it, and want to support me in my professional endeavours.

What would you like to accomplish with your art & what are your future goals?

The biggest goal for me is that I can always make my art and, ideally, make a living from it. As long as my art makes others happy, I have achieved everything that I want and set out to do.

What are your favourite and least favourite mediums to use?

My favourite medium is definitely acrylic paint, but I’d say that I don’t have a least favourite one.

Have any specific artists influenced your work, if so, which ones?

There are definitely artists who have influenced me subconsciously. To name a couple, I’d certainly say Gerhard Richter and Katharina Grosse.

What are your favourite movements within the history of art?

I absolutely love the era of Expressionism within the history of art movements.

What projects are you currently working on or will you be working on next?

There are a few projects and exhibitions that I am currently working on, particularly in my geographical region. Among other things, I will be creating new prints of my work, and will also be collaborating with a distinguished winery which I’m very excited about.

the end

There are definitely artists who have influenced me subconsciously. To name a couple, I’d certainly say Gerhard Richter and Katharina Grosse. “ “

ARTIST BIO

Bent Lorna

There is depth to be observed with hidden layers, a story behind each and every one. The intention is to create an engaging piece, to study and to contemplate, to interpret the messages and feelings that lie within…

Lorna Bent is a Manchester-based artist with a main creative focus upon a singular female form, modelled after her own self-portrait. Lorna’s work embraces the portrayal of often dark emotions via hidden and mysterious beauty, with tenebrism at the heart of her work. Lorna says ‘I have always found beauty in what others may consider dark. For example, I find beauty in derelict landscapes rather than beautiful, lush, green rolling hills. I like dusk and sunsets, abandoned buildings. There is beauty all around. My affection for the mysterious and different perspectives of life has always

inspired me, from dark moving music and films and theatre productions. Emotionally we are connected to dark places. Some people may find that difficult, whilst some may find that appealing. Through my painting I tell my own stories of emotions and human connection with which we all can relate’. Lorna has studied art and design and photography and cites Helmut Newton as an inspiration. In 2024, she moved into a new creative studio and looks toward a new period of creativity and development of her noir style

I have always found beauty in what others may consider dark... Emotionally we are connected to dark places. “

ILLUSIO

Wendelin Caroline

Caroline Wendelin is a Finnish artist based in the south of Spain. Through her art she explores the search of identity by using digital tools, which define social interaction and human mentality. Previously a model, Caroline now creates custom commissions and organises yearly exhibitions as she spends her days painting alongside her little ones from her studio.

When did you first realise your skill and passion for art creation?

I have always loved painting, already as a child. I watched as both my parents painted beautiful trompe l’oeil murals and growing up in such a creative home made me find my way to my own artistic expression in a very natural way. Between the ages of 18 to 21 I travelled around the world, I studied and tried out quite a few different jobs, but I was always drawn back into art. At 24 I decided to become a full-time artist.

Do you have any other cultural interests aside from painting?

I also play the piano and really love photography.

How did your work begin to gain such recognition?

Back in 2018, I started with a small art exhibition in a restaurant in Marbella, with no expectations, but I ended up selling every piece that day, so people started to know about my art here. Then I began sharing my work on Instagram, a lot of people started to follow my page, and I’ve been selling art ever since!

What challenges have you experienced in this profession?

One of my biggest challenges has been shipping my paintings, as they are quite big and I have to build the shipping boxes myself. I’m often worried the box might get damaged in transit. Mentally, my biggest challenge is the search for my own unique style. I see so many artists copying each other, using the same concepts as other more famous artists. Some days I feel like I need to paint portraits and the next I would like to paint abstract art… My style keeps evolving and I’m still testing different mediums, but I know I’m getting closer each day.

What would you like to accomplish with your art & what are your future goals?

I want to make people feel something beautiful when they see my paintings, make them dive into a story. Sometimes I write a short description of the meaning of the painting to guide the viewer in a certain direction, but each person will feel differently about each painting. I just know that in a world full of injustice and so much negative news, I want the person looking at my painting to find a sense of peace, introspection, warmth. Make them feel that a romantic view of life is possible.

about Caroline Wendelin.

In a world full of injustice and so much negative news, I want the person looking at my painting to find a sense of peace, introspection, warmth. Make them feel that a romantic view of life is possible.

What are your favourite and least favourite mediums to use?

Right now I love using acrylics, but this changes with the seasons!

Have any specific artists influenced your work, if so, which ones?

My mother was my first influence, and I still have her artwork hanging around my home. From the old masters, Monet is my favourite, and a daily inspiration to me is the Australian artist Jai Vasicek.

Do you have any memorable or funny anecdotes to share with us from your journey as an artist?

I can share one of each! Here’s a funny one: as most owners of a small business, I work on my social media a lot, so I share videos where I’m painting but also making some sort of joke or some dance that might be trending at that time. Earlier this year I was meeting with a client, who wanted to buy a couple of paintings for her new home, which was so elegant and proper, and she and her husband were extremely formal. She told me she wanted one of my paintings in particular and wanted to show it to me on her phone. I thought she would open my web page but instead she heads to my Instagram and we all stand silently watching my video, where I’m being goofy and making fun of myself with some silly dance moves. The painting she wanted was in the back and she kept trying to pause the video at the right moment to zoom in. It felt very embarrassing in the moment but later I had a good laugh about it! As for a memorable anecdote, back in 2020 I had the opportunity to fill the Amare Hotel with my art by covering stairs, lifts, doors, walls and even

some furniture with printed vinyls of my artwork. This was one of the most memorable projects I worked on!

What are your favourite movements within the history of art?

When walking around a museum I will usually stop for the longest when looking at paintings from the Romantic or Impressionist movements.

What projects are you currently working on or will you be working on next?

I'm currently painting private commissions for clients. I currently have a two-month waiting list so I can’t work on anything else right now. However, next spring I hope to organise an exhibition here along the Costa del Sol in Spain which is very exciting!

When walking around a museum I will usually stop for the longest when looking at paintings from the Romantic or Impressionist movements.

ARTIST BIO

Stutter Kirsty

Kirsty Stutter is a Suffolk based artist who specialises in tactile sculptural wall hangings. Balancing the various aspects of her life, Kirsty combines fabrics such as leather and suede with paint, pastels and collages.

Click here

to find out more about Kirsty Stutter.

She enjoys the mechanical process of photographic screen-printing where images are printed onto acetate, developed onto a screen using a light sensitive emulsion and then exposed to UV light. Kirsty explores colour, stencilled patterns and ink work in her creations, and thrives from the beginning stages of the work up until its very end, stating that “starting a new piece is like a new adventure, heading into the unknown – I always think I know where I am going, but invariably the journey is never straight forward”.

DON'T WISH IT AWAY

RETHINK

Without exception, in everything I do there emerges a familiar pattern of finding order from chaos, which is so compelling. Everything is fun, and always should be.

“

The paste-up style of

GuyDenning

Guy Denning was born in North Somerset in 1965. He has been obsessed with visual art since childhood and started painting in oils at the age of eleven after receiving a set of old paints from a relative that had grown bored with them.

Guy peppers west-country towns with his particular paste-up style and sometimes surreal political messaging, alluding to a time when graffiti was popularised. As a self-educated artist, not many street artists reach the heights that Denning has, let alone simultaneously cross the borders into contemporary, urban and fine art whilst referencing the grand tradition of European Pre-Modernist painting.

What inspires your artwork?

Inspiration comes from anywhere and everywhere. I think I am a fundamentally visual animal and I can be equally inspired by the atmosphere of an industrial landscape or a stormy sky. A person with an unusual body form walking down the street has inspired me to make a piece of work as has a passenger with a full afro haircut on a bus. It's just because there seems to be a picture already made that perhaps I feel the need to recreate or repurpose in some fashion. Like everybody else today I'm endlessly subjected to a barrage of visual ideas created by others via the screen; it's impossible to ignore the influence these have. Even if I don't directly copy what I've seen I will take on board the visual aesthetics that strike a chord with me. I can bump into a film; a good recent example is Béla Tarr's 2011 film 'Le Cheval de Turin'

which led me to adding working horses as a subject in my work. It was a subject that I had previously considered as I had always been inspired to make a painting in a similar vein to Turner's 'Death on a pale horse', but it was that film that finally kicked me into action. The first large horse drawing was a surprise for many followers of my work but now they're becoming a regular addition to the cast of characters in my drawings and paintings.

Music is a major part of my life and lyrics or song titles have sometimes inspired an idea to progress. As has literature, other artists' work, the news, a memorable turn of phrase in a passing conversation from a friend. And sometimes it's from my own work because I often work in series or sets of work to try to fully explore an idea, and then one piece may have an aspect that I want to repeat or modify a little. The inspirations come from everywhere and perhaps that's one of the secrets of being able to produce so much work. A creative person has to fundamentally be a reservoir of mentally found and thieved ideas - held onto for that appropriate combination and regurgitation.

Guy Denning.

DAYS OF WRATH

(confutatis maledictis)

150cm x 150cm

What is the process & medium you use to create your art?

I have no set methodology beyond that everything starts from a drawing. Most of my drawing is done with conte pencil or compressed charcoal. But I'll happily have a go with any medium I bump into. My preferred painting medium however is oil as it's the most interesting and potentially variable. I've been oil painting since the age of eleven.

Who are your biggest artistic influences?

This is one of the shortest questions you've asked and it has the potential to be the longest list. It's also a list that is perpetually growing so here's a very unsatisfying (for me) answer! For me one of the greatest and consistent artists there has ever been (and still sadly unknown to a greater public) is Kathe Kollwitz. Then there are the Black Paintings of Francisco Goya and the late paintings of Rembrandt, the sculpture of Camille Claudel, the pastels of Paula Rego, the abstraction of Franz Kline, the figurative narration of R B Kitaj, the one painting 'Young Spartans Exercising' in London's National Gallery by Degas... You can also throw in work by Rauschenberg, Bacon, Cassatt, Sargent, Kahlo, Delacroix, Turner. My latest discovery (a few days ago) is the work of Gillian Pederson-Kragg... I'll stop now - it never ends.

What reaction do you wish for your art to incite in the public?

I hope I can just touch them a little emotionally. The more I do this job, the more I study art theory and art history, the more that I read about cultural philosophy and critical analysis (and they are subjects I love and that frequently inspire my work), the more I realise that when I'm gone, and it's just the work on the wall and the viewer looking at it, that is really the best and the most human thing we have left.

What difficulties have you encountered when creating your artworks?

Time is my enemy. I have no shortage of ideas and avenues I want to investigate but I worry that I'm running out of time. Previously, the time problem was the actual finding any free time to make work when other paid work and family life was having to take priority. Regarding the problems with particular artworks, if I've found a painting to be not working I'll just put it aside and return to it later. I've had paintings that have taken up to a decade to finally come to a point where I send them on their way. Only a couple of weeks ago a half completed canvas turned up stacked against a wall when I was looking for a new canvas to work on. It was a surprise to me and it wasn't all that old!

What motivates you to create art?

I don't need motivation; it's something I just have to do. I discovered that it was a skillset that temporarily fended off bullying at primary school. From that sense of self-preservation and fear of getting beaten up it became something that I improved at because I was doing it daily. Actually, thinking more about it... it's not strictly true that there's no motivation. Now that I'm coming up on

The more I do this job, the more I study art theory and art history, the more I realise that when I’m gone, and it's just the work on the wall and the viewer looking at it, that is really the best and the most human thing we have left. “

sixty years, there's the nagging sense in the back of my head that there is a painting or drawing to be made that will stop all viewers in their tracks. Perhaps that's one of my drivers now - the deranged idea that I've got one of those magically canonical pieces of artwork still inside me, waiting to come out. We all have to dream I suppose; it's a dream that offers no harm to anyone else.

How has your style changed over time?

I think like most older artists, I'm settling into a direction that I'm happy to explore more slowly and thoroughly. I've ambled down many artistic venues; in the early to mid eighties my canvas work was figurative, then it slowly turned semi-abstract and by the early nineties was completely abstract. Then, personally, I considered this a creative dead-end and slowly returned figuration to the mix. Also at this time (this was pre-internet days) I'd become resigned to never having a full-time career in making art so I started to bring in the stencil and cut out text work that I'd previously kept distinct with my political street work. There was the realisation that I could do what I wanted - as there was not (then) a commercial space for my work in rural southwest England. One constant, since childhood, has been drawing. That has always been the foundation stone of my work as it was always possible. It never required expensive materials and I always wanted to find the time to do it.

What do you think of the Art Space gallery and having your artwork exhibited with us?

Paul was buying my work before I was aware he had a gallery. He dropped a mention of a new gallery and its address into the conversation one day and the only option for me to find out more was to virtually run around

Gibraltar on Google maps. I was immediately taken with the external architecture, but when he showed me photographs of the internal space I was seriously impressed. It's a beautiful space and it's always a pleasure to see my work sited in a space that's been so carefully created. For an artist it is often just great enough to get that opportunity of work exposure, but to get that exposure in a venue where the exterior architecture, the interior space and the lighting adds to the sense that the art work is being treated seriously and respectfully is a privilege. Another equally important aspect for me, having been in this (occasionally shady) business for quite a while, is the respect that Paul shows to the work and the artists that he exhibits.

If you could describe your art in 3 words, what would you say? Always trying harder

Do you have a favourite gallery or museum?

I think I have a favourite part of one museum... That's the gallery in the Prado that holds the Black Paintings of Francisco Goya. I spent an afternoon in that room just looking and learning and if I had the opportunity to go to Madrid again it would be an experience I'd repeat. But otherwise, I tend to love any venue that holds art to be looked at. The character of the building, of the curator or director all feed into what is shown and how it's shown. I'll often drop into shows that I think I probably won't like because there's usually a surprise waiting to change my mind.

LA FETE EST FINIE

Paste up, Paris 240 x 310cm

ARTIST BIO

Ben Jefferey’s work is centred around two stages. The canvas is firstly primed with a base colour, and after drying, a more detailed layer is then added.

Click here to find out more about

Jefferey Ben the end

The artist showcases a portfolio of diverse works ranging from portraits to landscapes in both pencil & oil paint. Favouring bright colours to create a unique & modern style, Ben takes inspiration from picturesque views of the Herefordshire countryside, as well as from his other cinematic interests in film, Sci-Fi and special effects

Ben Jefferey.

CAUGHT JESTERS

Limited Edition No. 11

Framed 87 x 119cm

Hand signed by Ben Jefferey

A VISION IN PINK

Limited Edition No. 14

Framed 81 x 81cm

HEPBURN BLUE

Limited Edition of 75 Framed 81 x 81cm

The unique mixed media style of

Sannib

Sannib is a British contemporary artist of Syrian-Lebanese descent who lives in London. His work focuses on contemporary portraits and abstract themes.

Utilising his skills in both graphic design and painting, Sannib has developed his unique mixed media art style by blending graphic elements, painting techniques and textures. He uses several materials and mediums, combined with vibrant colours and finishes.

What inspires your artwork?

I find inspiration in bright colours, textures and lights. I discover my colour palette in nature’s colour scheme, with a focus on the golden shades of the earth and the blue shades of the sea and sky.

What is the process & medium you use to create your art?

My work process includes combining modern digital art with traditional hand painting. I draw all portraits digitally, creating the complex multilayers of the background and the surrounding colour scheme. Then I print the artwork on a high-quality canvas. After printing, I paint over the canvas by adding multi mixed media mediums, creating textures, and add acrylic paints by hand. These artworks are a mix of print, acrylic golden paint and textures.

Art is my oxygen, I cannot live without it, and that is my essential motivation. “ “

What difficulties have you encountered when creating your artworks?

Lack of inspiration is a barrier between me and the canvas. Choosing the right colours and finding the right mood to create and paint is always challenging. Sometimes a few days or a week can pass by without holding a brush if I am not in the proper state of mind.

Sannib.

THE KING OF REGGAE Mixed media on canvas

BACK TO BLACK

media on canvas

Do you intend for your artworks to be received in any particular way by the viewer?

Each person has a contrasting side to their personality which is hidden. Only one side of the individual’s face is revealed intending to highlight their personality which we are already aware of. The hidden side symbolises undisclosed aspects of a figure's personality and parts of his or her life story that are unknown to the public. It represents life stories and secrets that may not be known to anyone. I try to keep my style recognisable in terms of the way I execute the paintings and the colour scheme I use.

Who are your biggest artistic influences?

Browsing other artists’ works, visiting art galleries and travelling are certainly the three elements which inspire my craft.

What motivates you to create art?

Art is my oxygen, I cannot live without it, and that is my essential motivation. I challenge myself everyday to create something different, something unique and special.

How has your style changed over time?

I found that I like to change my style every couple of years, as this keeps me exploring. I started with pure abstract paintings, moved to portraiture and now I am combining both genres to create abstracted portraits.

What do you think of the Art Space gallery and having your artwork exhibited with us?

I am so happy that my artworks are displayed at Art Space. It’s a great place to show my art to the public and art lovers alike!

If you could describe your art in 3 words, what would you say?

I would say that my work tells a story, is mysterious and certainly vibrant.

Do you have a favourite gallery or museum?

My ultimate favourites would be the Saatchi Gallery in London and the Munch Museum in Oslo, Norway.

the end

MY PEARL

Browsing other artists’ works, visiting art galleries and travelling are certainly the three elements which inspire my craft.

ARTIST BIO

Chronicling a fascination with 1950’s and 60’s iconography, Robert Mars creates artwork that celebrates the commonplace objects and icons of America.

Click here to find out more about

Mars Robert the end

The artist manipulates vintage printed materials, and demonstrates a rich colour palette and tongue in cheek attitude with his abstract compositions. Robert’s roots lay in Abstract Expressionism, which he pays homage to by merging his own concept of personal idols with those of mainstream culture.

Robert Mars.

ARTIST Q&A

The luminescent portfolio of

Orosz Beata

Contemporary artist and architectural designer Beata Orosz joins us for this exclusive interview about her life and work. Taking inspiration from the Renaissance and artists such as Leonardo da Vinci and Claude Monet, Beata seeks to evoke emotion in the viewer with her luminescent portfolio of neon-coloured canvases that instantly capture the attention of the viewer.

When did you first realise your skill and passion for art creation?

I believe art and creativity has always been an integral part of my life, as far as I can remember I have always been fascinated by creativity and curiosity stemming from either traditional art, architecture and fashion. As a child I would often gravitate towards things which had a creative flair, unique design or a sense of imagination.

Do you have any other cultural interests aside from painting and/ or sculpture?

Interior design and architecture are still a big part of my life. I studied in Budapest and gained a diploma in interior design, after which, I graduated in architecture from Nottingham Trent University in the UK. I always believed that art and architecture go hand in

hand as they share a deep intertwined relationship, blending aesthetics with functionality, evoking emotions, reflecting cultural values and inspiring creativity. My passion for music, food, the natural world and different cultures has allowed me to bleed these emotions and experiences into the way I create my art.

How did your work begin to gain such recognition?

I have been exceptionally fortunate to work with some incredibly supportive people, art galleries and organisations, all of which have helped me gain greater exposure and encouraged me to be bolder and continue to push my artistic boundaries. I am forever grateful to all those who believed in me.

An interesting reaction to my work has been how people search for the power cable connected to my artwork as they believe the paintings are illuminated by electricity! “ “

here

find out more about

Beata Orosz.

BURNING

What challenges have you experienced in this profession?

I believe most artists will agree that in this profession, there are constant challenges we continually face including those that stem from both internal and external factors. Staying relevant in a fast-changing art world requires constant innovation and the immense pressure to achieve relevance and recognition can be overwhelming. Staying positive and maintaining the certainty of your vision can be a difficult task at times, however with determination, perseverance and a passion for my work it helps me ease these doubts and challenges.

What would you like to accomplish with your art/what are your future goals?

If my art can evoke a deep sense of positive emotion for those who view, purchase or read about my various works, that would be considered as a great accomplishment. The entire existence of my art works revolves around the emotions that people encounter when they see my paintings. I hope that many people from around the world with different backgrounds and cultures can appreciate my art with joy and happiness. Inspiring future generations to follow their passion, producing work which is somewhat timeless, communicates peace and calmness in the eye of the beholder, especially in a world where peace and humanity seem ever decreasing.

What are your favourite and least favourite mediums to use?

I enjoy painting with oil, especially on canvas as it is long lasting, durable, creating depth, dramatic effects but maintaining its natural surface. It has more of a sentimental value and somewhat of an earthy, natural feel to it. Pencil drawings are also something that I love, I use this method for my card making for special occasions. It is a quick but effective method to create personal and meaningful art. I find watercolour art beautiful, however it would probably be my least favourite medium to explore because achieving the desired effect on paper is more complicated and less suitable for larger scale artworks.

Have any specific artists influenced your work, if so, which ones?

Although there are many great artists that have inspired me, my most significant inspiration would have to be Leonardo Da Vinci for his endless talent, intelligent imagination, formidable curiosity and for his incredible works of art. Claude Monet would be another strong influence on my work for his interaction of colours under different lighting conditions and for his broken brushstrokes, allowing the eye of the viewer to blend the colours together and bring the paintings to life.

Do you have any memorable/ funny anecdotes to share with us from your journey as an artist?

One memorable event I recall quite vividly was the time I had a meeting at an art gallery with a few pieces of my work to negotiate a partnership. Whilst the Gallery Manager was viewing some of the paintings, a couple walked in and immediately purchased one of the them. This is a fond memory that always brings a smile to my face. Another interesting reaction has been people searching for the power cable connected to my artwork as they believe the painting was illuminated by electricity!

My most significant inspiration would have to be Leonardo Da Vinci for his endless talent, intelligent imagination, formidable curiosity and for his incredible works of art. “ “

What are your favourite movements within the history of art?

The renaissance period would be one of my favourite periods because artists developed a deeper understanding of two-dimensional works, helping bring art to life and they have mastered the use of light, shadows and geometry. Whilst this period was contemporary for its time it also revived more classical forms of art.

What projects are you currently working on/will you be working on next?

Right now I am focused on creating larger works of art which revolve around light and its warmth, its powerful illumination and its ability to evoke positive feelings. I am currently working on exploring and expanding the ways to display my art around the world.

the end

art fair London

The Dockside Vaults consists of a large network of tunnels spanning 10,000 square feet. Boasting an architectural marvel of brickwork and raw aesthetic, 10 cavernous cellars create the ideal space for a variety of events and shows. Fusing together contemporary qualities with 160 years of history that permeate through every corner of this remarkable venue, the London Art Fair hosted by Art Space will run for 2 exciting weeks and showcase some of the world’s greatest talents.

With a variety of exclusive VIP events taking place on both the 13th and 20th of March 2025, live music, beverages and a selection of canapés will accompany these memorable moments of culture and creativity.

In a chance to showcase artwork to international art collectors, the London Art Fair will be the first of numerous Art Fairs to be hosted internationally throughout the Year.

Gearing up for various other destinations to include Marbella, Monaco, Seville, Dubai and Gibraltar, 2025 starts off with a large portfolio to be showcased in the mecca of contemporary culture that is the vibrant and bustling city of London.

St. Katharine Docks

Ivory House Dockside Vaults

London

Art Fair dates: 14th - 25th March

VIP nights: 13th & 20th March