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CREATIVPAPER Magazine

Vol 003

Issue 012


CreativPaper is an environmentally aware platform and publication dedicated to supporting and promoting emerging creative talent alongside established professionals whilst being committed to bringing awareness to social and environmental issues. Thank you, Jimmy Outhwaite and Jefferson Pires

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Contents

04 LUKE DESMONE 08 ANTHONY D. KELLY 14 JENNY BENNETT 16 GRO FOLKAN 20 JOSEFINA TEMIN 24 ERNESTO IBANEZ 28 STEFFANY BRADY 32 JESSIE PITT 36 EN LIN QING 40 ELLEN GRAEL 44 HARLI TREE 48 ANNA PEAKE 54 ERIC C. JACKSON 58 PETRA KNEZIC 64 COR FAFIANI 68 MARLOWE EMERSON 72 DEVON GOVINI 76 DAVID DUNNE 80 AGNES PARCESEPE 84 WILLIAMS DELABONA

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Cover Artist

LUKE DESMONE lukedesmone.com

Our memories play an important role in who we are. Experiences, lessons and emotions all come together to shape every step we take. An amalgamation of the joys and disappointments of life. Artist Luke Desmone uses this sense of memory to communicate his fascination with the misunderstood and fantastic, addressing humanness. He also strives to examine the role that society and its imposed archetypes have on us, our personalities and more importantly, our behaviour with one another. Using ceramics as a medium, he tries to create the humour and pathos that closely relate to his experience and general confusion about life and the individual.

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Above: A Boy, a Bird, and a Bag, Ceramics and Glaze, 2017. Photography by: Perry Melat

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Above: A Relic of Boredom, Ceramics and Glaze, 2017. Photography by: Perry Melat

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Above: Somethings Happen There, Ceramics and Glaze, 2018 Photography by: Perry Melat

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Cover Artist

ANTHONY D. KELLY freeformtrouble.com

A freelance illustrator, writer and visual arts practitioner, artist Anthony D Kelly, bases his practice in Castlebar, County Mayo located on Irelands West Coast. Not restricted to creating art, Anthony has extensive experience as a Gallery Administrator, Curator and Project Facilitator from his time at Basement Project Space an artist-led initiative which was based in Cork City, Ireland. Currently training in Humanistic and Integrative Psychotherapy, he uses art as an engagement tool, focussing on social, political and global development issues. We had a conversation with Anthony where he touched on various topics ranging from his current project ‘Notional Geographic’, our unhealthy relationship with anxiety and environmental conservation. Is it true that you are training to be a Psychotherapist? Could you tell us a bit more about that? Yes, for sure. I am currently training to practice as a Humanistic and Integrative Psychotherapist. It is tough training and emotionally intensive, but the learning is fantastic. It is client centred, meaning that we consider the client the expert in their own lives, and they lead the process. We take elements from many different techniques and schools, including Gestalt, Art Therapy, Process Oriented Psychotherapy and Psychosynthesis, we are really learning to be there with someone through any of life’s tribulations. On a personal level, I feel that it has helped me really grow to understand myself a lot

better and my art practice has definitely benefited from that. Could you tell us a bit more about your current project ‘Notional Geographic’? The Notional Geographic Project has been gestating for quite a while now; there have been intermittent eruptions of sketches and fragments of stories coming to mind. I have bound several basic copies so far, but nothing I would deem a finished product just yet. The idea is to create transient journals of short stories, poetry and illustration; I will bind them and make small editions before dispatching them to friends in the four corners of the globe. These copies are to be left behind in coffee shops, on buses, 08


Above: A Growing Tendency, Digital Collage, H:15’’ X W:12.5’’, 2018

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Above: All Dried Up, Digital Collage, H:15’’ X W:12.5’’, 2017

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passed on amongst their own friends, and generally lost where they will be found. There is a note contained in the introduction asking that once it becomes an object that is no longer used, to please set it free again by donating it or intentionally losing it somewhere new. With this project I am challenging myself to write several short fiction pieces, this is a new practice and with that comes for me both the feeling of adventure and a sense of intimidation that is to be overcome. I will push on and get there, and I feel that in the learning my wider practice as an artist will be deepened. I have also always enjoyed how things which are unique stick out from the background, like a treasure; and with this project, I want to have a little bit of fun seeding some of that out into the world. Some will find permanent homes, but hopefully, other copies will manage to travel about a little bit. How important is the transition between interpretation and expression of an emotion or expression in art for you? Rather than a transition, I feel there is a dance between our experiencing, interpretation and expression of things. When we encounter something that touches us deeply, whether that’s visual art, poetry, music, film, literature, a well-written video game or a valued relationship, a process of weaving occurs. There is a sort of invisible alchemical interplay between ourselves and the other in which we are changed. This process is very important in art and in life as it extends our personal experiences beyond our everyday frames of reference, challenging us to grow and form new understandings and perspectives. I feel that this is a powerful part of art’s paradoxical facility to affirm our nature as separate individuals, while reminding us of our deep human commonality.

There’s no denying that we live in an age of perpetual anxiety, always connected, always rushing. How do you cope with this? Ha Ha Ha, you can say that again. My phone goes on flight mode for long periods, and often, that is for sure. I do a lot of my work on a computer, so I am considering getting one of those apps that will limit my social media access to a particular window of time in every day. I find social media useful in keeping in contact with colleagues and friends, getting work seen and even finding opportunities, but these platforms are engineered to play on our brains dopamine reward centres and keep us hooked, perpetually, uselessly scrolling away our time. It’s certainly a technique that works on me. Although it is not always possible, I try to eke out at least one day in every week when I don’t have any other commitments, so that I can wake up late, drink tea, exercise, listen to music and spend some valuable ‘doing nothing in particular time’ with myself. Meditation has also been an important practice for me in learning how to catch when I am distracted and to bring my focus back to the task at hand, as well as learning how to let go of things when they are unhelpful or unhealthy. It gets tough out there, be kind to yourself. What is your advice to artists who might be struggling with the pressures to create? When we are moving too quickly smaller tasks can seem to kind of amalgamate into one big unassailable job, this can cause overwhelm and scupper us before we start. While it might sound counterintuitive at first, step back, slow down. Put on some good music, assess what you need to do, whether that is writing a proposal, research exhibition opportunities or make some work, and then while being reasonable with yourself about what can be done, prioritise. 11


Mono-task when you can, I know that it can be difficult these days with so many things engineered to distract us. I find that the more I can allow to myself to focus in and get lost in making work, the more I can follow my own intuitive process to completion, then the deeper and more satisfying creating becomes.

corporations get on board with fossil fuel divestment and incentivising renewable energy research and infrastructure. The Paris Agreement was a great step forward, but I think we are going to need some big structural changes and more quickly, while we still have some chance of effecting what environmental changes do come. There is a powerful old guard of vested interests clinging to profits and influence, over the longevity of our Earth.

To overcome procrastination, commit to doing even a small amount of work, even if at first if this means setting a timer for twenty minutes to get you over the starting line. Creativity begets more creativity, and once you enter a state of flow, the work will just come (Usually). If you are still feeling stuck, feed your mind by checking out the work of others, reading on a new topic, listening to a new podcast or whatever else you do for inspiration. The broader your experiences, the deeper the well you will have to draw on. Daydream and then pay attention to what happens. When the mind is not focusing on the outside world or engaged in task-oriented thinking, the brain instead switches its activity to a suite of regions known as the Default Mode Network (DMN). When we are engaged in this mode of processing instead of focusing on outside tasks, the mind joins loosely related dots, dots that we had not previously considered to be dots and that thing over there that’s not a dot, but let’s get it in the mix anyway. In this way we generate new perspectives, contexts, narratives and meanings, finding ourselves suddenly struck by organically emerging creative moments. Save them for later. Forget perfection . . . It’s a trap! Environmental conservation is undeniably important and yet not enough is done about it, what are your thoughts on that? Small initiatives and grassroots movements have certainly been a really good start, but we need to see more governments and

Planned obsolescence in manufacturing, the single-use plastics drowning the seas, dire air pollution, wholesale deforestation, fossil fuels, strip mining and our whole paradigm of infinite economic expansion needs to be looked at. To some that might sound like a clarion call for some idealistic utopian future, but the truth is our constant pursuit of economic expansion is clearly not making us any happier; if we keep overburdening the earth there will be hell to pay, and quite frankly we are already seeing the beginnings of it. Could you tell us a bit about Castlebar, the town you live in? My hometown, Castlebar in County Mayo, Ireland is nestled inland just a few miles from Clew Bay on the stark Atlantic coastline. There is so much history here, etched into the landscape, with the ruins of Castles, Old Linen Mills, and ancient Crannógs (fortifications built on artificial islands) dotted about the nearby hills and lakes. The air here is fresh, and the golden autumnal light has a particularly magical quality to it. In this part of the world, you are never too far away from some sight of great natural beauty; it is an inspiring place. Of course, the craic agus ceol is never too far away either. END

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Above: A Negative Loop, Digital Collage, H:15’’ X W:12.5’’, 2018

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Artist Feature

JENNY BENNETT jennybennett.com

Born in 1950 in Hastings, New Zealand, artist Jenny Bennett grew up in the rural countryside of her beautiful home country. After graduating with an M.A (Hons) in Anthropology, she moved to the city of Whangarei where she lives. After the birth of her first child, Jenny began to experiment with art, using mediums ranging from clay sculpture, printmaking, flax weaving, pastel work and collage. She paints to create something out of nothing, taking her viewers on journeys that she has experienced. She firmly believes that art, in its plethora of forms, provides us with the ‘anti toxins’ we need to live. The organic shapes in her work are a direct reflection of the beauty around her. She believes that participation is essential in every aspect of art. From creation to viewing and listening, it is these experiences that can move us.

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Above: Kaitoki Walk - Great Barrier Island, Oil on Canvas, 90cm x 90cm

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Interview

GRO FOLKAN grofolkan.no

We live in a world that’s frustratingly defined by boundaries. Borders, stereotypes, definitions, religions all shoehorn people, places and situations into predetermined stereotypes. But as artists, it is our responsibility to look beyond these, scratch the defining lines to find meaning and open doors both physical and psychological. Artist Gro Folkan’s passion for the arts started in her early teens, Formal education in the arts only fuelled this drive further. Her first public exhibition was in Club 7, Oslo, 1967. It is the world in between that drives her, bringing it to life in her colourful canvases. Showing that, incoherence is where we shine the brightest.

As a society, do you think we have grown accustomed to ignoring the unseen and unknown in our busy lives? Definitely. We are almost drowned continuously with sensory input and irrelevant information. Subtle signals from fellow humans and nature are overwhelmed. Again it is the collision between the big wheel and the little wheel. How do you approach this personally? By trying to avoid much of big city noise and big people notice, and by being privileged with access to unspoiled nature, especially in North Norway, and in my little-secluded garden in South Norway. Do you think we place too much importance on labels and expectations? Yes. I believe some things and some actions are on the good side and helps life but are often not appreciated, or even

noticed. There is too much materialism, damaging the Earth and indeed ourselves. What was the inspiration behind your body of work titled ‘Female Rune’? Runes go back well over a thousand years as a special alphabet used in Scandinavia and northern Europe. But long before that, runes were used as magical symbols for spiritual entities and indeed for prechristian gods and goddesses. Christianity which came to our country between the year 1000 and 1300, suppressed femininity, in all kinds of ways, translating stories and poems from the prechristian era excluding the mention of all female goddesses, e.g. Freya, the Nordic goddess of love, sex, fertility and death. This is a whole universe of spirituality and mentality that has to be re-occupied!

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Above: FEMALE RUNE, Acrylic, Interference Colour, Gold, Oxidized Brass and Copper, 150 x 90cm, 2017 17


Above: LILITH, Acrylic, Oxidized Silver, Metaldust, Inteference Colour, 150 x 108cm, 2017 Could you describe yourself, using no labels? There are two main categories of visual artists, painters etc. Decorators, investigators and researchers. We need both. I am definitely in the second category. I try and try to develop, make visible the vast part of reality yet unseen. My contributions are my pictures,not so much the physical pieces of work, but what they create in the minds of the onlookers. My pictures are doorways!

in neighbouring countries Sweden and Denmark, Japan, and of course, New York! Would you say that your works are a stepping stone into an unseen world? I hope that my life’s work will contribute to discovering ways to approach a little bit of this unseen world. What is Gro’s favourite Norwegian food? I like arctic food, fish and reindeer meat. END

You’ve exhibited heavily across Scandinavia, Is there a part of the globe you would like to share your art with? Yes. Europe, Berlin, London, but also more 18


Above: BEFORE THE EYE’S FOCUS, Acrylic Inteference colour, Oxidized Brass, Copper, 150 x 120cm, 2014

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Artist Feature

JOSEFINA TEMIN josefinatemin.com

Ever since it was developed in China around the 2nd Century CE, paper has transformed the way we document, archive and use it. This incredibly versatile material has found its way into every corner of our lives. As it became more economical to produce it made information more accessible to the masses. But far from being a consumption tool, this was also a medium to create. Artist Josefina Temin uses this malleable, sterile material which she calls her second skin in her creations alongside steel. This juxtaposition of elements gives her the flexibility to work on a variety of scales, with each one balancing the other out. A perfect balance between space, light, femininity and masculinity. She is currently based in her hometown of MĂŠxico city.

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Interview

ERNESTO IBANEZ www.ernestoli.com

Nature has always served as a source of inspiration for as long as we can remember, some of the earliest cave paintings depict animals, the lives of early humans and their relationship with the environment. Drawing on this bounty of inspiration is artist Ernesto Ibaùez, his creations include dogs, rabbits, panthers, owls and a mammoth with thousands of metal nails simulating fur. We had a chat with Ernesto where he talked about growing up in Guadalajara, Mexico and the significance of nails in his work and our history. Could you tell us a bit about your time growing up in Guadalajara, Mexico? I grew up in a middle-class family, I am the 2nd child of 3. I was a boy scout for several years, I spent a long time doing outdoor activities such as camping and learning survival skills. I loved to roller skate and make creative bracelets, craft small sculptures from avocado pits and wood. Guadalajara is a city with a lot of cultural and artistic activities, great weather all year long that helps to have a full variety of activities. Have you always had a keen interest in art? I’ve always loved art in general but especially sculptures. My grandmother was a painter as a hobby with a lot of talent, that was my first experience with art. In her house, you could always smell oil paint and

on every wall, I saw paintings decorating spaces. Since I was very young I liked to handcraft with avocado pits and wood. At school, I always chose extracurricular classes about art, one of my favourite teachers suggested to me to consider taking art seriously and it was because of this that I thought and decided to choose art as my professional career. Later on, I was elected to start in the faculty of art in the School of Plastic Arts in the University of Guadalajara. In 4 years I graduated and obtained my degree and moved to the City of San Antonio Texas where I currently live. When did you first start working with nails, was it an evolutionary process? My idea about using nails started when I needed to propose something new, I was tired of the traditional school. 24


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It started with the idea to simulate the hair or fur of animals with nails. My nail sculptures may be classified in 3 categories that reflect an evolution process:

nonetheless, I consider that my work, taking an important tool from history, also brings development, evolution and transition to my work.

“El Bosque” this category includes some animals such as; dogs, rabbits, rams, boars, owls, and a mammoth among many other species.

Could you tell us a bit about the art scene in San Antonio? The Art scene in San Antonio is very strong, I consider that its geographic territory and vicinity with Mexico brings a special identity, finding different subjects such as immigration, and the role of Hispanics in the U.S. among other subjects. I consider that in San Antonio you can find a strong support for emerging artists.

As part of my creative evolution, I began to incorporate geometric colourful shapes to each animal sculpture, pushing the boundaries of each sculpture to a more abstract space, naming this second category “Serie de las Aves”. “Serie de los Alebrijes”, includes a mix of animals with figurative qualities and imaginary figures. In this series, the figures have predominant heads, with the exclusion of the mouth and eyes. However, in each of these pieces, the ears play a large role, as they give the meaning and identity of each piece.

What is Ernesto listening to at the moment? I listen to a lot of bands but some of my favourites are; Silversun Pickups, Neon Indian, Rockwell and Crystal Castels to name just a few. END

What message are you trying to convey through your work? What I want to convey with my work is the love of nature, imitating animals and their perfect anatomy and colours. As well as interaction with human beings and the relation between human and animal just like the relationship between humans and art. Do you work with any other mediums? Yes, I use other techniques. In my sculptures, I like to use materials such as steel, wood and paint with oil and acrylic. Are the nails a metaphor for something else? The nails in history have a very important role, their invention helped the world evolve and even if it’s such a simple tool helped to improve the screw and other tools. In relation with my work at the moment to turn the nail and place it next to another, simulating hair is a change of context from what the nails were created for, 27


Artist Feature

STEFFANY BRADY steffanybrady.com

From computer to canvas, this has been Steffany Brady’s modus operandi. As a professional brand and environmental graphic designer with a deep-rooted passion in fine arts, Steffany began exploring complex polygonal art utilizing her expertise in graphic design while leveraging her technical skills in Adobe illustrator. Her first series, The Nature of Geometry, was grounded in the concept of biophilia, drawing inspiration from water, earth, and the resultant of the two; plant life. Once each piece is completed, it makes the leap from digital to analog through a dying process onto brushed aluminum. Since then Steffany has spent less time on screen in favor of other more tactile mediums such as oils, acrylics, watercolors, mixed media and more. Her compositions are vibrant and now imbue a more fluid quality. She continues to play with geometric forms in an effort to strike the perfect balance between the rigidity of geometry and the fluidity of nature. A Native Colombian, Steffany Brady currently resides and works in Dallas TX.

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Above: Rosularia, Vector Art Dyed on Metal, Contact for Availability, 2016

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Above: Sempervivum, Vector Art Dyed on Metal, Contact for Availability, 2016

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Above: Echeveria, Vector Art Dyed on Metal, Contact for Availability, 2016

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Interview

JESSIE PITT jessiepitt.com

Born in Melbourne, Australia, artist Jessie Pitt is fascinated with mountains, and we don’t blame her. The sheer majesty of these monoliths is enough to stop one in their tracks. But Jessie isn’t concerned with ultra-realism in her work. She strives to capture the mood and colours that they reflect, speaking to her through the clouds, shadows and sheer size. Spreading her time in between Australia and Austria for many years, she works with various mediums such as charcoal, graphite, drawing ink and acrylic on canvas and paper. Currently experimenting with un-stretched canvas, the texture of the material plays an essential role in her work. How have you grown as an artist since we worked last year? I would say, that even though we would like to live in our own bubbles, I feel that in the current environmental and political climate it is getting harder too. I have always considered my art to be non-political, but I feel, even without it being planned it definitely has a message that is relevant to now. This being the connection to nature, that much of humanity has lost, yet is so essential to every one of us, for survival, but also protection, and even for our mental health. I am on such an inspired journey this year, and even though I have painted many artworks I feel like I have done nothing, it is a charming space to be in. I am really interested in creating immersive spaces, especially when I have exhibited this year and it is an on-going process in my thoughts, and I am sure that I will continue to move in this direction.

It is definitely connected to the direction I have been moving in, in that I try to convey the emotive side of the mountains, and the soul, not just a mountain portrait of one particular mountain but I guess the collective mountains. It is something that exists in all mountains, but in nature as well. I always work in a kind of organic flow, in the sense that things happen while I am painting, that then lead me off in different directions or inspires other paths. I feel like my work is definitely becoming a substantial body of work that is working vigorously together, which also helps to create the immersive spaces that I am trying to achieve. Would you say that your work attempts to encapsulate the sheer power and emotion of being amongst the mountains? Yes, I would definitely say this is a huge part of what I attempt to do. 32


Above: Pathway, Graphite, Acrylic on Canvas, 60 x 87 cm, 2018

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Above: Endure, Charcoal, Acrylic on Canvas, 196 x 130cm, 2018 Do you think as an artist it can be hard to take formative feedback? What advice would you give new artists regarding the same? We can imagine it is quite humbling to Yes, I think so… I think art comes from a be in their presence? very personal space and it can be hard to It is in one part for sure, but it is also soul take on other ideas or suggestions. This fulfilling. Maybe it is a realisation that we are being said, artists can definitely, especially small in the grand scheme of things, that at the start of their career be too influenced nature is powerful. But it is also, peaceful, it by others. There needs to be a balance. is calmness, and it is strong. Connection to If you can, as an artist be open to hearing nature, well, connection to the earth. suggestions, yet have the ability to look at the reasons for and against from a space You’ve exhibited extensively in the last outside of your personal reactions, then I year, could you talk us through some of believe that it can also help you grow as an the feedback you received? artist. My favourite feedback is actually when people come into the spaces that I have So I would suggest staying true to who you created and are mesmerised, and take the are as an artist, but be open to hearing othtime to look, but also feel really. And this er ideas and suggestions. They can somehas happened frequently, and it is really times lead you off on another path of inspinice to be able to create an atmosphere ration that is still deeply rooted in who you that people can physically feel. Beautiful, are as an artist and build on the ideas that unusual, and unique. you already have to make them stronger. Power in strength. Power in peace. And power in ‘stille’ .(a German word that describes that feeling)

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Above: State of Being, Graphite, Ink, Acrylic on Canvas, 130 x 170cm, 2018 What mediums are you experimenting with at the moment? I am working mainly with graphite and acrylic at the moment, but with touches of ink and charcoal at times. I like the softer tones of graphite as opposed to charcoal that I have used a lot in the past. I work on un-stretched canvas and texture is an important part of my artworks and also hanging them free and without frames has also become a part of the finished artwork. How vital is conservation in your opinion? Have you observed changes in the places you’ve painted previously? Conservation is significant. I think we need to look at it logically though, and not emotively. Even though it is an emotive subject.

self-destruction. Nature is the key to survival and our connection to nature. I think that one of the places that you really notice visible changes at the moment are in the mountainous areas. In Europe we watch the glaciers change visibly each year, and are melting quicker than ever before. The permafrost in the Alps is melting and resulting in more frequent rock falls, in France, Switzerland, Italy and also here in Austria. If Jessie was a force of nature, what would she be? I would be a bird, the wind, the clouds, and mountain strength. END

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Artist Feature

EN LIN QING nlinkphoto.com

After an initial stint in landscape photography which involved a road trip, driving through all 48 states in mainland USA, artist En Lin Qing discovered his talent in motion (dance) photography which led to dedicating his creative energy into the project. A later introduction into the world of fashion led to him combining the two. His latest project titled ‘Project Motion’ combines the two disciplines with 80% dance and 20% fashion., Breaking the mould of conventional fashion photography. Personally trained in ballet, dance and hip-hop, En combines this with his passion for photography. His work has been presented in live shows and magazines in New York City, San Diego, Miami, Italy, Portugal and London.

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Artist Feature

ELLEN GRAEL ellengrael.nl

An interest in the arts from an early age led to artist Ellen Grael taking private classes during her teens with different artists. A trip to Italy when she was seventeen introduced her to the works of Michaelangelo, del Sarto and many others. The fabric that bound Italian art from that period was the centralisation of the human form in landscapes, a theme that resonated with Ellen, creating a sense of peace that she tries to convey through her work. The Japanese wash ink technique with masters like Sesshū Tōyō and Hasegawa Tōhaku and Dutch masters of the Golden Age are also cited as her influences. In her latest body of work titled ‘Sounds of Nature’, natural sound is translated on paper into lines that suggests movements, as well as into areas of colour. She believes that the realm of plants produces subtle sounds that will override those of the human world.

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Interview

HARLI TREE

harlitree.wixsite.com/harli-tree-creations Creating art can be an incredible, healing process. Transferring emotions from the intangible into something you can see, hold and in return, feel. Like many artists before her, Harli Tree started creating as a process to overcome personal struggle, leading to a positive impact on her physical and cognitive health. This, in turn, resulted in viewers relating to her message, experiencing the emotion behind her photographs and art. Harli then embarked on a project, designed, planned and delivered a twelve-week workshop titled ‘Empowering Women’s Voices’, for women that had gone through any form of sexual violence. The resulting artwork was displayed at the Anglia Ruskin Gallery in Cambridge, England. Her latest venture is making customised handmade, vintage and industrial furniture from eco-friendly materials. You became the director of an art organisation earlier this year, could you tell us a bit about that? I connected with someone on Facebook who wanted to start an art organisation. There was several meeting with like-minded people, and so there are five directors, and then we have associates - the organisation is called Arbons Art Centre and its based in Bury St Edmunds - the main purpose of the organisation is to open up opportunities for new and emerging talent as well as established local artist, writers, and makers in all creative fields. The reason I wanted to be involved was that of my beliefs - to offer hope and inspiration to people who feel disadvantaged and to help promote positive social impact by engaging communities and individuals both socially and creatively as a tool to promote and improve health and well-being - thus reducing cost on NHS resources.

How important is art as a healing medium? From my own experience, it has been very important- using a voice through art without any spoken words, to express thoughts, feelings and memories and to then process safely. To use it as a way of communication can be cathartic. There has been a lot of research into the correlation between art and wellbeing/ healing tool. Harli Tree’s was featured in research and in a book titled NARRATIVES OF ART PRACTICE AND MENTAL WELLBEING by Olivia Sagan (2014) - a piece of our art illustrated within the book titled - I WILL WAIT FOR YOU EVEN IN THE MIDDLE OF THE NIGHT

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We believe you are considering combining yoga and art? I started yoga last year and found through flow yoga and meditation that it helped me to let go and to connect with my innermost consciousness and focus on the process of creating - any forms painting, photography, using wood Both are creative forms using mind-bodyspirit - both get to the core internally and get in touch with our true selves. Yoga and Art help us quiet our mind and help our body and take us on a journey of self-discovery. I’m not a yoga teacher but would like to connect with a qualified person to discuss the project further. Is it true that you also work on bespoke furniture? What are you working on at the moment? Yes to date I have made a table out of a part of the fuselage from a Boeing 737 - I had to grind out the back to insert some

hairpin legs and then to finish it off I have a piece of glass on top. I have also made side tables out of wood and a dining table out of scaffolding boards and scaffolding pipes, chopping boards, driftwood boats… the list goes on, and I renovated an old oak sideboard. At present, I’m looking at designing children chairs but want them to be quirky. What message are you trying to convey through your work? One of being true to oneself - you can strip back all the layers of yourself and its ok. And to have a voice through art - through non-verbal communication. You don’t have to have a degree in fine arts to express yourself - just paint what your mind and your soul is saying, visualising. Paint for your internal self in the first instance to express or heal - instead of destroying ones self…. And if people can be inspired by Harli Trees work to then be able to use art themselves. 46


Could you tell us a bit about your previous workshop titled ‘Empowering Women’s Voices’, do you have something similar planned for the future? The workshop was designed for women who have had any form of sexual abuse. I developed, planned and delivered the art workshop. It was a safe place for women to express themselves. I used positive words for them to think about and express in a painting.. such as ‘you have the right to be happy’ (for some women who have been sexual abuse they feel guilty about being happy, so I wanted the women to think about that and paint). Because they do have that right although feelings and emotions are difficult they still have that right). So at the end of that session, they can take that painting as a tool to visualise when they think that they are not supposed to be happy. Another word was ‘my voice’ (the reason behind this word is for them to paint in any medium and take control through their voice.. it’s not the spoken word but in their artwork. So when they feel they have no voice and are not in control, they can visualise their art.) It was a big success - the women came together over the 12-week workshop and did a piece together at the end, and their work was shown in an exhibition at the Anglia Ruskin Gallery in Cambridge. I have nothing planned but would like to deliver more in the future.

and lack of resource, for example; a survivor that has long historical abuse may get help for therapy - but in some cases this is only for 6 sessions.. although one might feel well at least its something - I certainly feel this is dangerous as you are opening this personal story and it can take a lot of sessions before that person feels comfortable to talk and they may have only scratch the surface in talking about the abuse, and then the 6th sessions comes along and the survivor is left with all their emotions and thoughts and feelings.. and nowhere safe to process this…this is not good practice and I hope that this is addressed in organisations that support survivors. Where does your inspiration stem from? Well, I had art therapy which kicked it off really and the inspiration came from within as a form of self-expression and the realisation that the art could be a voice - a very powerful voice. The photography is different the inspiration comes from the environment around and having a good eye to spot a great photo. It also is inspiring when people see the work produced and that it has made a difference in their lives or helped them to express their feelings and emotions and are true to themselves. END

Do you think we need more initiatives to tackle the repercussions of abuse, both physical and emotional? There are initiatives out there to tackle abuse, but in this financial climate some projects have closed, or the organisations don’t have enough recourses for the number of survivors coming forward that need support and help. Abuse has been highlighted in most recent years, so more survivors are coming forward, but unfortunately it all comes down to money 47


Interview

ANNA PEAKE annapeakeart.com

For better or for worse, the environment we grow up in shapes us for life. It could be the little village where our grandparents live or the steamy, bustling city where we went to further our job prospects. They all mould us in long-lasting ways, becoming a part of our very fibre. Artist Anna Peake creates art with the layers of our lives, literally! Her topographical creations are often re-creations of actual places. Immortalising them in metal, she uses techniques such as lost wax casting with contemporary laser cutting to create her pieces. Having visited Wales on numerous occasions ourselves, there’s no denying its natural beauty. Was this is a crucial element of your artistic inspiration? Absolutely. I grew up in Wales spoilt by the beautiful surroundings; however, I don’t think it was until I moved out of the country for my degree that I truly appreciated it and began to miss it. The rain, the mountains, the valleys, the green, the coast, I was spoilt with many beautiful spaces and places. Initially, it was its sudden absence that caused the Welsh landscape to become my primary source of artistic inspiration. I moved from Wales to Surrey in order to study Glass, Ceramics, Jewellery and Metalwork at the University of Creative Arts in Farnham. It was a significant change. I missed vivid colours and intense textures of the varied landscapes that Wales has within a short distance of each other. From

the heights of the Brecon Beacons to the Valleys where I grew up and then the beautiful west coast covered in stunning beaches. All these breathtaking places are with a few hours drive of each other. Wales is definitely worth a visit! When did you first start experimenting with topography shapes? The use of maps started back in the first year of my degree in 2015. We undertook small projects in which we were encouraged to experiment as much as possible with ideas, materials and techniques. During one of the projects, I experimented with maps. I researched everything about them, discovering topography – the simplification of a map down to the necessities. It sparked an interest in exploring topographical maps and aerial images of different areas, and to me this was fascinating. 48


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Also, I am terrible at directions so investigating maps gave me a new perspective on the world, how the land was laid out. It is this layout of the land that leads to the creative direction of my pieces. Most recently I have been using individuals ‘important’ places to create pieces personal to them, a reminder of their home or a loved place. I love how the contours work together creating a modern aesthetic using truthful information that people can understand and identify with. The first piece I ever created was a tiny copper square broach based on my home in the valleys of Wales. My work then expanded to creating large pieces utilising the laser cutter and presently I’m working more with silver to create wearable pieces. Your work certainly offers a fresh perspective on our planet and art, how do you keep evolving as an artist? I try to keep evolving through exploration. The more I’m investigating the surface and undulations of the landscape the more they

reveal opportunities of how to grasp it within a small structure- how to present it in a new way of Information Experience Design. Incorporating the key elements from each location into each piece is also a way which helps me develop. It is a challenge which I welcome, as the process of designing varies drastically for different people and their different locations. For some, it’s the importance of the river or the location’s association with the line of the train tracks or a favourite coastline. Also in each commission, the size varies dramatically, sometimes the request is for a ring or a large wall hanging. Therefore machinery, materials, size, colours all change to individually suit how the piece works best and with the commissioner’s needs. What has being an artist taught you? This is a tough question to answer, as I have learnt so much. I have learnt how art and making is such a rounded subject. You can’t just be good with your hands

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but one also needs other varied skills to plan, budget, organise and market one’s work. But this is also why I love doing what I do – because every day is so different. One day I’ll be investigating, researching, exploring, the next will be spent with a client learning about what is important to them- listening with empathy. Quite often something won’t go to plan, and therefore you need to be good at problem-solving, improvising and often taking risks, and being confident enough to do so. I think something that is also extremely important is learning to say no, it’s so simple and yet so complicated to do especially within this field which so many take for granted, it’s still something I find extremely difficult. That being said it’s also easy to say no to opportunities because they are not entirely what we want. My advice would be to take any opportunity because you will learn new things and meet new people who could help in the future. Lastly, as a creative person, I have learnt

how extremely important it is to have a routine, a plan, to set yourself deadlines- so that you don’t get overwhelmed and lose all motivation and creativity. Within your routine allow yourself time to look after yourself so that you can keep going because being a self-employed artist is like a marathon – you need to keep consistently working rather than one quick sprint. Speaking of topography, are there any places you are looking forward to visiting and transforming into art? There is so much travelling I’d like to do such as Greece, Morocco, and India and all these would make beautiful pieces. However, it often works the opposite way around- I get inspired to visit a place after making it. I am often elicited by the curiosity from the making the piece that I have created and therefore want to visit the place in which I have spent so much time studying. It creates familiarity, appreciation before you’ve even arrived. For example, I recently created the three highest peaks of

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What does Anna like on her pikelets for breakfast? Has to be perfectly melted butter with jam on top! Yum! END

Wales, England and Scotland, inspired by the three peak challenge. This made me focus on the shape and differences between all three mountain peaks, and now I have a want to visit and hike them all. However, I have yet to create a piece based around contours outside of the UK, and with a trip planned to the south of France for later this month, I believe it could inspire a truly beautiful piece. I welcome the challenge with open arms. Have you always had a keen interest in becoming an artist? 100%, as a child I grew up in a creative family, both my grandmother and mother love art and are creative, I believe it’s in my blood. As a child we had a ‘making cupboard’ where we would keep lots of empty cereal boxes, egg boxes yoghurt pots etc.. And I would spend hours making things, anything – once I wanted a computer so badly that I made one for myself. I even copied the exact layout of a keyboard onto the keyboard I had made out of a shoe box lid. At school, it was always my favourite subject, and from there it’s grown into my career. I tried for months to focus on more academic subjects; however, when I had the chance, I immediately was back making in the art department. I’m very lucky that my wonderful A-level art teacher gave me the courage to undertake a degree in an art based subject, specifically craft. If she hadn’t, I would have graduated from university with a biomedical science-based subject instead. What are you passionate about apart from art? Apart from art, I have many hobbies; I enjoy taking time away from all of the thinking. Travel is essential to me; I’d love to see as much of the world as possible. I’m also passionate about music of all different genres, and I especially enjoy seeing it live.

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Artist Feature

ERIC C. JACKSON byecj.com

As an artist, you go through various stages of creativity. It begins with a curiosity that progresses into experimentation, selection of a medium, sleepless nights, blood, sweat and tears followed by refinement. But it doesn’t end there. Art, like learning, is a lifelong process. Each stage teaching you more about the skill and yourself. Artist Eric Christopher Jackson is using his current body of work titled ‘Vilano Beach’, to refine his skills. Using a combination of photography and screenwriting, Eric relishes the idea of telling a story through his work. To date, he has also written five feature-length scripts, five short scripts and six short stories — his short script entitled, “No Fear,” was produced as a Student Film and entered into the 2011 Azusa Pacific University 48-Hour Film Festival. Because of the amazing improvisation by the Cast and Crew, the film won the First Place, Best Actor, and Best Actress Awards.

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Above: Mum, No.6 (2018), Digital Photography, 60” x 40”

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Above: This Way (2012), Digital Photography, 32” x 48”

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Above: Interference (2017), Photography Manipulation, 36” x 24”

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Interview

PETRA KNEZIC draw-ink.com

When you first lay your eye on one of Petra Knezik’s creations, it’s the details that hit you. Almost immediately, your eye wanders from one element to another, trying to soak it all in. Using an isograph with drawing ink, her works are the result of hours of meticulous attention to detail, each piece telling its own story. Based in Slovenia, Petra initially started with pencil and charcoal and was awarded the Leonardo da Vinci award in Florence Italy as well as the Canaletto Prize for outstanding work in her field in Venice, Italy. Would you say that the ‘Soulies’ in your painting are blank canvases that the viewers can fill? Yes, Soulies have been designed without a specific face or body type. They can and should be altered to your own wishes; they should become the projection of yourself or somebody else you want to see in a story. This way everyone should be able to feel what is going on in the drawing; everyone could be in the deepest depths of an ocean, and everyone could be the one saving that person with their love and light. When we walk around on this planet, we don’t hold a mirror in front of ourselves the whole time; we don’t act like something because it fits that face we are wearing. We look from the inside, a place that wears a

specific awareness of self, that we project through our actions to the outside. Like this, we should be able to think ourselves into somebody else’s shoes, try to understand why other selves act differently. Soulies should bring this attempt at empathy closer because you are not limited to yourself or somebody else’s face. You could be the one winning or the one losing, the one being saved or the one saving; it’s up to you where you want to see yourself. You can be any “Soulie” in the picture. How important is the narrative of your work? It depends. Most works are the narrative, without it, there is no work. Some are 60% - 40%, because I was exploring my rules of drawing, how they fit into a work or if they 58


Above: 1ST SHELL, m.a. Humphrey’s Wentletrap, Ink on Paper, 50 x 50cm, 19.7” x 19.7”, 2014

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Above: YELLOW, 1ST Butterfly Of The Season, Ink on Paper, 70 x 70cm, 27.5” x 27.5”, 2016

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can explain something. But my works started out as stories, as something I needed to say and had to explain to myself first. I think it is interesting to look at a drawing and see what was bothering you because you felt it but couldn’t give it a name, but you could draw it. You always feel the story first, and sometimes that’s all you need, sometimes I read some information about the subject I want to draw and learn how to express myself better. I don’t know if my works are aesthetically pleasing to people or not, I didn’t make them to be “pretty”, I made them to say something that was bothering me. I didn’t scream or go running or sing about something on my mind; I had to draw it. Because there is always that “why?” in my head, why is this like that and why is this like this, why do people hurt each other, why do we eat one animal and have the other as a pet, why and what and how and than you try to build a world of it. Answers to questions, depending on what I currently know and I have a lot to learn. Your tool of choice is the Isograph, for those of us not familiar with it, could you tell us a bit more about how to start using it? The Isograph is per definition a technical pen designed for architectural and other technical drawings. I am not an expert on its history or what other pens were and are on the market, but it remains important despite the digital age. These pens have different tip sizes, producing lines of different thickness and are colour coded. I have been using the smallest I could get, so when I say the drawing was created with ISO 0.10, 0.18, 0.20, it means I used pens that made 0.10 mm, 0.18, 0.20 mm thick lines. They have a small container for ink on the inside that you fill yourself, and they have to be cleaned regularly. This pen uses liquid

drawing ink, meaning it is water based and it flows through a narrow space in the steel tip of the pen. When you are drawing with them, you have to take care of how much force you exert on them, so you don’t break the tip, you have to think of what kind of paper you are using, so little particles don’t get inside the tip, and you should be using the ink provided by the manufacturer of the pens. Having only black and white at my disposal when I started, was perfect. I was familiar with it from home, and I always loved the technical drawings my dad made, but there’s also a difference compared to others, f.e. quality markers - there is still the medium of ink in its original state, flowing through a tool to make a statement on paper. It is not soaked into another material or mixed with other chemicals to make it last longer or flowing through plastic tips; it is restrained only by the narrow space of the tip, no other manipulation. That feels less “plastic” to me. We believe you have a book coming out soon? Yes, I do! The first test prints just arrived, and I am more than happy with the result! I have spent seven years on a collection I named “Grids and Bricks - Underwater”, and for completing the stories and the collection, I decided to combine them all in a small art book. I had a burst of inspiration putting them all together, and the result is a 300 sites full-colour book that can be read as one story connecting my collection and explaining it, as well as the individual stories of the works. I added a section for the process and progress behind each work and all other useful information. It was very important to me to have a conclusion I can put on a shelf. There was so much work behind those drawings, things that I will forget as I move on, I wanted to remember where I started from and what my thoughts 61


were back then. Maybe in years, I will get to laugh at myself or the seriousness of my rules of drawing or maybe it will be a little part I will forget and will inspire me anew in years. Now with a few corrections, I have something to explain myself and my works and also, it was the only way to have the details printed in a bigger size than the small picture on my webpage. I can move on now with what I have learned and try something new. The detail in your work is incredible, how much time do you spend on average on each piece? To tell you the truth, I don’t know exactly. I know on average the medium sized works took about three months each, but I don’t know how many hours. I don’t have the possibility to occupy myself with art only and so when I had that luxury, when “it” grabs me to work out an idea on paper, I can work a max, of 16 hours per day (I set a clock one time), after that my fingers don’t work, they turn to sticks. But it is so much fun! You know how it’s going to look like finished, but then you don’t know it at all and then it has to be done already because you have a few others dying to come out, but there is no time. Positive frustration. “Swimming Pool” and “RED: waR lovE blooD” took the longest though, about half a year each and RED never wanted to be finished, in the end, I had to give myself a deadline because six months of sitting on the floor with your head down was not ideal. I needed a break after that.

some symbols even repeat themselves through my works. But I want to say that everything can be simplified or at least taken into its building bricks and looked at from a different angle and than something that looks complex, isn’t. What does art mean to Petra? The first thing that comes into mind, right? It is a glove that fits so well you don’t feel wearing it. That is art to me, my instrument for expressing myself and explaining myself and the world. END

Are the complexities in your pieces a metaphor for the worlds you depict, with all their interconnected dependencies? They are a metaphor in the way that they are “layered”; like that they are complex. The situation is drawn like taking a picture in a moment, but the problem and the solution are simultaneously presented. I don’t really know how others see it, if it looks complex, I know where to look. But yes, there’s a whole lot of things there, and 62


Above: ANIMA, Story Of A Whale, Part 2, Ink on Paper, 51 x 90cm, 20.1” x 35.4”, 2018

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Interview

COR FAFIANI corfafiani.nl

Genetic manipulation, once the topic of science fiction has become an everyday reality that has far-reaching consequences in our lives. From cloning to food and medicine. This often controversial science is here to stay, even if we may not all agree with the ethics behind it. Artist Cor Fafiani’s fascination with the subject, cloning and genes, in general, is represented in his paintings and sculptures, blurring the lines between reality and fiction. His work combines playful elements that undermine the dark side of our meddling with genetics. Sculpture is one of the oldest forms of art, what do you think makes it so endearing? The gift that a human being is able to make an image dates back to the Venus of Willedorf 30th mill BC from prehistoric times. There was a need to express himself utilising an image, such as the first paintings were found in caves. This way you can feel a bit that people in earlier times also needed to make pictures. Could you talk us through your steps into the world of sculpture? That need also arose with the Romans to immortalise their heroes through statues. The images that said made were still very static. The Greeks against this already made more moving images. It was Michelangelo who said that a sculpture is in fact already in the block of

marble. And that the artist has nothing else to do than to discard the surplus marble and bring the form to light.Artists like Henry Moore and Jozef Beuys who developed this by looking for inspiration in the material. In our century it was Marcel Duchamp who turned the sculpture on his head with his urinal and bicycle wheel by placing them in a different environment as a gallery and museums. This made everything possible from that moment on. Is there a historical era that you are drawn to artistically? Especially the time in which we live? The animals that Damien Hirst had immortalised are a continuation of this process. Jeff Koons and Murakami have made sculpture into what it is today. These artists inspire me through their imagination.

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Above: Cannibal Habitat, Polystyreen Acryl, 47 x 26 x 23cm, 2017

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What is the message you are trying to convey through your current body of work? I am always careful to get a message or a fixed theory. Because especially in our time the changes go very quickly through internet digital media etc. And my work is also influenced by this and how it inspires me to create new pieces.

Could you tell us three great things about your hometown that bring you joy? In my city, there is a museum that has classical and modern art, and there are galleries. My father took me to the museum early in my youth. So I came into contact with art. END

Your sculptures often consist of hybrid characters, what are your thoughts on DNA manipulation in the modern age? In the world of Flora and Fauna, you have plants that look more like an animal, for example, a walking branch and plants that resemble an animal. So it is with my ideas about Hybrid beings that they reflect my inner feelings. I give shape to. In the seventies, I became interested in the development of genetic developments, for example, DNA manipulation. This was why one would wonder if it would be possible to clone animals or to manipulate with other genes so that other traits would develop. Some artists and scientists work with DNA material. You are soon on a smooth surface that is not ethically justified. That is why I prefer my imagination where you would say the vast array of your inspiration comes from? So I came up with the idea of using polystyrene as a material because it is made up of cells. As a packaging material, every form is an opportunity to get my inspiration started. Sculptures are almost like time capsules from a civilisation, what legacy will our sculptural art leave behind? That is difficult to say about the time in which we live, and algorithms determine our lives. The function of art lies where it can not always be put into words. The last time these algorithms inspired me in the way that everything is interchangeable. In this way, for example, I can use the objects that appear in my work in new work and one work generates the others. 66


Above: Games Heroes, Polystyreen Acryl 40 x 18 x 15cm, 2017

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Artist Feature

MARLOWE EMERSON marloweemerson.com

There is a profound truth in destruction as a form of life. Through the millennia that our humble home has passed through, the earth has gone through cataclysmic cycles of life and death — each extinction event giving rise to the dawn of a new species or civilisation. Artist Marlowe Emerson creates through a process of scribbling, mark making and expressionist techniques on a variety of media. Using what one might consider a destructive process to give life to something new. Mimicking the very cycles of nature that surround us. Her work is also a testament to the way art records the individual experience. Strata upon strata of emotion, psychological states and interpretation of reality. The collage elements in her work are obtained through drawing, photography or scanning. She is currently based in Virginia Beach, Virginia.

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Above: Daisy, Mixed Media on Canvas, 72” x 72”, 2018

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Above: Moth, Mixed Media on Canvas, 72” x 72”, 2018

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Above: Alouette, Mixed Media on Canvas, 48” x 48”, 2018

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Interview

DEVON GOVONI devongovoni.com

“Conversation before confrontation”. A phrase that artist Devon Govoni is no stranger to. I think we can all agree that it is much easier to resolve and even avoid disputes if we take some time out to talk things through. Unfortunately, this does not always translate well into everyday life. But we can always try. Devon believes that art can be the medium to have those conversations, tackling the issues that we face in our communities across the world. Stepping into the world of art at a young age with the support and love of her family, Devon began entering contests in grade school and winning competitions. She is also a licensed mental health counsellor and registered art therapist. In a world where consumerism triumphs conservation, how important is art with regards to raising awareness of the latter? I believe that art is a critical vehicle in addressing a wide variety of matters in communities and societies at this juncture in our world history. A phrase I use often with people is “conversation before confrontation”. If people can learn to have conversations about the issues we are faced with, it can minimise the more confrontational ways that people go about communicating. Often people are uncomfortable with communicating, and this is where art can be a phenomenal vehicle to assist in these very necessary conversations. How did you end up stepping into the

world of art? My family has told me that I have always been an artist, ever since I had the dexterity and curiosity to explore the power of the green crayon. So, it would appear that I stepped into the art world at a young age. I began entering contests in grade school, with winning submissions. Perhaps this is what gave me the initial taste of getting my art out there for others to see. Is it true that you are a licensed mental health counsellor? I am a licensed mental health counsellor and a registered art therapist, yes.

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Above: Fish, Mixed Media on Canvas,18” x 24”, 2006

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Above: Red, Oil on Canvas, 24” x 36”, 2016

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Would you say that intolerance and social injustice is on the rise? Why do you think that is the case? I do not think an intolerance toward social justice is on the rise as much as there is a misunderstanding of what social justice means. I think there may be more overt actions of violence, hate rhetoric, fear, unwillingness to learn, and ignorance in the true sense of the word. Much of the intolerance tends to be from people towards other people that are unlike them, different from them in ways of race, socioeconomic class, gender, sexual orientation, religious beliefs, political affiliations, and so on. This is what social justice can assist in addressing and art is an invaluable vehicle to help drive change in the social justice front lines. We believe you take part in local beach cleans? Are you still shocked by the volume and nature of the items you discover? I support a longtime friend in his beach cleanup efforts and spread his word in daily conversations. I was fortunate to witness his team in action in the summertime, and sadly, I am not surprised at the volume of “garbage” that is accumulated at these beach cleans and the volume that continues to enter the ocean daily. I myself have started using plastics in my art making in order to assist in at least repurposing items that may very well end up in the ocean if humanity does not make significant changes to how we consume and discard goods. I do believe there is hope and that change is possible due to organisations like Route USA, Oceana, Surfrider Foundation, Sandcloud, Parley for the Oceans, Greenpeace, Ocean Conservancy, and many others. Hope is also very possible through using arts as education and as a tool for environmental, social justice.

Our oceans are in dire need of our protection, could you give our readers three simple tips on how they can help? People need to understand that every action they take makes a difference. Actions can be as small as choosing to not use plastic bags and as large as setting up an event in your town to replace plastic straws with paper straws. People can start to consider how to reuse all of a large amount of unnecessary packaging that comes with just about everything they purchase. This especially goes for distributors of goods, cut back on the waste and use environmentally friendly packing and shipping items. Another huge tip for people to consider is what to do with kids toys. Toy swap parties with the intent of educating others in the community are possible. There, people could trade toys, be sure to recycle ones that can be recycled, donate items item to kids, families, local artists, and others who can master the art of repurposing. Who wouldn’t want a plastic duck water pitcher or an alligator flower pot??? Were there any artists that inspired you growing up? I cannot recall if any artists inspired me as a child, but I was introduced to Caravaggio in college and fell in love. He was a painter in the Baroque era and pushed boundaries of what was “beautiful”. While classism was still highly revered, he painted what he truly saw, dirt under fingernails, bruised fruits, and true depictions of the dead. His use of chiaroscuro was one of his signature techniques that lead you to always suspect his work or one of the many who followed in his footsteps. I believe if he were alive now, we would be married! END

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Artist Feature

DAVID DUNNE daviddunne.ie

We are living in an age of migration, all around the world, people are travelling long distances in search of better lives, escaping hunger and poverty. Often, their arrival is not met with the open arms they were hoping leading to uncertainty, stress and even incarceration. Left in limbo, the uncertainty can take its toll on the strongest of minds. Artist David Dunne explores these difficult, but necessary topics in his work. Influenced by the Arte Povera movement, he makes site-specific interventions evolving from ideas of entropy, working with the notions of chaos, collapse and transformation. Embracing video, audio, live art, installation and sculpture, he draws on the strengths of each medium to convey his message. David’s personal experience of the plight and conditions of refugees originated from travelling through the Iran-Pakistan border at Mirjaveh in the Baluchistan in 1985. David Dunne presents Corridor a site-specific installationat the Werkstadt Arts Union in Berlin-NeukÜlln, Germany. 16 March to 28 April 2019. werkstadt.berlin

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Above: Lidice to Kosovo, Cast bronze_&_timber, Multi-media Installation Open ev+a, Limerick City Gallery, Limerick, Ireland,2001. Curator: Salah Hassan. Cornell University College of Arts and Sciences.

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Above: Die Wende the-return, Site-specific installation, Timber & archaic electrical elements. Artist in Residence Pilotenkueche International Art Program. Franz, Fleming, str, Leipzig, Germany 2017. 78


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Interview

AGNES PARCESEPE agili.com.au

Using her own images of her favourite city of Melbourne for inspiration, artist Agnes Agili encapsulates the beauty of this enchanted city. By using a variety of hues to capture the different timeframes, her work is a visual representation of the tones of the city. She had her first exhibition at the Cotham gallery 101 in Kew in November 2002. After studying the works of Alan Close, Nell Frysteen and Walter Magilton, Agnes developed her style and often incorporates a seahorse into her paintings. Developing an interest in mixed-media, she incorporates material layers using silk, ribbons, various fabrics and beads to create a three-dimensional experience for her viewers. Her paintings are present in corporate and private collections in Germany, Italy and Japan. As an artist, do you think it is essential to experiment with different mediums? It is essential to experiment with different mediums so that you can get the feel of them all and then decide which of them suits you the best. They are all different to work with, but if you try them all, then you will know which you like the most, and then you can decide what medium you want to work with. What do you love about Melbourne as a city? I love Melbourne because of its diverse cultures and the simplicity of the buildings. The mood of the City changes every hour, and if you watch it for a day, you can get the feel of the city, whether it is sunny, cloudy, stormy, sunset or at daybreak, you get to see and feel the mood and colours of the beautiful City of Melbourne.

Could you tell us a bit about the seahorse that makes an appearance in your paintings? My little seahorse in my composition is a symbol of peace because Seahorses are gracious, gentle and caring. The male will look after the little babies and give the mother a well-deserved rest. Seahorses are faithful for life in choosing their partner, which is so beautiful to me and for that I just love them. Watercolours can be a tricky medium to get right, How do you approach painting with them? Watercolour is the hardest medium to master. But once mastered can create some magical paintings. It is important to have good paper and to know how to wet it right, not too much or too little. It is important to plan what and how you going to paint your subject. You can also paint dry

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Above: Melbourne at Dusk, Mixed Media on Thick Handmade Paper, 22” x 30”, 2014

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Above: Melbourne After a Hot Day, Water Colour on Thick Handmade Paper, 22� x 30� 2011 and glaze your paintings layer upon layer until you achieve what you desire.

in your opinion? I think that every art has its own message, it is how people see it and interpret it whether it is still life with colourful flowers, juicy fruit a peaceful landscape, stormy skies, it has to have some kind of connection and sentimental memories that the viewer will be connected to.

How vital has exhibiting your work been with regards to growing as an artist? All my exhibitions were very important so that people could see my diverse art style and the different subjects and mediums that I created. Having exhibitions helped me to expose and sell most of my artwork. If Agnes could move to any part of the world, where would that be? Was formative feedback challenging to I always loved the warm weather and if tackle in the beginning? younger would love to live on one of the I was one of the privileged artists who had tropical Islands and feel the sand the lots of feedback from people that brought warmth of the sun, the gentle breeze my art and who came to see it. It is very brushing against my face, listen to the important to expose your artwork and invite sound of the birds and paint. Now that as many people as possible to the opening would be Paradise to me. END of the show. Does art always have to have a message 82


Artist Feature

WILLIAMS DELABONA williamsdelabona.com

Born in SĂŁo Paulo, Brazil in 1963. Artist Williams Delabona showed a keen interest in art from a young age. He progressed to oil paintings as an adolescent, always sticking to his beliefs that art is a hobby, a way for people to express their ideas and deepest desires. In the 80s Willams studied architecture and urban planning, during which he worked as a draftsman and architectural designer. This has a direct impact on his art. During this period, also extensively researched the esoteric field and radionics, where he studied the influences of geometric shapes and colours applied in architecture, especially in old monuments and cathedrals. Years later, he worked in advertising as a graphic designer and art director. With these diverse experiences, he explores the possibilities and boundaries of various mediums and techniques, while maintaining a relentless pursuit of discovery in visual art.

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