Page 1


Vol 1

Issue 014


If there is one thing that we have learnt in 2019, that is creating under stress is never a good idea. Not only are you in a vicious cycle of self-sabotage, it can also take a toll on your physical health and everyone around you. It is in times like this that you have to take a step back to look at the bigger picture. Impart a stoic approach to the obstacles in front of you. Is this something you can control? If not all you can do is focus on controlling your emotions and their outcome. This, as we all know, is easier said than done. Never underestimate the impact of your mental health on creativity. Harness those dark moments, transfer them on to paper, canvas, glass or earth. Whatever your medium may be. The artists we have worked with in this issue have all pushed through these strenuous moments and come through victorious, stronger and more resilient than before. We hope you enjoy browsing through the pages of this issue and remember, no matter how impossible things may be, you are never alone, and there is a solution on the horizon, failures are only different outcomes and new beginnings. Its all a matter of perception. CreativPaper







Cover Artist

VIRAL PADIYA One of the benefits of photography as an artistic medium is that it offers a multitude of ways for an artist to express what they are trying to convey to the viewer. Some photographers focus on landscapes and portraits, while others choose to focus on architecture or fashion. Artist Viral Padiya, a self-taught photographer, started experimenting with photography since 1994 while he was studying architecture. He strives to capture the moment’s in-between frames, using time with his camera as an opportunity to re-connect with nature. Something that is reflected in his images. He took some time out to talk us about his professional goals and advice for people taking their first steps behind a lens. What message are you trying to convey through your photography? As the adage goes, “a picture is worth a thousand words.” We all know that pictures invoke feeling and thoughts we could never get from merely reading a description. Writing a story of a sunset may be difficult enough, but describing a person’s face in such a way that the viewer sees what the photographer saw — that is quite another. Pictures bring out all sorts of buried feelings and memories. Most nature scenes tend to give the viewer a sense of serenity, a sense of peace and on the other hand, a photo of a family sharing a dinner, especially on a special occasion that would tend to bring out the deepest feelings of love and togetherness.

stretch the boundaries of thought, that’s even more satisfying to the photographer. When this magic occurs, I can see it in the viewer’s eyes and expression. I love to see a simple picture that the photographer has somehow transformed into an image that’s no longer simple. It may be something so intangible that you can’t put your finger on it, but it’s there, and it shines through those who see it. Time after time we’ve seen photos in magazines that seem to be photos until we look more closely and we know why this particular photo was printed, why it has value and why it should be more widely seen. In the end, my primary goal with my photography is to inspire people.

Every image carries its atmosphere along with it. I think too, that when something within a photograph causes the viewer to 06

Above: Upper Antelope Canyon, AZ, USA


Above: Yosemite National Park, USA

Where in the world are you currently based, and why? I lived in the Washington DC area for many years. I’m here for a great many different reasons. After all, the nation’s capital has so much to offer — aside from politics, Washington DC is a multicultural, diverse city, bursting with traditions. Art, culture, food, music and an air of adventure make this an always exciting place, and it offers more than enough to get any artist’s heart pumping. With so many things to see and do here, I’m never without inspiration. Being born a naturally creative person with my unique view of the world, I am fascinated by the beautiful and unique national parks and landscapes in this country and try to capture that in my photography. How has growing up in a culturally rich country like India influenced your creativity and appreciation of beauty? Having been born in India, I’ve always been

greatly influenced by its history and culture. This, of course, is reflected in the way in which I appreciate art and culture. Each state in India is entirely different and had its art and culture, making India always a top-rated tourist attraction. It’s just impossible to ignore the vibrant colours, people, architecture, beautiful sights, and of course, the music. As someone who photographs landscapes, what are your thoughts on environmental conservation? I believe environmental conservation is essential for the health not only of citizens but for the health of our planet. I say this not from the photographer’s view but as a human being who loves our world. Of course, as a photographer, I love to find beautiful lush landscapes to photograph. Mediocre, so-so pictures aren’t good enough.


Above: Rolling Hills of the Palouse, USA

But environmental considerations strike me on a much deeper level as well. We only share this one planet. This is our home. We’re part of it just as are the trees and the rocks. Our world is all we have. It nourishes us, were born of it, and one day, we’ll return to it again. Meanwhile, the atmosphere and trees protect us. The sun warms us and the moon lights our nights shining brightly among the stars. It’s incumbent on each of us to do our part to help keep our planet well and thriving. How old were you when you received your first camera? I started with a Kodak “point and shoot” camera given to me by my parents when I was ten years old. It was love at first sight. I took it everywhere with me. For many years that Kodak was my ideal camera until eventually, modern technology brought newer and better innovations to cameras as

well as everything else. For someone who is trying to get into photography, what advice would you give them? Photography is much like anything else. Sometimes people ask me for my suggestions on what camera, lens and techniques they should be using. To become a photographer, I don’t think one needs any fancy and expensive cameras to master – I’d say go out and take as many pictures as you want using different techniques, learn technical components, go to the places you have never been to and be happy with what you do without any expectations. Furthermore, try to look at your surroundings with a different perspective, see nature because there is always a story it has to tell, whether the story is dark or happy, whether there are storms or cool breeze and sunlight – it is all beautiful and touching. 09

Above: Winter Wonderland, Michigan, USA

achieve clearer and more precise photos from your phone. Nowadays with the help of GPS, you can also track the location of the pictures. I’m excited about the future of camera technology. The way we’re After trial and error, you will learn what constantly evolving, I’m confident that works and what doesn’t and how can cameras will only continue to get better and finesse be ushered into their work. The more you practice, the better you’ll get. And better. to showcase your work try Facebook, Instagram, and Pinterest, etc. When people What are your professional goals for the upcoming year? like what they see, you’ll be hearing from Well, it’s my dream to open my gallery and them! studio one day. Meanwhile, I hope to get more of my work out there in the hope that What are your thoughts on the current the galleries, art collectors and the use of technology camera public will admire the job I’m doing, and manufacturers? too, I think I’ll feel very accomplished. END New technology is always a wonderful thing; the digital era is changed immensely since I was a child. A camera can do some pretty amazing things through the use of all our latest technologies to capture panoramic views directly without stitching in Photoshop, and you can even adjust the shutter speed settings remotely to help One also should have immense patience when pursuing photography to capture that one perfect moment.


Above: Winter Foliage, Maryland, USA


Artist Feature


Switching her time between the snow peaked mountains of Austria and Australia, we have artist Jessie Pitt. Having showcased her work at The Other Art Fair in East London earlier this year, Jessie’s work captures the essence of the mountains she surrounds herself with. These behemoths are presented using an array of monotones that highlight their grandeur and fragility. Jessie translates her conversations with the mountains into her work, seasonal changes, clouds and all. Not limiting herself to one medium she continually experiments with charcoal, graphite, drawing ink, canvas and paper. Although, she is currently working exclusively with unstretched canvas, letting its untethered nature be a direct reflection of her subject matter.


Above: Reflection, Graphite, Ink and Acrylic on Canvas, 107 x 173 cm, 2019


Above: One Half, Graphite, Ink and Acrylic on Canvas, 83.5 x 51 cm, 2019


Above: I Am Jealous of the Sun as it Shines on You , Graphite, Ink and Acrylic on Canvas, 52 x 89 cm, 2019


Artist Feature


Discovering and specialising in the decorative technique of Sgraffito has allowed artist Tiffany Scull to combine her passions of drawing and clay work. She views every unique work as a three-dimensional clay painting and a celebration of the natural world. Trying to capture the movement and interaction between different creatures she finds fascinating and hopes to give the impression a bird may take flight from its ceramic home at any moment. She also spends her time creating delicate and detailed ink drawings and watercolours which compliment her ceramics.


Above: Matsuba Carp & Water-lily, Ceramic Form with Slip, Carving and Sgraffito Decoration, 29cm in Height, 2018




Life is not easy; just when you think you have overcome one obstacle, it throws another one right at your face; Usually bigger. But there’s a joy to be found in existence too. Relationships, friendships and just being can be endlessly positive experiences. Each of these scenarios and moments, good or bad leave a mark, an indentation, on us. Artist Dana Nechmad is interested in these markings, both physical and emotional, using form colour, size and texture. The works are tactile and raw, the edges are bare, and the hand stitching is often rough, but the fine details and nuances of colour speak to the rigour of the craft. The act and of bringing forward the imperfect as perfect is very an empowering gesture. A way to accept my mortality through the work. In our conversation with her, Dana talks about the importance of video in her artistic practice and her latest projects.

What does it mean for an artist, an object maker, to deal with the concept of change? The objects I make are static, stable and finite. But does the work evolve through the eyes of the viewer, through context, space and time? Or maybe the work develops in the space between one piece to the next. And so, I am thinking of my paintings as fragmented moments or parts of a whole, of a body. The works are like limbs, skin, and the dye changes with time like the body’s skin changes and ages. The images too are images of transformation, figures that are merging with their surroundings or camouflaged in the background. The line of the figures is

drawn with a thread going in and out of the surface as a body made by a broken line. Would you say humans are a sponge soaking up everything around them, even if it is on a subconscious level? Definitely yes. I think we are all the result of everything we experience. Not to say that we do not have a will of our own or a responsibility to our actions, but we carry with us our past to the future through the present. Did you always have an interest in art? Yes. I have been drawing since early childhood; I would spend hours drawing and painting daily. But my taste has changed a lot over the years, I was


Above: Hidden Curve, Hand Dyed Canvas and Velvet, 120 x 35 in / 304 x 90 cm, 2019


Above: Pre Planning, Cotton Embroidery on Hand Dye Canvas and Polyester Mesh, 43.5 x 66 in / 110 x 167 cm, 2019


brought up on the traditional mainstream western, and now I am more aware of art that challenges that narrative. In your video performance titled ‘Two-Face’, you investigate yourself through your double image. What are your thoughts on social media and self-perception? I have a love-hate relationship with social media; I think it flattens our experience of art (and life) and forces everything to be digested in a second before we move on to the next image. The screen works well for very specific aesthetic and frames the world in a generic automated format that makes everything look the same. It is ironic that we all try to portray our uniqueness through this pre-designed algorithm. I believe there is nothing like seeing art in person and REALLY experience it; we should all focus more on the offline world and less on the online platform. I hardly ever use it anymore for my own personal communications but rather as a tool to get my work out there and learn about events and exhibitions. Where in the world are you currently based and why? These days I live in Chicago, I graduated last year from the School of the Art Institute, and I love this city and the people in it, so I am here for now.

The content of the work is in the material itself and not only placed on top of it. I think the big challenge with art, like with writing, is manifestation versus description. I aim to manifest the body through my work and not describing ideas about it. Video can be a fantastic tool of self-analysis, what do you think the future has in store for it as an art form? I love the medium of video because of its history of DIY and its political role specifically as a tool for feminist artists. For me, it is very much about that direct nature of making that gives me freedom and is the complete opposite of the slow pace work I make with textile. My video work is based on very minimal editing as I explore performative gestures in real time facing the camera. I think the internet has become an essential venue for expression through video and allows people to expand the medium and their possible expression with it. I look forward to seeing what comes next. If Dana was a boxset on Netflix, what would she be called? Maybe it would be some kind of a travelling show, I keep bouncing around between places, and I don’t think it is going to change soon. END

Could you tell us a bit about your latest work with textiles? I am increasingly interested in the sense of touch as a focus for my work. In a way, it is funny to make visual art about touch because traditionally we are not allowed to touch a piece of art that hangs on the wall. So it is really about the desire to touch. I am looking for the connection between the carnal and the emotional that exists together in us. Through playing with different textures and materials, I can metaphorically approach sensations while maintaining the complexity and contradictory elements of those feelings. 21

Artist Feature


As much as we have progressed as a civilisation which has led to countless discoveries, there are still many secrets left waiting to be unearthed and discovered. Beyond what’s tangible and explained. It is these areas that artist Thomas Scerri explores through his work. Visualising the invisible and uncovering the hidden. He strives on bringing abstract concepts into the real world. Taking organic forms, he creates contrast between human-made and the natural world. While creating, Thomas lets the medium dictate the final form, acting as a median between the unseen and reality.





If we consider the fact that every human being on this planet is an immigrant in one form or another its ironic that the term has a negative connotation in recent times, not exclusive to our species alone, mass movement is an integral part of the survival and prosperity of a species. Animals travel hundreds and sometimes thousands of miles in search of food, refuge and procreation. Artist Hasti Sardashi, an Iranian born artist who is currently living in London, uses art to give her a sense of permanence and stability in a life defined by change. This process allows her to connect with the most genuine of her existence. In our conversation with her, she talks about finding a balance between identity and integration and her journey to her current home in the United Kingdom.

We are living in an age of mass migration, what are your thoughts on that? For me migration is movement, is change, is life, is survival. Migration already preexisted humans. We see animals, birds to migrate as a part of their natural existence. I believe that the mass migration has always existed ,the history has been always full of wars, natural disasters and economic or socio-political crisis leading to mass migration. Somehow people seem to forget all these facts and let themselves to be misled by politicians who misrepresent the truth for their own good. Would you say it is important to find a balance between identity and integration as an immigrant? Certainly and not only as an immigrant. I

am coming from a patriarch society that as a woman the identity is given to you since centuries: You are the daughter of your father, the wife of your husband and the mother of your son. They make decisions about your appearance, your natural body functions (your menstruation for example) and your age. I wanted to be me, I wanted to be seen as ‘me’ as a human being and as equal to anyone else. And I rebelled against all these patriarch rules since I remember, I guess something I still do, out of rage and anger about this deep and nonsense act of injustice although knowing that this will leave me with a more scattered identity.


Above: Wounds on my Body: Hope & Fragility, Series: 7 Step of Growth, Acrylic on Canvas, 120 x 180 x 4cm, 2017


When I left Iran in the 1980s to the West Europe another identity was given to me: the identity of an immigrant / a foreigner. First I believed if I keep on the rules of the new (less patriarch) society I will be soon being seen as ‘me’ and not as an Iranian immigrant. However very soon I realised no matter what I do, I remain an immigrant as the society around me can only identify itself by distancing itself from the ‘otherness’ of us as the immigrants. Realising and accepting this fact was as liberating for me as was hurtful and depressing. It felt if we (women) or we (humans) can only move from one ‘prison’ to the next. It felt if the only way for me to be able to get a sense of freedom is to keep my individuality, it is to be unconventional or ‘crazy’ as I am. This process since made me to be able to feel integrated in any system as long as I keep my wings to fly or my brain to question the norms. This helps me to feel integrated anywhere in the world as long as I keep my passion for humanity , my curiosity for life and maybe my naivety in believing that something better will be waiting for us.

for a visa for USA where my parents wanted some other family members to support me to have some education and build a new life. I arrived in West Berlin in 1984 with a months long of a tourist visa. Few weeks later my application for a visa for USA was denied and on the last night before my tourist visa for Germany was due to expire I happened to meet a group of young Iranians that convinced me in a pub that It is pure madness to return to Iran that I should stay in Germany and study. I have never had the chance to say thank you to these people who just helped me without even knowing me making my life to take a new turn.

The years following the above have been tough, real tough. I found myself in a country I didn’t speak the language, had neither wealth nor family having have just to rely on the kindness of stranger. Maybe due to my troubled rebellious past, or maybe due to some strong sense of guilt having survived while thousands other young girls who haven’t had the privilege to leave Iran had to suffer the repression, or just maybe due to the reality of my circumstances I felt that the only way out Could you tell us a bit about your journey for me is to aim to study something that from Iran to the United Kingdom? helps me to become financially I was a teenager by the time Iranian independent as a woman. Maybe this or revolution started and by the time I finished maybe following my parents wish led me to secondary school the universities were all aim studying medicine in Germany. closed nationwide, going through the However it feels if for achieving the priority government’ three years of universities of being financially an independent woman ‘cleansing program’. Hence I needed to somehow I had to sacrifice my art and the look for a job or for an alternative training. I person I was then. The need for survival had few jobs before discovering an felt somehow greater to me then than the intensive training course in Architectural need for growth and happiness. This inner drawing. I finished the course with a battle between these two sides, has been a distinction and found a job in a small reality of my life over few decades. architect firm not far away from my parents home. During these years the political and After finishing university and working for social situation in Iran became few years in Germany I came to United increasingly repressing and difficult for the Kingdom in 1997 for a 6 months job young people, leaving their parents feeling contract and then I stayed here since. This very worried about them. Under pressure second migration was not any easier than of my parents I left Iran to Germany hoping the first one if not even harder. 26

Above: One who Stayed, Fall in War and are Forgotten, Series: Migration, Survival, Guilt, Mixed Media on Canvas, 120 x 180 x 4cm, 2017


Above: Empowerment Feminine, Series: 7 Steps of Growth’, Acrylic on Canvas, 120 x 180 x 4cm, 2017


How did that affect you as an artist? I believe everything that does affect me as a human being also affects me as an artist. I believe experiencing upheavals and revolution in my teens in Iran, the migration to West Germany in my early twenties and then again migrating to United Kingdom in my early thirties have had a major effect on my life with or without my artist identity. You can see for example in my ‘Migration, Survival & Guilt series’ or ‘Ideologies Trap series’ from 2017 how after four decades all these traumas still have been present in me. Obviously the actual and personal battle of surviving and existing as an independent and not conventional Iranian woman has been a prominent part of me and my art all through as it has been my rebelliousness. In an age of relentless social media, how important is self-perception and self-value to you as an artist? Maybe alike by a lot of other artists for me the underlying drive for creation is destruction/death or fear of death or destruction. In my personal experience of creation I feel that my self-perception and value changes from having some raised energy and self belief to being filled with deepest self doubts. However at the same time I know deep down that these circles of self-believes and self-doubts, are the necessary part of my creation process and I wouldn’t function without them. I see the social media at the current stage in my artistic career not as something I would allow as such to affect my self-perception or self-value as an artist, but as an opportunity that can be used for me as an independent artist to put my art out there hoping this will be seen by some audiences who find the connection to my art.

controlled by the art dealers, gallerists and collectors. I experience the art world represented by some auction houses and dealer somehow totally distorted, out of touch with reality and pretentious. I feel in this process neither the artist seems to be having a place nor is the art as such. Could you tell us a bit about your piece of work titled ‘Empowerment Feminine’? After leaving my my country over 30 years ago, London became the only city in the world I could call ‘home’. With Brexit phenomena starting in 2016 and its consequence experienced negative changes in the society during 2017, I felt an enormous sense of loss, sadness, anger and rage. This might have greatly influenced me in creation of “Empowerment Feminine” in 2017 which also fitted perfectly in the series I was doing since November 2016 called “Seven Steps of Growth”. In retrospect the image of Eagle might be a representative of hope influenced by the increased women movement in USA during 2017. How does Hasti spend her Sunday’s? Maybe a cliché but I love to stay a bit longer in bed if I can , have a cup of coffee and read some news paper. However unlike any other day Napo my Boxer dog will be sitting next to my bed and staring at me each Sunday morning if he had urgently to go out for a wee. Of course I try to ignore him which is impossible so I give up and get up and get him out for a walk. I also enjoy cooking and preparing some food from the fresh ingredients I bought from the local Saturday market as I know I wouldn’t have time to do this during the week. END

What elements of the art world frustrate you? That the art has been becoming increasingly a commodity in our modern day society which is being re-branded and 29

Artist Feature


The human population is growing at an alarming pace, with the most significant migrations we have ever seen. Most of them happen for better opportunities, escaping conflict and persecution, amongst other reasons. Cities are usually where these masses converge. A dazzling combination of opportunity, bustle and the change to start new. Unfortunately, this also leads to pressures placed on often archaic infrastructure, the environment and the inhabitants. These are stories that every city can relate to. Artist Jackson Lee who is based in Hong Kong is doing his best to document the change in his home city with his ultra-realistic paintings. Something we mistook for photographs at first glance. Capturing the fleeting city, his work immortalises subtle nuances of a traditional charm that’s being replaced with glass and concrete.


Above: Never Give Up, Oil on Canvas, 99 cm x 71 cm, 2017


Above: After the Rain, Acrylic on Art Board, 71 cm x 99cm, 2015

Above: Upstream and Downstream, Acrylic on Art Board, 71 cm x99 cm, 2014


Above: Neighborly, Acrylic on Art Board, 99cm x 71 cm, 2014


Artist Feature


Not limiting himself to one medium or chain of thought is artist Griffin Cordell. Self explorarory in nature, his work explores the limits of drawing and sculpture, taking multiple forms through the creative process which often leads to unexpected outcomes. An avid interest in materials, Griffin likes to strip away its formal connotations such as colour, texture and how elements can influence each other. Through his art installations, he believes the room plays an equally important role in the whole experience. His creations changing the viewer’s perception of the space around them. Griffin recently completed a walk along the rail line going through his town, collecting discarded objects to create art along the way, promoting dialogue and much-needed change.


Above: Isolation 1, Mixed Mediam, 26”x 42”, 2019


Artist Feature


Escapism is a critical component of childhood, an essential phase. It teaches children to use their imagination and broaden their creativity. Tapping into emotions and nostalgia is Miami, FL based artist Rachel Lee. Being homeschooled in the suburbs as a child, Rachel’s constant companion was ‘90s alternative music and video games, helping her cope with isolation. These themes form the basis of her current work. Her landscapes, both real and artificial reference Nintendo franchises and her favourite albums. Rachel debuted her first installation titled Static Night during Art Basel in Miami in 2018. Using video and audio to add another dimension in her work, Static Night was an interactive installation transforming an indoor space into an artificial forest. Inspired by the fabrication of natural environments used in amusement park rides and video games, the space mimics a night in the woods that invites the viewer to explore objects and audio scattered throughout the space and be present in an incredible landscape.


Above: Shy Guy’s Suburbs, Oil on Panel, 36” x 42”, 2018




Using both digital and analogue photography tools artist, Yanika Anukulpun uses the darkroom as her little world to develop prints and create silver gelatin prints. Her high contrast, structural frames captivated us with their framing and detail. The subject matter isolated, revealing a character that would otherwise go unnoticed. Yanika will be showcasing her work at the Modern Art Masters in Complex du Louvre and Internal Art Fair, at Carrousel du Louvre, Paris between the18th - 20th October 2019 and Woman’s Essence Show 2019 of Musa Art Space at Official Pavilion of 58th Biennale di Venezia, Palazzo Zenobio, Venice Italy from the10th-14th May 2019.

What do you think makes analogue photography so accessible, even today? In my opinion, analogue photography is like a master classical song that no matter how long it would be pass or changing this generation to the next generation. It is still charming and beautiful in itself. I think the unique point of film photography is the aesthetic emotion including of colours, grains and unpredictable beauty of film processing or film camera in itself such as the perfect spot of light leaking or Push or Pull techniques to make more or less grain on the photographs. Also, film photography is an interesting magical thing because the photographers cannot miss any single steps through the whole process as well as they cannot see those pictures right the way after they take the images. It takes some time for all process, and they need to shoot and set up the film camera

very precisely. From these points, it increases the value of the photographs because of manual skills, knowledge, and enjoyable processing time that digital photography cannot be in these points. Most people are put off with the time and effort required in the darkroom developing analogue photographs, what advice would you give them? Developing film and silver gelatin prints are not easy. All of the processes take time, and photographers need to have passion and plenty of endurance to get through this process. There is no shortcut. The experience, mistakes and experiments are the keys to succeed in this process. I always make a short note whenever I have been doing this process.

44 52 38



I record everything such as water temperature, exposure time, room temperature, and chemical proportion etc. Time and temperature are extremely significant as they can directly affect the photographs. For example, if the water temperature is too hot, it can blow out the highlights in the film.

through her lens. However, both Keetman and Wolf have very keen eyes, and the strong sense of design elements such as shape, form, and pattern on their photographs makes their photography style very unique and recognisable.

On the one hand, I prefer to use the film brands from western countries like Rollei, Ilford and Bergger Pancro that my photographs will be very contrasty after the work in the darkroom is complete. I think the amount of chemical silver on the film surface might be more than Asia film brands. So that is the reason why the picture results are high in contrast. If someone prefers an excellent tonal range and a smooth look for black and white film, I would recommend Fuji Film Neopan Acro which takes the same amount of time to develop as regular film. Do you have any favourite contemporary photographers that you recommend our readers follow? Personally, my street photography projects gather inspiration from Vivien Maier’s work. I get considerable inspiration from recording people’s lives on the street and freezing time in an era so we could notice the way that people dressed themselves, automotive and architectural design. For my fine art architectural projects, I was inspired by Peter Keetman’s Volkswagen photography project and Michael Wolf’s photographs. What is it about structures that make them unique to photograph in your opinion? I think all of my favourite photographers’ feature great composition in each of their images and different camera angles depending on the subject. In my opinion, Vivien Maier’s work is not only has excellent composition, but also includes the way people feel, and good story-telling

Most people think of building as inanimate objects, but there’s no denying they have a presence and a soul. What are your thoughts on that? Of course, I think we cannot change what peoples think. It is a particular audience group who is fascinated with architectural design, history, architect’s taste and different cultures. From my point of view, I think the well-thought buildings around the world still maintain the architects’ passion and thinking process to create buildings soul. This is a work of art that they would leave it in the world after they pass away. For the architectural photographers, I think we use the abilities of the camera, and our creative perspective to capture the still building to create a sense of animate feeling through the lens. Where are you currently based? I am currently working as a fine art and commercial photographer in Thailand, but I’m also a freelance photographer and have many on-going projects. How important is leaving a legacy behind as an artist for you? That is a good question. I believe that the first thought for being an artist is not about money. The beginning of being the artist is passion and inspiration. Those things drive artists to keep creating and producing projects that could sustain people’s thoughts and mind. A lot of art projects help society to be better. Art is a significant medium for artists to communicate ideas and expression through their work. In my opinion, if the artwork is unique and substantial enough, it will bring income and


fame to artists later. However, not every brilliant artist could earn a ton of revenue and be super famous in reality while they are living. At least they know about the meaning of life. The thing that they’re born to be. I don’t expect to be famous and rich, but I know what I am going to keep doing and developing for the rest of my life. I think “life is short, but art is long”. That is very true for me. Also, I hope that I can leave the positive thoughts, inspiration and what I see on my photographs, and can share them to the next generation. Being an artist is one of the best careers because we know what our passion and what we will leave in the world after we die. It is worth than having no ideas about meaning life for the living. Could you tell us a bit about your ‘Art Performer’ series of images? ‘Art Performer’ is a portraiture project about the unique characteristics of each street American art performer (singers, musicians, and movie impersonators etc.) in the United States. It is still an on-going

project that I have already spent time for two years to travel around the U.S. and find the unique performers. The narrative I am trying to highlight is that American culture is entirely different from Thai culture. It is uncommon in my native culture. They have more freedom to express themselves and their art skills and thoughts. What is Yanika’s favourite time of the day to photograph? From my experience, it depends on location and the variable quality of light in different places. For example, the natural lighting in California is warmer and softer than sunlight in New York City and Bangkok because I think the quality of sunlight in NYC and Bangkok is very harsh and strong. The time of the year also affects daytime hours as well. I usually avoid taking pictures at noon and in the afternoon between 11 am and 2 pm. The reason is I don’t like the intense sunlight and the shadow position on the subject. END



Artist Feature


As a practising architect, Kip Harris learned to pay attention to the spatial and aesthetic needs of the people for whom he designed. He carried this interest into his photography that often deals with people in their workplaces. About this focus, he has stated: “There is a Taoist phrase: ‘Wei Wu Wei,’ that has been translated several ways but the one I like best is ‘doing, not doing.’ When one has become a complete master of an action, he no longer has to think about how to perform the act but has become the act himself. I try to photograph this.” Harris now lives on the South Shore of Nova Scotia where he and his wife are involved in a cottage industry puppet dance theatre called Company X Puppets.


Above: Elephant Minder, Karnataka; Archival Pigment Print; 20” x 16”, 2017 Next Page: Street Side Barber, Delhi; Archival Pigment Print; 16” x 20”, 2014



Above: Wedding Musician, Agra; Archival Pigment Print; 20” x 16”, 2014


Above: Plant Guy, Florence; Archival Pigment Print: 20” x 16”, 2018




Based in Silkeborg, Denmark we have art collector Claus Busch Risvig. He is the co-founder of the Bech Risvig Collection that focusses on showcasing contemporary art by emerging artists. Claus took some time out of his schedule to talk about the future of art, emerging female artists and his personal art collection.

Can you share the moment when you first found an interest in art? It is hard to pinpoint a specific moment that sparked my interest in art, but I do recall one exhibition that made a special impression on me. It was back in 2010 when ARoS did a solo show with the Danish artist Julie Nord. I clearly remember the feeling of being really excited by her artistic universe. I wanted more of that more bodily sensations, more intellectual stimulation, more untamed creativity. What was the first piece of art you collected and by which artist? I acquired my first piece with my girlfriend, whose family was a decisive factor in my growing passion for art. As an alternative to the classic poster, we decided to buy two lithographs by the Danish artist HuskMitNavn, who portrays everyday life in

a funny, yet thoughtful way. What was the biggest factor when deciding to collect art and why did you choose to collect art from emerging artists instead of more famous artists? I have had a thing for collecting ever since I was a kid, be it records, bumper stickers or sneakers, so in that sense, it felt quite natural to take up art collecting. But really, the collection just kind of happened. Piece after piece has found its way into our home and at one point, we reached a number of works that most people would probably call a collection. There are many reasons why we collect emerging artists, but first of all, we really like the whole process of discovering an artist early in his or her career, following their journey and development as artists. 50


Moreover, most of them are our own age, which makes us feel related to them through our shared experience of the zeitgeist at specific moments in time. I have also had the chance to meet many of the artists, which I really enjoy, and that would probably not be possible if we had collected more famous artists. What processes do you go through when deciding about acquiring a new piece of art from an emerging artist? Since we collect as a couple, we need to agree about a piece before we buy it. Usually, we do a lot of research by reading all available information we can find about the work and the artist. This serves as a great foundation for a discussion about whether to buy it or not. That being said, the whole process starts with a feeling. How does the work make us feel? Does it stick in our minds? Does it challenge us? If so, we start to dive deeper into the work and its creator.

You are very active on social media namely Instagram. How has social media changed your way of seeing and collecting art? I have used Instagram almost since we began collecting, so I don’t feel that is has changed anything for me. I use it as a channel for inspiration, and I feel lucky to be able to engage with like-minded from around the world. Can you tell us about your personal collection and some of the emerging artists you have recently acquired? Our collection is quite eclectic - we both like figurative, conceptual and abstract works - so it comes down to the specific piece more than a certain style. There is an emphasis on paintings in our collection, which is not intentional and might change over the years, but we do also own sculpture, photographs, video and conceptual pieces. 52

Some of the newest additions to the collection are works by British artists Richie Culver, Oli Epp, Liam Fallon and Lydia Blakeley. You have exhibited your personal art collection twice now, how does a collaboration like this come about? And would you consider doing more in the future? I know people who work at Huset for Kunst og Design and Vestjyllands Kunstpavillon, so I was familiar with the profile of the exhibition spaces beforehand. When they invited me to show my collection publicly, I saw it as a great chance to show some exciting young artists to a bigger audience. It was a really great experience both times and I would definitely be interested in doing it again if I was given the opportunity. Do you have a piece of advice for new collectors on how to get started and find their style as a collector? Go see as much art as possible, both at museums and galleries, and read books about art, so that you gain an understanding of the historical roots of the works in front of you.

And of course - buy art - and live with it. You will probably make mistakes but eventually, it sharpens your eye and will make you a better collector in the end. Today, you are among the youngest, most recognisable Danish art collectors. Not only have you grown a large art collection in a short time, you have also grown a strong social media presence within more than 30,000 followers on your Instagram profile. How did this come about? It is a good question and I really don’t have an answer. I never had the intention to amass a collection that size nor build that big following on Instagram - it kind of just happened. Social media can be a great tool for like-minded people to connect with each other from around the world but it can also have a negatively impacted on people mental health. What advice would you give to emerging artists who are looking to use social media to gain interest in their art? Be careful and use it wisely. Social media can be a great tool, but if you use it in the wrong 53

way, it can have a negative impact on your career. In other words: never bet on Instagram to make a career. There are many other ways to make a career in the art world and first of all, it is about making great work. What is the future of the art world? It seems like there is a new ‘art fair’ popping up all the time, how do you decide on which art fairs you will attend? Do you prefer more established fairs or newer ones? I don’t know and don’t really think that much about it, I try to keep my focus on the present moment. Yes, there are definitely many art fairs out there and more will probably come. Personally, it comes down to a matter of time. I don’t plan many months ahead, but like to visit both newer and more established fairs if possible. This spring, I will go to Art Rotterdam and Art Cologne.

Can you share five emerging artists you are really excited about at the moment and why? That is a really tough question. There are so many talented artists, and I will mention five women artists that I’m really excited about. Hannah Epstein, Lea Guldditte Hestelund, Amalie Jakobsen, Maryam Eivazi and Lydia Blakely. END

Undoubtedly collectors can have a big influence and impact over an artists careers, do you feel there is a big responsibility on you as a collector or is that something you try not to think about? Both yes and no. I’m not responsible for their careers and the way they unfold, but I do like the idea of giving something back to them and will do my very best to create the best conditions for them to keep developing as artists. What advice can you give to emerging artists that want to develop their own career without gallery representation? For me, the gallery model is still the right way to go, so I can’t really say how they should do without it. What galleries are doing exciting things at the moment? Gether Contemporary, Kristin Hjellegjerde, Galleri Jacob Bjørn, Steve Turner and Semiose. 54

Above: Søren Sejr

Above: Hannah Epstein


Artist Feature


Curently in Japan, artist Cho Hui-Chin showcased her work at The Tokyo International Art Fair this year. Driven by creativity and diversity, she gathers creative strength from the plethora of influences she had grown up within a multi-cultural household ranging from her Taiwanese ethnicity and Japanese Manga to traditional Chinese aesthetics. She obtained her BA in Fine Art from The Slade School of Fine Art and is currently in the process of completing her MA in painting at the Royal College of Art in London. Her pieces often evoke dialogue about a variety of topics ranging from the relation between life and death and its binary opposition and the use of organic materials in her pieces.

58 56






A Los Angeles native, artist Susan Lizotte spent her early childhood in Bronxville, New York. Returning to Los Angeles in 1979, she attended Marlborough School and earned her B.A from UCLA. Influenced by the dynamism, beauty and fragility of her home city, her pieces are observational but undoubtedly philosophical. Her use of bold colours and unrestrained strokes give her pieces a life of their own. Tackling issues such as memory, loss and the destruction of the environment around her, Susan’s work has been exhibited extensively around California. In our conversation with her, she talks about the profound impact of grief and loss, life in Los Angeles and her legacy.

In your body of work titled ‘Los Angeles: I’m a Native’, you include the recent forest fires which ravaged the state. How did this destruction change you personally as an artist? The smoke and the smell of a wildfire in L.A announces it way before the news does. You see and smell the smoke, and it covers the city of Los Angeles when a fire is burning. Personally, I find it quite frightening. As an artist, I think the fire is beautiful and horrifying at the same time. Also as an artist, I find it very strange that the fires are normalised, it becomes merely another aspect of life in L.A. My “artistic” view of what is “normal” has made me more curious about investigating the differences between what is considered “normal” in Los Angeles versus other major metropolitan cities. For example, it would hardly be

considered normal to have fires in Manhattan. If you had to pick one Italian artistic maestro that has influenced you personally, who would it be and why? Leonardo Da Vinci would hands down be my Italian artistic maestro! I love seeing the infrared and ultraviolet scans of Leonardo’s paintings and seeing how he worked on a painting. Seeing his creative choices and how he would change and edit his choices is entirely inspiring. It also shows me how he “saw” something and that each mark could move or switch to benefit the totality of the piece. It inspires patience and to always keep actively looking and looking.


Above: Los Angeles Wildfire, 12 x 12 inches, Oil on Canvas. Photo Credit: Alan Shaffer


Above: Hollywood Sign Wildfire, 30 x 48 inches, Oil on Canvas. Photo Credit: Alan Shaffer

Do you think the governments of the world will ever stop using its citizens as lab rats? Your body of work ‘Mercury’, touches on this and we would love to hear more. Honestly, I wish the governments would stop using citizens as lab rats. My series Mercury speaks to this and the abuse perpetually committed by those in power and with money. It seems like once people achieve a financial or social status, they must somehow feel that they have earned the (nonexistent) right to act entitled. This entitlement seems to confer the right to act with no morality and the right to break the rules. I think the abuse of power is an age-old problem which will never go entirely away. But we can assure ourselves that we will always fight for what is right and good. The future really depends on all of us. What are the wonderful aspects of living in Los Angeles? What a fun question! The light, weather and affordable rents make Los Angeles

particularly wonderful. The light in Los Angeles is golden, and daybreak is rather quick from sunrise to full daylight so the day just blooms and the low humidity makes the air feel very light on your skin. It usually doesn’t rain very much in L.A, so it becomes a city of doing almost every alfresco which is fun. The low humidity means almost no mosquitos too, so it’s pretty much bug-free. The fact that the city is spread out allows lots of space available at low-cost rents which allows great experimentation in clothing design and the arts. One can find designers of all ages creating new clothing, new makeup, original artwork and all because the geography has room for everyone. This isn’t true in some other big cities where the rents are so high that the only clothing or art displayed has already been vetted and around for a while.


What is it about grief and loss that makes it so hard to process as emotions? How can art play a pivotal role in this? I really don’t know; grief is so excruciatingly hard. For me, trying to navigate grief and loss is painful and doesn’t seem to matter whether the person who passed brought you joy or pain. Trying to allow the emotions unleashed by grief to wash over you, experience those feelings, and then to allow yourself to let go and release them seems to bring some introspection and ultimately peace. The problematic part of experiencing grief through emotions for me is granting forgiveness, grasping that the things that happened are over and it is done. So to let go and put it in the past after you ride the waves of emotion is painful. Once you get to the point of thinking what have I learned from this person and this experience and absorbing that allows us to get stronger and wiser. For my art that was pivotal to use the loss and let the creativity take over. Painting the emotions and the ride was very cathartic for me. Even if people simply painted the colours they were feeling during their grief, I think it would help a lot of people.

was very young, strangely enough. I think about it in more global terms though, not just about my artwork. I can only hope that whatever I’m doing, that I’m kind to others and thoughtful and helpful to others. To be remembered like that would be the best legacy of all. And if my paintings resonate with people in the future that would be a bonus! What does Susan love doing when she is not in the studio? When I’m not in my studio, I love spending time with my kids. My youngest son is still in high school, so I get to have lots of fun with him. I’m treasuring the time we have together because too soon they all will leave to have their adventures and it’s fun to have them around now! I also spend time with my pets; I have a pet peacock and two beautiful English Springer Spaniels. My peacock Pavi has been with me since he was a three-week-old peachick. He is gorgeous, comes when I call him, and he’s very tame. My dogs are tremendous fun and silly and playful, just a joy to be around. END

What are you working on at the moment? Right now I’m working on a new painting series all about Los Angeles, my native city. I’m having a blast painting my favourite places and things that make up Los Angeles. I’m painting my favourite bus stop in the city which happens to look like one could live there, it’s a Spanish bungalow with a red tiled roof! And of course, I include the recent wildfires which every year terrify us. Artists often talk about creating a legacy to leave behind, is this something you consciously focus on? I have thought about my legacy since I 63

Artist Feature


For her ongoing project Flora Abstrata, artist Josiane Dias looks at the relationship between the mediums of photography, painting and our perception of nature. A topic that gets more relevant and urgent with each passing day. For this series, Josiane has dissected her work into two distinct elements. Flora encompasses nature, and the Abstrata refers to our intervention. Combining abstraction with organic forms, she portrays her interpretation of the world around not only her but also her perception of it. A subjective take on an otherwise direct relationship. Originally from Curitiba in South Brazil, Josiane currently spends her time between New York and Europe. Irrespective of where she is at the time, she is always looking for the unnoticed and unexpected. Something we could all incorporate in our lives.


Above: Flora Abstrata IX, 2017, Inkjet Print on Archival Paper, Variable Size, Limited Edition


Above: Flora Abstrata Xll, 2018, Inkjet Print on Archival Paper, Variable Size, Limited Edition


Above: Flora Abstrata XV, 2019, Inkjet Print on Archival Paper, Variable Size, Limited Edition


Artist Feature

MICHAEL HECHT @michaelwh2018

Immortality is coveted, but death is inevitable. With each passing day, we get closer to it. The countdown starts from the moment every living thing is born. One cannot contemplate life without meditating on death. Artist Michael Hecht creates pieces that hinge on this dichotomy. Interrogating self-portraiture, his work isolates the subject matter, showcasing it in altered emotional, physical and often psychic states. He believes that these passions that we all share, however anti-social they might seem, reflect our desire to connect with the universe. It is the disparate individual’s desire for self-loss, self-sacrifice, or self-forgetting---of the fleeting sensation that the boundaries of self are obliterated into cellular union with the other, perhaps even with the cosmos, that he is striving for in his work.


Above: Ephemeral Embrace, Serigraphic Monotype, Colored Pencil, Graphite on Paper, 28�x20�, 2010


Above: Relentless Head, Oil on Canvas, 36”x48”, 2011


Above: In Spite of Myself, Charcoal, Pastel, Colored Pencil on Paper, 21”x15”, 2013


Above: Portrait of Patricia, Graphite Pencil, Colored Pencil, Serigraphic Monotype, 15�x11�, 2012


Above: My Doppelganger and Me, Charcoal, Graphite, Watercolor on Prepared Panel, 24�x24�, 2000


Artist Feature


Sensual physicality and emotion are essential traits in the works of artist Francesco Ruspoli. Human figures are positioned in an abstract environment, contrasting yet vivid colours provide separation and identity. Born in 1958 in Paris from a British mother with a French background and a Belgian father with an Italian background, Ruspoli has presented his work in international art fairs and galleries showcasing his creativity globally. A recipient of multiple awards such as the Eugene Fromentin Award and Gold Medal in France, he cites artists such as Henri Matisse, Edward Munch and Egon Schiele. Through his work, Francesco wants viewers to construct their own visual language and meanings.





Profile for CreativPaper

CreativPaper Issue No. 14 Vol 1  

Featuring: Cover Artist; Viral Padiya, Jessie Pitt, Tiffany Scull, Dana Nechmad, Thomas Scerri, Hasti Sardashti, Jackson Lee, Griffin Cordel...

CreativPaper Issue No. 14 Vol 1  

Featuring: Cover Artist; Viral Padiya, Jessie Pitt, Tiffany Scull, Dana Nechmad, Thomas Scerri, Hasti Sardashti, Jackson Lee, Griffin Cordel...