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Issue 010

Trump Protest 13 July 2018, Regent Steet, London. Photos by: Dominic Alari




While putting this issue together we were fortunate to travel to Tokyo during the time we were away we met some truly inspiring individuals both men and women, who were leading such extraordinary, yet ordinary lives. I always find it interesting to learn about others’ perceptions of life. Some people love to make their lives all about work and getting on top of their game. While others are happiest sending time with family and friends and living in the moment. We are excited for you to delve into this issue of CreativPaper. The magazine as slowly evolved over the past year, serving more as a platform to share your stories, works and experiences. One of the first things you will notice is a complete re-design of the inner pages; we wanted to freshen up the pages based on feedback from our readers and artists featured in the past issues, original the magazine was only meant to be digital. But as our community grew so did the demand for a printed magazine - we now print two issues per year. One new feature you’ll notice is ‘Found’; a carefully curated platform showcasing exciting eco-friendly products and their makers from across the world. Thank you, Jimmy Outhwaite & Jefferson Pires

In Loving Memory of Edna Bailey 22/02/1934 - 15/06/2018

For partnership and advertising: jimmy@creativpaper.com 04

Trump Protest 13 July 2018, Regent Steet, London. Photos by: Dominic Alari

Cover Art: Marine Abrasion, Mixed media on canvas, 48” x 60”, 2016, by Gilbert Salinas




Coming Soon 06 02

Photography by Aaron Chapman







‘Angular’ is a form experiment that developed into a functional piece of furniture. Gijs Kuijpers, based in the Netherlands, originally set out to create a experimental piece of furniture inspired by a psychologist’s room. The heavy base represents the patient who comes in with a heavily loaded feeling and the thin pillar represents the psychologist who offers support. The shape of the wooden base is due to its ergonomic property. The sloping surfaces are for placing your feet when you sit down on the stool. When you sit down like that, your body takes a correct posture and your back will be in a good position. 3mm bent sheet metal is used for the thin pillar. at the top a recess is lasered which serves as a handle. eigengijs.com 10


The Norway Table takes influences from Norwegian culture and tradition to form a beautiful and functional coffee table. Designed by Yorkshire based designer and craftman Richard Nelson. The Glue-less Birch construction takes reference from the mountain Hyttes, constructed within the forests that supply the timber, while the brass pins signify the unique jewellery that can be found adorning the Norwegian national dress, the Bunad. richardnelsondesigns.com 12


Richard Nelson custom-made furniture.



WANT TO CONTRIBUTE? Pitches, words, interviews, personal essays, art reviews, exhibition reviews and previews, poems, photography, artwork etc...




GILBERT SALINAS gilbertsalinas.com

Ever since its inception the and the world we inhabit specifically has been in a state of flux, changing landscapes, species and seasons all keep things in a constant state of motion. Growing up in the beautiful Puerto Rico, artist Gilbert Salinas was inspired by this very natural beauty and change around him which he channels through his work. He is also concerned with the scars our planet bears with time and the unique story they tell. Gilbert has showcased his work in galleries, museums and exhibitions both in his home country and abroad. Our planet is full of traces from aeons passed, what do you think the traces of our current civilization will be? Environmentally speaking, the traces of our current civilization on how we are taking care of our planet is not the best. Our carbon footprint is increasing each day but not in a sustainable way. If this action keeps occurring our traces will affect the future of our planet.

Are we more dependant on nature and our planet that we would like to admit? Of course, we are totally dependant on our planet. Earth is our only home. We depend on its natural resources and without them we can’t exist.

How important is experimentation for you when it comes to your time in the studio? Extremely important. Experimentation Our ancestors used nature as inspiration to document their lives takes about 75% of my time when I’m creating. I usually start experimenting through cave art, what does that tell and go from there. Some accidents us about ourselves as a species? happen and I keep them, others are That since humans became more conscious we had the urge to create and manipulated or intervened until I’m the need to express and communicate pleased with the result. Some days all ourselves finding whichever way I do is experiment without necessarily coming out with an artwork but I gain possible. It tells that we are a creative knowledge from it. species.


Above: Untitled 3, Mixed Media on Paper Over Wood, 40” x 30”, 2017


You’ve mentioned that your work explores the complexities of humans amongst other topics, Could you share some of your observations with us? My series of refigured hominids is mostly based on evolution. We went from single-cell organisms to multi-cellular organisms and from simple became complex; we developed consciousness, self-awareness, positive feelings, negative feelings and along with those, existential crises and even mental health issues.

What are you working on at the moment? What I’ve been working mostly is the figurative Hominidae Series for a solo show this July in New York City. What was Gilbert’s favourite candy growing up? There’s this candy called Chick-o-Sticks that are filled with peanut butter and rolled in toasted coconut. Those were my favourites and still are! END

I often observe humans and ask myself; to which extent are we still beasts and what makes us humans? My series of portraits is my conceptual view of hominids, primarily humans, in different stages of those complexities. They go from a twisted mass of cells to more defined semi-abstract skulls. You’ll find subjects that are disfigured, grotesque and beasts like. Others may seem incomplete with missing eyes or mouths, as a representation of how much we need to achieve as a species, while others have beasts or animals coming out of the back or side of their head, representing a struggle of instincts. In general, it’s my conceptual grasp of trying to understand consciousness, its development and the complexities that come along with it. What historical artists journey would you have liked to be on and why? I would’ve liked to be in the Modern Art Era. I’m inspired by the abstract expressionist and the avant-gardes because they dared to break the rules and do something different. I could say some of my favourites are Jackson Pollock, Gerald Richter, Alberto Burri and Francis Bacon. 18

Above: Untitled 10, Mixed Media on Canvas, 30” x 24”, 2017




Taiwan based artist Jerome Chia-Horng Lin is no stranger to CreativPaper. Having showcased his work at the Artrooms Fair earlier this year, a process that’s not easy by any means. Jerome got an opportunity to get his art across to a wider, global audience. His body of work “Water”, which he has been working on for the last decade combines Jerome’s fascination with the wonders of Mother Nature and the vastness of the human mind. In our conversation with him, Jerome talks about the role rhythm and motion play in his work and his upcoming exhibition in Taipei in July amongst other topics. You recently exhibited your work earlier this year in January, could you tell us a bit about that? According to their press release, Artrooms Fair started at the Meliá White House Hotel in London in 2015, and since then hundreds of selected artists from all over the world benefit from exhibiting in a luxurious hotel room, working along with emerging and established curators. They received approximately 1.700 applications and showcasing more than 1.000 artwork in 4 days. Exceeding all expectations, Artrooms Fair has been accepting applications from 65 Countries worldwide. The fair has become the largest event for independent artists in the UK. After the severe competition, I was lucky enough to be selected as one of the 70 artists

to attend the 4th edition of Artrooms fair in London. I was excited when I got the notice and started to work on it from July 2017. Because they don’t charge anything for space, nor other services at all. Also, this is the first major overseas exhibition I have done so far. I cherished this opportunity so much that it consumes me a lot of effort for preparation. I learned a precious experience of dealing with logistics including the packaging, shipping, tax, etc. The exhibition is also remarkably different from other art fairs I have attended before. The majority of art fairs rely on the charge of space paid by galleries or sometimes by artists. In general, the rule is somehow about the power and money. But Artrooms fair aims to promote independent artists, bridging the gap between artists and galleries 20

Above: The Colorful Egg Hidden From Regular Folks, Oil on Canvas, 2018


Above: A Completed Egg, Oil on Canvas, 60 x 60cm, 2018

techniques and mindsets throughout or curators. I definitely sense their passion for art. They did an excellent job different stages of training. I appreciated all of the training I went through. of helping artists to boost our performance. You also have a showcase of your Several galleries approached me work coming up in Taipei in July, what can we expect from that? regarding representing me in the UK during the fair, although in the end, none It’s a group show by another artist and me in Meet Art Space starting on July of the deals worked out. After all, I was 1st in Taipei city (https://www.meeencouraged to pursue the possibility of exploring a new art market. And I believe tartspace.com/). I will showcase my I will achieve something in the future. several recent artworks of the egg series. The concept derives from my water series for years. I consider them Would you say rhythm and motion as the same series in an overall play an essential role in your art? category. I have been working on this for Definitely, since I started to learn animation years ago, my mindset of about a year so far. For those who live in creating art has been transformed into Taipei city, you are more than welcome more of dynamic rhythm rather than just to check it out. Detailed information will be announced on their official website. static images. I learned various 22

Do you have a routine or ritual before you put on a show of your work? If it means a state of mind, I would say yes. In the business world, there are backbone engineers, makers and workers who ensure the quality of products. Also, sales and marketing personals who are promoting their products, delivering to the hands of consumers. I know many artists including me don’t have the luxury to enjoy the help from a powerful agent or gallery. We are required to do them all. Unfortunately, artists are not trained to get involved with marketing and sales. It seems I have to transform my mindset from the artist mode to the sales mode before the exhibition somehow. I am still learning. Usually, I let the art talks for itself, and I pray for the best. How has presenting your work to an audience changed you as an artist since you first started off? I think it’s more of a gradual evolution after many exhibitions throughout these years. I was taught a mindset in art school, and it’s very different from the actual art world. Over the years, I wonder why we were taught this way? I guess it has something to do with the tradition and art history.

pondering this issue all over again. I would say it affected my style more or less. Do you have any advice for upcoming artists that might be afraid to exhibit their work in a public setting, scared of the response they might receive? I would say it’s the opposite. I think nowadays artists are more concern about being ignored or not receiving responses during their exhibitions. I have seen many galleries change their business model in response to contemporary art trends. They attend more and more art fairs and host fewer exhibitions in their spaces. The internet and mobile devices have a powerful impact on how galleries interact with their viewers, too. From my past experiences of exhibiting in galleries, the viewers in presence are usually my friends. The chance of meeting unknown collectors or visitors are much smaller than attending art fairs. Nowadays art lovers change their preferences drastically. I attend several art fairs for my exhibitions. I noticed viewers have so many booths and artworks to watch.

They are blown away by the significant number of choices in front of them. I The perspectives of art historians and wonder how they receive the impression theorists primarily construct the from an unknown artist? They will foundation of our art education. We live probably remember the most impressive in a fast pace contemporary society artworks but ignore who does that, with frequent transformations in many unless the artist is famous. Once again, aspects. The majority of the audience has no clue about art history while some the big names remain to be big. The collectors may have some knowledge as infrastructure of the art world is their guideline for collecting. In essence, different from the art history we have been taught. It’s straightforward to be they don’t possess abundant skills like artists. Naturally, their assumption of art swept by an overwhelmingly large number of exhibitions and activities sometimes surprises me. I was every day. awakened by them, too. I spent time 23

No one seems to remember your exhibit and viewers are polite because they don’t know what to say. They just don’t digest enough and move on. It’s scarier this way.

I was twenty-something, the art market preferred local senior artists. Collectors were new in this field. The avant-garde movements were just newly introduced into this region and not fully accepted yet. Back then, young artists Is there a new series of paintings that went through a stage when we have to you have been working on? fight for many things. Nowadays The egg series that I mentioned earlier is contemporary art is a mainstream global the one. “The horse in need for two eggs trend; local collectors move their (2015)” is the first one of this series. Two attention either to well-known global yolks in that painting represent the artists or younger candidates locally. resources and logistics. As an artist, I Another sector, the antique art market was constantly forced to create new has abundant resources and tradition artworks without any backup or support. which has occupied a large portion of Therefore I created this piece to the art market, too. symbolise my desire to obtain more support. The art market in Taiwan has rapidly developed during the past several The protein transforms into the shape of decades. It’s a pretty mature market a running horse with water appeal, now. Globalization and the internet are indicating the urge to sprint forward. also essential factors in shaping the art Many viewers responded to it very world now. Overall the art market in positively; therefore I was encouraged to Taiwan is pretty strong, so many global create more related works. This galleries are willing to explore the region eventually turns into a new series of for art festivals or other possibilities. I artworks from 2017. I think it’s a good would say as an artist here, I have many idea to explore more possibility using opportunities, at the same time, I am this concept further. In a combination of competing with many other options in images from different ball games, yolks front of viewers. It’s quite challenging. are the indication of balls being chased END by players. It generates multiple meanings of yolks which could be interpreted as either sex drive, nutrition, sun, resource or logistic, etc. I will work on it for more pieces. Could you tell us a bit about the art scene in your hometown? It’s not easy to summarise the overall art scene in Taiwan. Everyone has their perception of art activities accordingly. As an artist of my age, I would say it becomes much more friendly for younger artists. Or I should say I am in awkward age as an artist. When 24

Above: Chasing the Ball Under the Moon, Oil on Canvas, 100 x 100cm, 2017


Artist Feature

HIROMI KAWANO opato.info

We recently got back from a trip to Japan. What struck us most about the trip apart from the neon lights of Tokyo and the incredible food was the kindness of its people and the attention to detail. This is something we have heard time and again from anyone that has visited Japan. The people are what make it. But for now I would like to focus on the latter point. No matter where we went, there was a relentless attention to detail in every object and situation, no matter how mundane it was. An illustrator and designer by profession, Japanese artist Hiromi Kawano expands his creative boundaries to photography. His multi-layered pieces combine contrasting elements such as nature and urban landscapes. Based in Tokorozawa, not far from Tokyo, Hiromi applies the passion and attention to detail in her pieces that her home country is renowned for.


Above: Tokyo Parallel World


Above: Secret


Above: The Old Tough Guy



LISA BATTS chaosandthread.com

It’s no secret that as humans what we project into the world is often different to how we really feel inside. Social pressures, expectations and taboo’s often lead to us suppressing how we really feel. Creating out of her studio in Auckland, New Zealand, artist Lisa Batts (chaosandthread), tries to explore these feelings visually. Hidden parts of ourselves, locked away in the vault of our minds. Driven by process, her work often combines paint, ink and thread. In our interview with Lisa we touch on various subjects such as the complex layers of the human psyche, the influence of the Vienna succession on her art and the beautiful country she is nestled by. What is it like an artist to be based in gorgeous New Zealand? Living way down in New Zealand definitely has advantages. New Zealand is a visually beautiful country with stunning beaches and native bush which help to generate and influence my colour palettes. Of course, there are drawbacks in regard to remoteness.


I am lucky enough to be able to travel to Europe fairly regularly to visit family and friends so do feel like I am getting the best of the northern hemisphere and the southern. Although we are isolated in New Zealand, this also can be seen as positive - way down here we have plenty of ‘breathing spaces’ which allow the creative juices to flow. And the world is definitely getting smaller in our digital age which helps with connections

As progressive as life might seem in some ways there’s no denying the noose of conformity tightening on expression on individualism, how important is art in times like this? I am definitely a process driven artist. I feel so fortunate to have a process that fulfils both my need for spontaneity coupled with quiet reflection and order. Moving paint around freely and without consideration excites and energises me for my next phase. Once my paint has dried and been removed from its original surface, it is meticulously hand-stitched and/or adhered to its final resting place. This slow, meditative process allows me quiet time for reflection and self-examination - often new works are visualised


Above: Inside Awake


Above: Light and Patience


in this quiet moment. By being forced to sit and patiently stitch my pieces, causes me to mull over and consider my own personal journey - this is such a precious moment in my process. Your work tackles the complex layers of the human psyche, How do you connect with your inner self? By using thread in my pieces, I endeavour to have a reference to the slow meditative component of my process. I aspire that the viewer would ‘slow-down’ as their eye tracks thread-work in my pieces and would use this time as a moment to just ‘be’. I enjoy the challenge of giving this medium a contemporary feel as it is applied to purely abstract works. I use foil thread frequently in my work. As light hits and travels over a piece reflecting onto the foil thread, it is my vision that the viewer’s eye is caught and drawn back to the piece, seeing it in a new way. New Zealand is undoubtedly a beautiful country, do elements of this make their way into your art? The ways elements of New Zealand make their way into my work is firstly by way of my colour palette, which often has a turquoise blue component, very reminiscent of our beautiful blue waters. The other way is far less tangible. Quiet reflection, the laid-back attitude of ‘Kiwis’ and a slower paced lifestyle, has definitely influenced the way I work my final component of any given piece. Conservation in New Zealand not only from an environmental point of view but also from a social point of view is extremely important to me. Not only keeping our natural resources ‘clean and green’, but also acknowledging

New Zealander’s unique attitude to life and maintaining this stance as the world moves forward at a rapid pace, is extremely important to me. We definitely are a sanctuary not only environmentally but also on a psychological level - we have the reputation of being fairly laid-back! I hope this aspect of New Zealand never changes. For those us unfamiliar with it could you tell us a bit about the importance of the Vienna Secession and its influence on your work? The Vienna Succession has relevance to my own practice by giving applied art equal standing and value to purely painted works. This has given me the freedom to experiment and not under-value my own practice. The square was a dominant, repetitive form in the Vienna Succession and my own work uses the simple square as a symbol of the esoteric self which is also repeated and applied over most artworks throughout my various series. Throughout my own practice, I endeavour to balance both the pure paint element of my abstract paintwork and the almost handcraft element of my thread-work. Each has equal merit and meaning without one dominating the other. Gustav Klimt, who set out to include applied arts into the Secession program, incorporated textile patterns into his work and gave his pieces a - fabric-like quality, and this also has been influential to my own work and also how I justify my applied arts practice. END


Artist Feature

MICKEY CHEN ratgoofy.com

After graduating from The School of the Art Institute of Chicago in 1996, artist Mickey Chen always kept her toes dipped into the world of art even though it was no longer her main profession. She always made time alongside her teaching job at Shantou University, China to create art. Transitioning from photography to acrylic painting and mixed-media to collage. Experimentation is key in her practice as she believes that there are no real errors, just different outcomes. Mickey also feels that it’s important to not have a signature style, something that’s encouraged in the artistic community, but to keep an open mind and try new things. Art making, for her, is not just a way to express herself but a way to define her existence.


Above: Spook


Above: Nothingness

Above: Cut Wounds


Above: Baby Heart


Above: Beautiful Politics


Above: Little Devils



LARA WARDLE jerwood.org

Established in 1977 by Alan Grieve the Jerwood Foundation is a philanthropic organisation dedicated to supporting the arts in the United Kingdom. 2018 marks 25 years since the first work was purchased by Alan Grieve for the Jerwood Collection and since 1993 the collection has grown to told just under 300 works of 20th and 21st Century British art. We recently had a conversation with Lara Wardle, Director and Curator of the Jerwood Collection, where talked about the foundations ongoing exhibitions, the impact of rapidly evolving technology on art and contemporary artists that have caught her eye. Could you tell us a bit about the Jerwood Foundation and the work it does? Jerwood Foundation was established in 1977 for John Jerwood MC (1918-1991), and at that time its principal benefactions were in the fields of education and music, with humanity at the heart of its activities and initiatives.

Charitable Foundation; and Jerwood Gallery.

How essential is the cataloguing and preservation of physical art in your opinion? Having worked in the art world for over 20 years and spend much of that time handling and cataloguing works of art, I feel that it is crucial to record and Following John Jerwood’s death in 1991, preserve physical art for future generations. the Foundation’s remit was refined to support, nurture and reward excellence How do you think the Jerwood and commitment in the visual and Foundation will evolve with the performing arts in the UK, with an advancements in Digital Art and emphasis on emerging and mid-career Technology? artists. Since 1991 Jerwood has There is no doubt about the importance channelled over £100 million in of Digital Art and Technology not only in capital and revenue funding in support of the arts in the UK and has grown into terms of art historical research but also crucially in improving accessibility to the a family of registered charities and arts globally. not-for-profit organisations; Jerwood Foundation, Jerwood Space, Jerwood 40

Above: Jerwood Collection: 25 exhibition at Sotheby’s, London. Photo: Pete Jones


Above: Jerwood Collection: 25 exhibition at Sotheby’s, London. Photo: Pete Jones

In my opinion, it is essential for the art world to keep pace with advancements in these fields. I’m interested in VR and how it can be used to transform the visitor experience in art exhibitions and loved the VR experience at the recent Modigliani exhibition at Tate Modern. I felt utterly transported to his studio – genuinely mind-blowing! Support for emerging and mid-career artists is at the heart of Jerwood’s mission. The financial grants awarded to film-makers and photographers through the Jerwood Visual Arts Programme encourage the pushing of boundaries in these genres through the latest developments in Digital Art and Technology. We also continue to look at how technology can enable us to reach a wider audience as well as how it can

help us to continue to look after our collection within best practice standards. Having said that, I’m a great advocate for seeing works first hand when, and if, you can. You curated the current exhibition marking 25 years since the first work was purchased for the collection, was it a complicated process? Since we bought the first work at Sotheby’s 25 years ago Jerwood Collection has grown to include nearly 300 works of Modern and Contemporary British art, so it was a tricky but enjoyable challenge to choose just 25 representative works which would help to tell the story of the Collection as well as show the breadth of works that we hold both in terms of date produced and medium.


I began with two fixed points: Sir Frank Brangwyn’s From My Window at Ditchling, circa 1925, the first work we purchased in 1993; and the most recent work bought earlier this year, Profile and Brushes 1984-5, by Roy Oxlade (19292014) and then thought about how the rest of the story could be told through the remaining works. I selected works by winners of the Jerwood Painting Prize, for example, Craigie Aitchison RA and Prunella Clough to show how the 21st-century strand of the collection had developed, and also ensured that women artists were well represented in the show.

result, I am fortunate to be invited to visit artists in their studios and talk to them about their work and the process of making. I recently visited Charlie Billingham’s studio and am excited by how his work is developing, having first seen it during his second-year Premiums show at the RA Schools, London in 2012.

What future exhibitions does Jerwood Collection have in store for the rest of the year? As part of our 25th Anniversary celebrations, we are loaning works to a number of exhibitions nationally throughout 2018 including The Art of How has the reaction to the exhibition Collecting (Mall Galleries, London 27 been so far? June – 6 July 2018); Show Women: We welcomed over 1,500 visitors in 4 Female Artists Mark the Century days which was a great response and (Gibberd Gallery, Harlow 9 August – 27 helped to raise the profile of the October 2018); and Un(rest) (Millennium Jerwood Collection. It gave me a Galleries, Sheffield 20 October 2018 – fantastic opportunity to talk to lots of 30 January 2019), so lots to look forward people about Modern & Contemporary to. END British Art, collecting and our collection. What goes into the decision-making process with regards to the pieces of art that the foundation purchases for preservation? Acquisitions for our collection have to be considered carefully, and a number of factors come into play for example: does the work fill a gap in our holding?; how does the work or artist relate to other works in the collection?; and will the piece contribute to our stated purpose ‘to enhance the understanding and enjoyment of 20th and 21st-century British art’? Are there any contemporary artists that have caught your eye lately? Part of my remit is to identify up and coming contemporary artists and, as a 43


Words and Illustrations by Jefferson Pires

Growing up in an unsavoury yet exciting suburb of Mumbai, India in the 90’s came with its share of obstacles, never mind coming to terms with my sexuality, as a young gay man I had no role models to look up to. Still socially shunned till this day and illegal, following my heart just wasn’t an option. Fractured by my internal battle between culture, expectations and sheer desire there was one person’s work that resonated with me, Madonna. Her music not only hit the right notes in the charts but strung a chord with me. To challenge norms, push boundaries, break the status-quo and most importantly be yourself is a message she has channelled through her work since the 80’s. Approaching 60 this month the pop juggernaut is still challenging stereotypes while having the time of her life. She may not be in the charts as often as she was, but her impact as an artist is unparalleled in the industry, especially since most of her contemporaries simply aren’t around. Yes, she may not have the best pipes, but she makes the best of what she has. Her relentless work ethic is well known, and her back catalogue of singles, albums and music videos is as varied as her looks through the decades. In the end, it all comes down to her music, sure, like most artists, she has had her share of missteps, but for a little confused boy in Mumbai and countless others around the globe, she was his ‘Lucky Star’. Thank you, Madonna, for your art and so much more. 44

Madonna, Blond Ambition Tour, 1990


Artist Feature

ROSARIO OCAMPO @roxaocampo

It’s no secret that different colours have the power to affect us in ways both consciously and subconsciously. Cooling and relaxing hues of blue contrast with intense reds. Based in Córdoba, Argentina, artist Roxa Ocampo has dedicated her artistic career into exploring the power that form and colour have. Especially in spaces, both public and private. Her creative process consists of letting the colour and lines direct her until the piece is finished in a balanced way, an organic, process driven act of creation to say the least. She is currently looking to expand the scale of work. We cannot wait to see the results.




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Artist Feature

SARAH VAN BOXTEL @sarahvanboxtel

I’m Sarah van Boxtel, I’m 28 years old from Melbourne, Australia. Photography has been an infatuation of mine for many years with analogue photography really coming into my life about a handful of years ago. I bought my first film camera roughly 4 years ago in North London from a charity shop for 15 quid with the hope that my first roll would somewhat turnout with images of the next overseas trip. Sure enough when I returned home from Turkey I got that roll developed and waited a week for the images and I still remember sitting in the car almost crying with joy, and that’s when I knew that this is going to be a fun, exciting hobby of mine. I collected a few more 35mm film cameras from the charity shop or a second hand market, always on the gamble, will this work? I’ve been in luck thus far.




I have just been on a recent trip to Japan where I went to a vintage market and picked up an Olympus Pen. I am yet to run a roll through it but I have faith it’s a winner. Analogue photography is something that really inspires me to think more about an image, in such a digital age most people these days are snap happy and can take more then 10 images of the one scene. With Analogue, depending on what you are shooting you may only have the one shot, I’m willing to take that shot (no pun intended) as the results are tenfold. Its raw, its forgiving and oh so beautiful! Japan was such an amazing experience for me, I travelled with a friend who also enjoys analogue photography so it was a match made in heaven. Japan has been on my list for a long time and exceeded all of my expectations. I am in awe of the people and how kind and considerate they are. They are so apologetic if say you were to wait at a restaurant for a table even just a few minutes they are bowing and are genuinely sorry. Little did they know we are from Melbourne, the city of queues that people just love to wait in! Their nature is like no other culture I have experienced.


For myself Tokyo was my favourite. There is something to look at around every corner. The architecture is something of another world. I am an interior design student so this is one of the reasons I was drawn to Japan, for the new and old architecture. One of my favourite things to do whilst there was to roam the back streets of Shibuya, Shinjuku and Harajuku. Getting lost in the tiny streets whilst looking up at all the homes with everyone single one being completely different to the next. It is truly amazing how efficient they are at using every last square inch of space they have in such a populated city. The other thing to mention about Japan is how wonderfully green it is. Especially in the big cities. If you don’t have a plant wall, you have about 15 to 20 pot plants out the front or the entire front of your home is covered in creepers. Talk about Lush! If you haven’t been to Japan or it hasn’t really been on the radar for you, I suggest you do a little research and you too will fall in love with this amazing country just like I have. I’m already planning my trip back!



Artist Feature

SCOTT FITZPATRICK @scott_fitzpatrick

Scott Fitzpatrick is a photographer based in Brooklyn, NY. His work follows a relaxed perspective that follows a variety of subject matter, from mostly street culture and documentation. His fascination with finding truth and relativity is a common theme throughout. Born in a small town upstate New York has kept him humble and curious, always looking around and staying aware of his surroundings. Since living in the city, he’s gotten a taste of multiple cultures and all the diversities that come along with that. Travel and good people keep him motivated.


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KATE PETLEY katepetley.com

Wherever we look today there seems to be a surplus of doom and gloom, rising borders, the environment in shambles, species dwindling faster than we can count, discrimination and prejudice. There seems like no escape. But it is in times like these that we need to draw inspiration and rise up. Artist Kate Petley tunes into these situations, her work providing respite from these deeply depressing scenarios. Her multi-medium work combines photography with a tactile approach that results in a sense of depth and perspective that pictures do not justify. What inspired your most recent body of work? I am a process-driven materialist with a history that crosses disciplines, deliberately emphasising positivity as an authentic position to contrast these unsettling times. This is increasingly important to me and often requires a level of intense focus. It’s not my intention to ignore today’s important social and political issues; rather, to cultivate options that might provide respite from the barrage of overwhelmingly negative narratives. I accomplish this by using luminous colour and light, set against dramatic forms that push against the viewer’s senses. I’m looking for an experiential space.

We love your bold use of colours, do you have any preconceived notions about the colours you are going to use for each piece? The background image is developed entirely in-camera, an abstract photograph with the colour intact. I don’t make alterations in the computer other than to scale the image. This is conceptually important to me. The mix of light, digital technology, and paint introduce a range of surprises in terms of the final image. There are always unexpected outcomes. I like that. Painting allows me to look for ways to manipulate the image that might overthrow my preconceptions of what colour is capable of delivering.


Above: Even Once, Acrylic and Pimented Ink on Canvas, 48” x 52”, 2017

Above: Followed by the Past, Acrylic and Pimented Ink on Canvas, 72” x 76”, 2017


We are taken back by the sheer scale of your paintings and the luminosity of the colours used, do you find yourself repeatedly drawn to the same shades? No, but I am drawn to a particular type of color…. Saturated, rich, and intensely physical. I’ve wanted the colour to take on more responsibility and authority. By that, I mean that I’d like to create an atmosphere that envelops the viewer. That said, I’ve also developed grayscale paintings that contain little colour, or at least very muted colour. Almost black and white. I love the grayscale works as companion pieces to the vivid colour as if to rinse the colour out of the eyes. Additionally, I’ve always made Works on Paper and they tend to carry a different commitment to colour as they are completely hand painted using a variety of mediums. Is it true that the collages are photographed and printed on canvas before you work on them? Does this pose any unique challenges? Yes, the image is developed in-camera and faithfully printed onto canvas. For me, there is a nearly magical relationship in this combination of collage materials, photography, printing, and painting. There are many challenges, not the least of which is the reality of the image at scale. My paintings are rather large, so the shift in scale has consequences that have to be addressed when I paint into the image. It’s important to note that I paint onto the printed image, returning to the surface with the hand. The photographed collage somehow blends into the painted areas, making it difficult

to discern what’s what. The more compelling challenge lies in how to interact with that image using paint. Sometimes I cover nearly the entire surface. Often the image remains almost intact, resisting anything but the most subtle additions. The dance between the real and the imagined slows down at this stage. I may spend weeks searching for what the image itself wants from my hand painted contribution. Your use of materials such as cardboard and tape in your collages is interesting, certainly with regards to the shapes they produce. Is there an unconscious reason for their use? It is quite intentional. I started out in sculpture, using mostly found and colourless materials that were often very crude, like hoses, chunks of wood, raw cotton or hay, and industrial products. Surely this continues to exert influence over my selections. Unlike traditional collage, I don’t appropriate the materials from a pre-existing source. Instead, I manipulate rough materials like cardboard and tape that contain no identifiable narratives. These materials have an ability to disguise themselves and react to light. But the more meaningful reason for my interest in these materials lies in how I might elevate them. Is it possible to create a convincing image using a material like cardboard that goes beyond what it is? Can I push it into a more nuanced or elevated reading? This metaphor makes the work deeply personal, taking it into philosophical terrain. Am I expressing a desire to elevate myself in this process? Sure. 64

Above: Beyond This, Acrylic and Pimented Ink on Canvas,48” x 52”, 2018

Above: As a Whole, Acrylic and Pimented Ink on Canvas, 72” x 76”, 2017


Above: Farther Away, Acrylic and Pimented Ink on Canvas, 48” x 52”, 2017


Is this degree of sincerity possible in today’s critical environment? I hope so. What message are you trying to convey to the viewers of your current pieces? Luminous colour appears from irrational lighting. Forms lean, float, collide and stand firmly – referring to structures, landscape, or to the physical sensations of the body. Perception is jerked back and forth as the viewer resolves the image. What exactly is happening on the surface isn’t immediately discernable. I want the work to encourage these shifts in awareness. I’m looking for an experiential presence, an awkward rhythm that is almost tender.

What’s next for Kate? I’m diving into the studio and developing new work. I’m open to opportunities that will bring growth. And I’m looking forward to doing some hiking and cycling over the summer season here in Colorado. Being outdoors recharges me and sustains a high level of energy, which I need to keep going in the studio. I will return to Illinois in August to develop a new series of monoprints with publisher Manneken Press and master printer Jonathan Higgins. We are always excited to present a new series from our ongoing work together. My monoprints are available at mannekenpress.com. END

You showcased your collection at the Robischon Gallery in Denver, Colorado, were you pleased with the response you had? For the first time, I currently have two solo exhibitions on view simultaneously. One in Denver at Robischon Gallery, which is an established gallery in a very large space in the heart of downtown, and one at Orth Contemporary in Tulsa, Oklahoma. Orth Contemporary is a new gallery under the direction of a visionary young woman named Katie Orth. I am honoured to be supported by these two amazing galleries, who have believed in my work and followed its evolution. I work closely with them to create the optimum conditions for my work and response has been overwhelmingly positive. 67


MICHELLE BLIX @mysticlix

Reality is great but there’s no denying the endless possibilities and fascination with mysticism and the subconscious. Artist Michelle Blix taps into her creative visions and translates them into her works of art. Pushing boundaries, both personal and professional as she experiments with colours and patterns, giving rise to her own artistic aesthetic. Through her work, Michelle constantly questions reality and consequently gives life to a diversity of witty and complex fantastical plots and epics, personalities and designs. We recently had a conversation with Michelle where she talks about the art scene in her hometown, Mexico City and the role that cinema plays in her creativity. Could you tell us a bit more about the art scene in your hometown of Mexico City? Mexico itself has always been a vast hub for artists. Galleries and museums galore, not just scattered across the giant metropolis, but buried within quaint streets in the hundreds of magic towns and villages across the long stretches of the land. Ranging from the many forms of its precious indigenous crafts to room-sized modern and minimalistic installations, Mexico has always been in the eye of artistic diversity and expression. As of what I have seen from afar, Mexico City is currently undergoing a raging wave of cultural expansion amongst its young. I am constantly surprised by the number of emerging

artists that have popped up in the past few years. Uniting in the name of literature, music, art and poetry; fresh and eager minds are shaking loose and broadening the freedom of expression. Willingly fighting to bring Mexico into a new ideological era consisting of the disintegration of social conventions and the emergence of ‘oneness’. Is it true that you have been drawing since the age of seven? Do you remember the time when you decided that you wanted art to be your main endeavour? Truthfully, I think my journey as an artist started earlier than that. I guess I’ve always lived in an intense fantastical place up in my head and I found myself creating in one way or another.


Above: Souls, Mixed Media, 0.1mm Fineliner on Sketch Paper, Coloured Pencils and Acrylic Paint, 2017


Of course, there have been periods in my life when I’ve spent less time on it as opposed to how much I do now, but I always knew this would be my calling, even though I played with the idea of going after careers I could never have enjoyed out of pure pubescent rebellion. Daydreaming, writing, reading, dancing, getting lost in music, taking photographs, doodling and designing on my notebooks were a persistent state of being.

such as ‘Synesthesia’ or ‘Entanglement’ as well as more metaphysical denominations like ‘Gnosis’ or the disintegration of the Ego. In the pieces, each Guardian is interacting with its background in a subtle manner, however, in relation to it. This is to represent humankind interacting with the rest of reality as separate entities when in truth, they’re part of the same thing and only in death we come to terms with this.

I was never serious about anything else but that. Nonetheless, being prone to obsess over subjects that are of deep interest to me has always been a part of my personality, and these do not necessarily belong to the Arts. Amongst them are: philosophy, psychology, astronomy, psychiatry, theology, and cosmology, as well as the natural sciences and mystical studies like dreams and shamanism. I invariably try to apply these subjects to all the artistic skills I pursue given that it is the only way I can study them all. I always knew art would be my fundamental endeavour... there was never anything else out there for me.

You’ve mentioned cinema as a source of inspiration, are there any directors whose work you find yourself drawn to creatively? I’ve always had a fervour for cinema, and it has been a ritualistic practice in my family since I can remember. My father never feared showing us films of flamboyant visual and narrative design and abstract concepts like the ones Terry Gilliam, Guillermo del Toro or Jean-Pierre Jaunet play with.

I’ve always been in love with the execution of these directors. I also consider the importance of themes and creative storytelling to be a part of what I’m creatively drawn to in a film, Could you tell us a bit about your therefore, I was never afraid of series of paintings titled “Guardians psychological thrillers and horror, or of the Orb”? What was the inspiration other “adult” motifs as a child, so I behind that? always followed the works of “obscure” This is the hardest question yet! directors like Stanley Kubrick and David “Guardians of the Orb” is my first series Lynch, to name a few. But, my all-time of illustrations, and they probably are my favourites would definitely have to be most ambiguous and abstract works so Hayao Miyazaki and Tim Burton, far. It is difficult to put into words. The however, that does not outshine my concept is that only in death humankind admiration for John Lasseter when it comes to terms with the purest form of comes to the world of animation. A few life and reality. I symbolically express a honourable mentions would be Denis variety of terms that I believe have an Villeneuve and Quentin Tarantino. esoteric approach to their meaning and purpose. Terms that spark my curiosity 70

Above: Guardians of the Orb, 0.2mm Fineliner, Coloured Markers and Pastel Pencils, 2017

Above: Guardians of the Orb: Fusion State, 0.2mm Fineliner, Coloured Markers and Pastel Pencils, 2017


Above: Divinity, 0.1mm Gel Ink Pen on Sketch Paper, 2017


In an increasingly digital age, what role would you say CGI, 3D and augmented reality play in the future of art? The impact of these practices on art will be immense. Before my 3D, CGI and Animation bachelor, I had little knowledge about the industry. I honestly could not believe how complex, elaborate and extensive it is. I studied 3D, CGI, Games, Animation and Visual Effects for film and games in Copenhagen, where only the core or most well-known practices are taught. However, there are easily 30+ more artistic and technical computer-generated areas that are all part of the whole production process which are not as apparent to the public as rigging, sculpting, animation, hard-surface modelling and texturing, which are the most acknowledged disciplines if you know a little about the business.

performances of people accompanied with phone interaction, to a complete full-on sensory experience with touch and smell... To me, the possibilities of the mediums are boundless and unfathomable. What are you listening to these days? Progressive Jazz is my guilty pleasure, but I also indulge in Psychedelic Rock and Trance. I ridiculously enjoy concerto and orchestral themes, classic rock and jazz... Anything instrumental is my perdition really! As of recently, I have gotten a lot into Techno and Deep House. However, I also chill by the lyricized sounds of alternative and independent music, some electronic cumbia and funk.

Is there a work of art you have come across lately that’s resonated with you personally? I follow many fantastic and visionary artists, and plenty of names and works come to mind. But if I had to choose To date, the industry has grown one, it would probably be “Fracture” by exponentially and keeps doing so Caitlin Hackett, the divine strokes of her every day. I would bet there is not a pen on the paper set on fire in me a very single movie that has been released in the past decade that does not have even personal mental and spiritual quest for the esoteric truth hidden in the eye of a small percentage of CGI in it. As for the natural world. It is intense and more traditional art, the areas of Virtual poetic how she gracefully presents and Augmented Reality are drastically death as just another beautiful part of opening paths for artists of all kinds! I life in her drawings and could probably knew nothing about this until my recent rip a tear out of your eye. Another very tenure at a small production company honourable mention is “In the Valley of that makes short fiction and non-fiction the Moon” by the Hannah Yata. Overall, films working with mixed media the honesty in which she portrays the including VR and AR mysticism of our reality through nature technologies. This sparked my is very inspiring to me. It is primitive and interest, and upon learning about these new technologies, I found that it is more tribal, violent and direct, but insanely mesmerising and soothing. significant than what meets the eye. From artists who expose at museums or use urban jungles to project their works on their walls; cinematic 73

Above: Visions, 0.2mm Fineliner on Sketch Paper, 2018

The truth and wisdom I see in her paintings remind me of the intent and passion that I put into my own work. If Michelle lived in an alternative universe, what would it look like? My alternate universe is a place in which all humans live detached from any kind of physical perceptions that keep us away from loving ourselves as we are, and acknowledging that they are all unique and beautiful. Due to this primal ideal, the world would not own a sense of difference amongst its inhabitants, giving space to a flourishing society, all bound by the ideals of knowledge, improvement and passion. In this world, we coexist with nature and the animal kingdom mindfully, giving back and making it a life straight out from fantastical movies,

raging with colour and spirit, abundant and healthy. There are no real boundaries between countries, as the earth is everyone’s mother and she is here for everyone to enjoy! The humans from this reality celebrate life and their bodies, and they innovate their surroundings to fit their necessities better and nourish happiness. In this universe there are no grey walls or untouched corners in the streets, artists painting freely, musicians decorating the air, poets reciting wisdom outside of shops, people decorating their bodies in so many different styles and ways. Expressive, respectful and adventurous. Call it a yearning. END


Above: The Whisperer, 0.1mm Fineliner on Paper, 2016


Artist Feature

THOMAS SCERRI thomscer.com

Looking beyond the ordinary is all in a days work for artist Thomas Scerri. Born into a family of art, his father, a ceramicist ignited his passion from a very young age. His work strives to bring the abstract into the tangible. Organic shapes are driven by the materials he uses. After pursuing his studies in Mechanical Engineering at MCAST and obtaining a Higher National Diploma, he decided to return to art and design, obtaining a Diploma in Design Foundation Studies and a Bachelor of Arts in Digital Arts at the University of Malta. His work primarily revolves around sculpture and lens based media. Thomas will be exhibiting his work in collaboration with his father in November this year at Lazuli Art Gallery in Victoria, Gozo.


Above:Thomas Scerri working on a piece titled: ÄŚafnu II


Above: Collective Unconscious, Medium: Mild steel, 2017 (part of ‘Self’ series)



Artist Feature

ZEIKO DOUKA @dukazeiko

One might say that art and music share many parallels. Just as a piece of music requires many components to work in unison, art relies on various factors coming together to form a visual symphony. London based artist Zeiko Duka cries out to her audience through her magnificent, musical compositions of lyrical colour. Born in Georgia, Zeiko’s pieces celebrate the human form, with a tasteful blend of contrasting colours and light. Free from the superfluous veneer that is common amongst the theme’s she frequents, she lets the colour and subjects speak for themselves. Exhibiting since she was a student, she has showcased her work internationally in New York, Berlin, Prague, St. Petersburg, Amsterdam, Athens and Zurich to name a few. Her work is also in private collections around the world.







KARIN MONSCHAUER karinmonschauer.ch

Combining her love for mathematics and digital art we have Luxembourg born artist Karin Monschauer. Her love for art started at a young age with embroidery which laid the foundations of the relationship between shapes and colours. The digital age has undoubtedly given us tools to create which were previously impossible. Karin uses a combination of monitor screens, print media and tablets to name a few to create her masterpieces. The combination of shapes and colours and their synergy in her work have captivated audiences around the globe. She is planning her upcoming exhibition in Belgium and Lisbon later this month.


Above: Byzanz, Digital Art-Printing on Canvas, 120x120 cm, 2017


How has the advancement in technology had an impact on your art? With modern software programs, you can do everything you want, and you can mix colours very easily and then keep them forever. I can also make my geometric patterns very accurate, which is not so possible with a brush. Is it true that you embroidered your jumpers with your own creations growing up? Could you tell us a bit more about that? First, I embroidered my jumpers with patterns I found in newspapers and then put together myself. Later, I started to buy canvas and embroider with self-developed geometric patterns. Where do you usually get your inspiration from? I love strong colours and when I see something like that, I immediately hold it tight. It could become a work of art later. I also have a particular liking for ancient cultures like the Maya, Inca, Aztec, Byzantine, ..., African, all who love bold colours. What is it about Mathematics that fascinates you? I like to play with numbers, and my works always have a logical sequence of geometrical forms and colours, from which beautiful patterns emerge.

From the 7th of August to the 9th of September I am doing a collective exhibition at Liège in Belgium, in memory of a mine accident of 1956 where 262 people lost their lives. And from August 18th to 31st I will exhibit 5 works in the Colorida Art Gallery in Lisbon. Pattern and structure play a key role in your art, how does Karin deal with chaos in art? I’m having a hard time with chaos, but I’m ready to try it out in the future. Are there any contemporary artists that have caught your attention lately? Maurits Cornelis Escher and Friedensreich Hundertwasser have always been my favourites. In addition, Sol LeWitt, Frank Stella, Piet Mondrian and Sonia Delauny have recently joined. Could you talk us through the creative process for one of your pieces? I have an idea and make a sketch. Then I choose the colours that I would like to have in this work and start to put one colour next to the other. The picture then evolves slowly, I always try out new things, and in the end, the picture is usually different than I imagined it in the beginning. END

You have a few exhibitions coming up later this year, could you tell us a bit more about them? I have three collective exhibitions with a gallery from Florence this year: from 21-28 July in the Dolomites near Cortina d’Ampezzo, from 21-24 September in Cannes and from 19-21 October in Paris. 88

Above: Conchiglia, Digital Art-Printing on Canvas, 90x90 cm, 2017

Above: Afrika, Digital Art-Printing on Canvas, 90x100 cm, 2016


Artist Feature

ROZAHIRA PENA (NOCTURNAL) artbynocturnal.com

In a fourth-floor bedroom overlooking the Hudson River, tucked under blankets you will find Nocturnal. You can hear sounds from her favorite anime echoing through the room while Nocturnal spends the rest of the evening creating. Given the name Rozahira Pena, her pseudonym Nocturnal came about when she decided to transition her up-late lifestyle into a creative venture. A fusion of pop culture and psychedelia, Nocturnal’s art captures a kaleidoscope of hip hop, taboo, and nature on canvas. From her paintings of Kendrick Lamar to (all-seeing) roses, her work represents transcendence. Like a phoenix from the ashes, each figure and symbol Nocturnal paints has overcome adversity—much like Nocturnal’s own resiliency. Three hours outside of New York City, working fulltime, and struggling to make ends meet, Nocturnal’s road to artistry was not simple. But nothing can feed an insatiable hunger, like that of the wolf on Nocturnal’s right forearm. Straying from the pack, Nocturnal dedicates all of her free time improving her craft and showcasing her work. This fall-winter season she will be having her first solo debut in New York City. To follow her along her journey, find her on social media.


Above: SAMO, Acrylic and Gold Leaf on Canvas, 24” x 24”, 2017


Above: Ancestor, Acrylic on Canvas, 24” x 20”, 2017


Artist Feature

POLINA BARSKA works.io/polina-barsk

Born in 1994 in Dnipro, Ukraine, artist Polina Barska is fascinated by human beauty and likes to capture the colours and mood around her in her work. Currently based in Paris, Polina studied photography in London and gradually focussed on art, while using photography as a tool to archive memories and ideas. Large in scale, her pieces are made using colour pencils and black point pen. We were drawn to the fragility of her portraits, even the traditionally masculine subjects have a glimmer of frailty that makes her stand out of the crowd.


Above: Ball Pen and Color Pencils on Paper


Above: Ball Pen and Color Pencils on Paper


Above: Ball Pen and Color Pencils on Paper



Profile for CreativPaper

CreativPaper Issue No. 10  

Featuring: Cover Artist; Gilbert Salinas, Michelle Blix, Jerome Lin Chia Horng, Kate Petley, Lisa Batts, Karin Monschauer, Lara Wardle, Scot...

CreativPaper Issue No. 10  

Featuring: Cover Artist; Gilbert Salinas, Michelle Blix, Jerome Lin Chia Horng, Kate Petley, Lisa Batts, Karin Monschauer, Lara Wardle, Scot...


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