FrontCover: Pierre&Florent “L'éveildePia” FineArtPrintonCanson BarytaPres�ge 93cmx140cm
Top: SophieRisely “MantelVase” QuiltedVase 82cmx25cmx32cm
BackCover: SamanthaRoseDegucz “LightReflects” OilonCanvas 30inx26in
Formoreinformationpleasevisitwww.dividemagazine.com
DiMaoisamul�disciplinarydesignerand ar�stfromChina,currentlybasedinLondon, UK.Shegraduatedwithdis�nc�onfromthe jointBrandDesignprogrambetweenBeijing NormalUniversity,Zhuhai,andtheBrand UniversityofAppliedSciencesinGermany, earningaBachelor'sdegreeinDesign.Sheis nowpursuingaMaster’sdegreeat Goldsmiths,UniversityofLondon.
Herprac�cecentersonpublica�onsand installa�onart.Throughherwork,Mao observesandreflectsono�en-overlooked aspectsofeverydaylifeandthenatural world.Byworkingwithdiversematerialsand visuallanguages,sheexploresthough�ul andmeaningfulmodesofexpression.
Image: “�metoclean”
Installa�on 500cmx200cmx200cm h�ps://www.instagram.com/_shituo_/
AmandaisaLondon-basedvisualar�stwho experimentswithboths�llandmoving images.Inherdis�nc�ve,visceralstyle,she transformsthemundaneintothe extraordinary,slippingbetweencoexis�ng reali�eswhileques�oningpercep�onsof �meandtruth.Herworkchallengesviewers toreconsiderwhatisseenandunseen, invi�ngthemintoaspacewherethefamiliar becomesunfamiliarandeveryframeholds thepossibilityofdeepermeaning.
Image: “MrWhippy(WhipItRealGood)”
Photograph 1680x3068
h�ps://www.instagram.com/amandafwoodhead/
NingxinZhangisanaward-winningcomposer,mul�mediaar�st,andcrea�vetechnologist whoseworkexplorestheintersec�onofsound,visualart,technology,andhuman experience.Herprac�cespansaudioprocessing,soundsynthesis,audiovisualinterac�on, anddigitalembodiment,inves�ga�nghowhuman–computerinterac�onshapespercep�on, emo�on,memory,andimagina�onacrossbothphysicalandvirtualenvironments.Through interac�vesystemsandmul�sensorymedia,shereimaginesseeingandlisteningas embodiedacts,transforminggestures,touches,signals,andspa�aldynamicsintoexpressive forms.Blendingar�s�cintui�onwithcomputa�onaldesign,shecreatespoe�cexperiences thatmergemusic,mo�on,andmachineintelligenceintoevolvingsensorylandscapes.
Image: “Palimpsest” Mul�mediaSculpture 38cmx46cm h�ps://www.instagram.com/ zzzzzningxin/
SophieRiselyhasalwaysbeensurroundedby crea�vity—fromdrawinganddesigningto gardening—andmuchofthatinspira�onbegan withhergrandmothers.Timespentwiththem wasfilledwithcolour,flowers,andjoy,plan�ng theseedsofalifelongfascina�onwithfloral storytellingandcra�.Hercurrentbodyofwork, MyDopamine,reflectsthispersonalhistory, transla�nghappiness,nostalgia,andaninherited loveofflowersintocontemporarytex�ledesign.
Guidedbyhergrandmother,adevotedflower enthusiast,Riselylearnedtoseefloral arrangementsasmorethandecora�on—asa languageofcolourandmood.Flowersa�ract a�en�onwiththeirvibranthues,andaspeople, weins�nc�velychoosecoloursthatmirrorour personali�es,emo�ons,andindividuality.This rela�onshipbetweencolourandwellbeingsitsat theheartofMyDopamine.Itisrootedinthe beliefthatourhomesshouldfeelupli�ingand emo�onallyrich,rejec�ngcoldminimalismin favourofspacesthatradiatewarmthand character.
Herresearchextendedbeyondflowerstothe vesselsthatholdthem.Inspiredbylegendary floristConstanceSpry,Riselybecamefascinated withtheevolu�onofvasedesign—fromSpry’s free-flowingmantelvasestotoday’ssleek silhoue�es.Thiscuriosityledhertoexperiment withso�,tac�lealterna�ves.
Image: “MantelVase” QuiltedVase 82cmx25cmx32cm h�ps://www.instagram.com/Sophie_mae_designs/
LisaMarieVlietstra(b.1990)isavisualar�stand thefounderofLaCasaCuadradaA.I.R.,originally fromAmsterdamandcurrentlybasedinSeville, Andalusia.SheholdsadegreeinFineArts (Photography)fromtheGerritRietveldAcademie andaMaster’sinAr�s�cResearchfromthe NetherlandsFilmAcademy.Overtheyears,she hasbuiltacareerthatmovesacrossvisualarts, filmmaking,andculturalmedia�on,withher workpresentedatinterna�onalfes�vals, exhibi�ons,andar�stresidencies.
Vlietstra’sprac�cespansphotography, performance,andvideo,withapar�cularfocus ontheconstruc�onandre-presenta�onofthe (female)self-image.Herprojectsexplorehow in�macyshapesourunderstandingofboththe selfandtheother.O�enworkingwithpeople fromherimmediatecircle,sheseeksinthem emo�onalmirrorsthroughwhichtoexamineher owniden�ty.
Attheheartofherworkliesaconcernwith visibilityandrepresenta�on—howindividuals, andespeciallywomen,choosetopresent themselves,andhowthesechoicesareshapedby socialroles,expecta�ons,andculturalnarra�ves. Byexposingthefragiletensionbetweenwhatis shownandwhatislived,Vlietstraopensaspace for(self-)reflec�on:onwhatitmeansto“show” oneself,andonthemanywaysinwhich(wo)men maychoosetodoso.
Image: “Toso�tobeheard,tolighttobecarried.”
Photograph 30cmx45cm h�ps://www.instagram.com/lisamarievlietstra/
AngLeisaVietnam-bornillustratorandprintmaker. Raisedinacrea�vehouseholdthatencouragedabstract andvisualthinking,shedevelopedanins�nc�vewayof seeingthatlaterevolvedintoadeeplypersonalvisual language.O�enretrea�ngintothesolitudeofherinner world,shebegansketchingintui�vely,allowingmemory andemo�ontosurfacewithoutconsciousdirec�on.
Herprac�cespansdrawing,lithography,relief,etching, anddigitalmedia.Le'sworkexploresthemesofmemory, solitude,andtransforma�on,drawinginspira�onfrom literature,music,andthequiet,ordinarymoments sharedbetweenpeople.
ShereceivedherBFAinIllustra�onfromtheMaryland Ins�tuteCollegeofArtin2025.
Image: “Haircut”
Lithograph 40.64cmx30.48cm h�ps://www.instagram.com/l�a.works/
IlianaSunisabiologistandar�stwhotellsstories throughthelensofacamera.Throughphotographyand film,sheadvocatesforascien�ficunderstandingofthe environmentwhileexploringthecomplexityof humanity’srela�onshipwithit.Herworkfocusesonthe intricatenatureof“wicked”environmentalproblems— issueswhosedeepsocio-ecologicalinterconnec�ons lendthemselvestostorytellingfrommul�ple perspec�ves.
Sunseekstogentlyinspireanapprecia�onforthe delicateinterconnectednessoflifeonEarth.Herprac�ce emphasizestheimportanceofhumanempathyand understandinginthepursuitofbiodiversityconserva�on andthepreserva�onoftheplanetforfuture genera�ons.
Herar�s�cphilosophyisrootedinsharingwhatshehas learned,observed,andexperiencedthroughboth scienceandart.Ratherthanseekingtochangetheworld indrama�cstrokes,sheprefersaslow,steady approach—onethatmirrorsthetranquil,enduringflow
Image: “Thegrandblue”
Photograph 28cmx21cm h�ps://www.instagram.com/ilianasun/
MicheleZousmerisahumanitarianfineart photographercelebratedforherevoca�veandsocially consciouswork.Herphotographyfocusesonrevealing theemo�onalessenceandresilienceofindividualsand communi�eso�enoverlookedinsociety.Herwork exemplifiesthetransforma�vepowerofthemedium, reflec�nghergi�forimmortalizingflee�ngmomentsof graceandbeautythatpersisteveninthemidstoflife’s greatestchallenges.
Throughherlens,Zousmerbecomesastoryteller,an advocate,andaconduitforchange,invi�ngviewersto stepintotheworldsshecaptures.Indoingso,she illuminatesthethreadsthatconnectusall,emphasizing thatwhileourexternalappearancesdiffer,ourinternal experiencesuniteus.
Image: “FEMINIZATIONOFAGING”
Photograph 40.64cmx60.96cm h�ps://www.instagram.com/michelezousmerphoto/
Bre�’sar�s�cethosdefiestheconven�onalneedfor inspira�onorexternalprompts.Hisprocessisintui�ve, organic,anddeeplypersonal.Tohim,artisaformof visualpoetry—anessen�aloutletforemo�onsand thoughtstoocomplexforlanguage.Influencedby surrealismandexpressionism,hisworkincorporates automa�cdrawing,fro�age,andcollage,uncovering subconsciousimagerywitheachpiece,whilealso embodyingtheraw,emo�vegesturescharacteris�cof expressionism.Ar�stssuchasMaxErnstandRoberto Ma�astronglyinfluencedhisearlywork,layingthe founda�onforBre�’smorecontemporaryanddis�nct voice.
Throughouthiscareer,Bre�hasremainedac�vely involvedinthear�s�ccommunity.Hehaspar�cipated innumerousexhibi�ons,bothsoloandgroup,receiving recogni�onandearningfeaturesinartpublica�ons. Morerecently,hehasshi�edtowardonlineshows, findingtheirlowerlogis�caldemandsandwiderreach wellsuitedtohisprac�ce.
Bre�holdsarareabilitytoconstructvisualworldsthat exposetheintricaciesofhumanemo�onandsocial reality.Hisworkcon�nuestoprovokethought,s�r feeling,andinspirebothpeersandviewers,establishing himasacompellingvoiceincontemporaryart.
Image: “MaximumFlux”
MixedMedia 24inx36in h�ps://www.instagram.com/artnick67/
AnnWolfe’spassionforphotographybeganearly—she receivedherfirstcameraattheageoffourandnow ownsseven.
BorninPortland,Oregoninthesummerof1955,Wolfe wasraisedbyanathle�cfamily.Hermotherwasaselfprofessedtomboy,andherfatherwasasemiprofessionalbaseballplayerwholaterworkedinthe Californiaoilfields.Theirloveoftheoutdoorsshapedher childhood;sheandhertwobrothersweretakenon nature-focusedfamilytrips,whichins�lledinhera lifelongapprecia�onforthenaturalworld—especially water.Wolfeconsidersherselfanoutdoorperson throughandthrough.
Travelcon�nuestoenergizeher,fulfillinganinnateneed fordiscoveryandadventurethatinformsbothherlife andhercrea�veprac�ce.
Image: “BoxingGym,Havana,Cuba”
Photograph 20inx16in
h�ps://www.instagram.com/annwolfefineart/
RunqiisaLondon-basedsculptorcurrently studyingintheSculptureprogrammeat theRoyalCollegeofArt.BorninChina,he hasbeenengagedincontemporary sculpturalprac�ceformorethanfive years,developingabodyofworkthat exploresmateriality,metaphor,and narra�ve.Hisprac�ceisrootedin experimentalprocessesthatcombine modernmaterials—suchasresin, composites,andindustrialmedia—with rigorousconceptualresearch.Through sculpture,heinves�gatestheintersec�ons ofmodernecosystemsandcontemporary socialreali�es,aimingtorevealthe tensionsbetweenfragilityandstructure, permanenceandtransforma�on.
Image: “TheSolitaryIsland”
Sculpture
400cmx300cmx220cm h�ps://www.instagram.com/r0wen00/
SheilaAkposubiisaself-taughtnatural lightportraitphotographerbasedin London,England.Herworkhasbeen exhibitedthroughouttheUnitedStates, Europe,Mexico,Athens,andthe Caribbean.Shehasalsobeenafeatured ar�standhashadherphotographs publishedinaphotobookbycelebrity photographerRankin.
Sheilaispassionateaboutportraiture,and herethosissimpleyetpowerful:connect, shoot,andcreate.
Image: “just...”
Photograph 4860x3240
h�ps://www.instagram.com/sheilaaphotography/
YiTiTsaiisaTaiwanesephotographerbasedinLos Angeles.Forher,photographyisawayofspeaking whenwordsfeeltoofragile.Sheo�enusesordinary objects—bananas,gloves,stockings,evenadinner table—andtransformsthemintostagedscenesthat revealhowpower,gender,anddesirequietlyshape everydaylife.
Livingabroadtaughtherresilience.LosAngeles,with itscontradictorymixofbeautyandpressure,inspires hertoseevulnerabilityasaformofstrength.Each imageshecreatesisasmallritual—some�mesplayful, some�mesunse�ling—alwaysasking:Whogetsto look,andwhogetstobeseen?
Tsaidoesnotaimtoprovideanswers.Instead,she createsmomentsthatinvitereflec�on,ques�onwhat weconsumeorperform,andremindusthatwearenot alone.Athercore,sheissearchingforconnec�on—for waystoturnsilenceintovoice,andfragilityinto strength.
Image: “ShhhWelcometoMySecretLife”
Photograph 45.7cmx61cm h�ps://www.instagram.com/�s.fotos/
AbigailCollicu�isanar�stfromNo�nghamshire, England.Herworkdoesnotadheretoasingle medium;instead,sheisconstantlyadap�ng, experimen�ng,andshi�ingwithinherprac�ce.Her crea�veprocesso�enbeginsintheshower,whereshe thinksintenselyaboutwhatshewantstoachieve—by the�methewaterandsoaphavewashedaway,she usuallyhasaclearimageofthepieceshewantsto create.
Collicu�hasavividimagina�onandismostfulfilledby theworksshefeelsshecanliveinside—piecesshe returnstoinhermindagainandagain.
Image: “Shithole”
MixedMedia 50cmx50cm h�ps://www.instagram.com/abigailcollicu�por�olio/
Image: “Emulsion”
MixedMedia
100cmx100cm
h�ps://www.instagram.com/anikageldner/ Photographer:AnneLaudeley
AnikaGeldner,borninErfurt,isa contemporaryar�stwhoseworkis characterizedbyasensi�veexplora�onof space,material,andpercep�on.Throughher ar�s�cprac�ce,sheseeksconnec�ons betweentheinnerandtheouter,between memoryandthepresent.Herworkscreate spacefordialogueandreflec�on,making bothpersonalandsocietalques�onsvisible.
Image: “Reflec�on”
Illustra�on
27.94cmx22.86cm h�ps://www.instagram.com/shygynt/
MiaDiazisanar�stspecializingin illustra�on,conceptart,andcharacter design,o�enfeaturingintricatedetailsand vibrantcolors.Herinspira�oncomesfrom mythology,ancientcultures,andmoody indierock.Shealsodrawscrea�vefuelfrom personalexperiencesandmeaningful connec�ons,givingherworkareflec�veand honestquality.
Image:
“LightReflects”
OilonCanvas 30inx26in h�ps://www.instagram.com/Samantha_rose.art/
SamanthaRoseisanar�stlivinginChicago. ShegrewupinIndianabeforemovingto Chicagotoa�endtheSchooloftheArt Ins�tuteofChicago.Shehasbeen passionateaboutpain�ngsincemiddle schoolandhasalwaysbeendrawnto portraitureandfigura�vework.Growingup inasemi-ruralarea,thetransi�ontothe bustlingcityopenedanewdimensioninher artprac�ce.Shefindsherselfcap�vatedby thestrangersshesharesspacewithandthe uniqueenergyofcrowds—anenergythat nowsitsattheheartofherwork.
Throughpain�ng,print,andmixedmedia,
Roseaimstocapturenotjustthephysical presenceofpeoplebutthelifeandsoul withinthem,andthewaythosesouls interactwhenbodiesgatherinshared space.Herworkhighlightsthehumanneed forcommunityandthewaysimple coexistencecanrevealdeeperlayersofour sharedhumanity.Shefrequently experimentswithdistor�on,light,and colortobringforwardwhatisusually unseeninoureverydayreali�es.
Atrailblazerdubbedthefutureofsurface design,SamWildeisamul�disciplinary Bri�shar�stredefiningthecrea�ve industrywithhiscontemporarytakeon fineartpa�erns.
Amodern-daymasterofcolourand illustra�on,spotlightedasoneofthis genera�on’sleadingtalents,Sam’sawardwinningartworkssubvertaudiences’ expecta�onswithhissignature worldbuildingapproachtothegenre, breakingtheboundariesoftradi�onal surfacedesignwithunabashed playfulnessandtriumphantflair.
Samisamaster’sgraduatefromtheRoyal CollegeofArt,withamul�disciplinary approachwhichencompassesillustra�on, oilpain�ng,anima�on,sculpture,and large-scaleartinstalla�ons.Heciteshis personalexperienceasasynestheteand hisloveforevolu�onarybiologyashiskey ar�s�cinfluences.
Image: “Pollu�onPalace”
Sculptures
VariousSizes h�ps://www.instagram.com/vesper�ne/
WesleyCharlesHollemanisanar�st whoseworkservesasavisualexplora�on ofself-placement—anongoingsearchto understandwherehestandsintheworld, andwhatexistsbetweenwhatisandwhat couldbe.Heisdrawntoemo�onal tension:theweightofangstandsolitude, theli�ofhope,thetendernessoflove,and thegroundingpresenceofgra�tude.These energiesguideeverydecisioninhis process,fromeachdeliberatemarktothe layeredsurfacesofcollageandrelief.
Workingprimarilyonalargescale, Hollemanbeginswithacrylic underpain�ng,buildsthroughmixedmediacollageandtexture,andresolvesin oil—aprogressionthatallowsforboth structureandspontaneity.Every brushstrokebecomesaques�on,a memory,oradeclara�on.Whether workingonpaper,panel,orcanvas,he aimstocreatespaceswherefeelingand formmeet,andwhereviewersmay recognizepiecesofthemselves.
Hollemanbelievesinspira�onisalways present—wai�ngintheordinary,the overlooked,andthedaily—andthatallit asksisthatwewanttofindit.
BasedinBirmingham,Alabama,hehas beenworkingprofessionallyunderWesley CharlesHollemanArtsince2018.
Image: “N2Next”
MixedMedia 122cmx91cm h�ps://www.instagram.com/wesleycharlesart/
Image:
“TheGirlsRoom”
ColouredPencilandInkonPaper
45.72cmx35.56cm
h�ps://www.instagram.com/emilyogradyart/
EmilyO’Gradyisanillustratorandfinear�st basedintheBostonarea.AlifelongNew Englander,shereceivedherBFAin Illustra�onfromtheRhodeIslandSchoolof Designin2021.Sincegradua�ng,shehas beendevelopingafreelancecareeralongside othercrea�vework,producingeverything fromanima�onsformusicvideostolargescalemuralsforlocalbusinesses.
Whileshehasexploredmanyavenuesof ar�s�cexpression,O’Grady’spersonalwork centersonthemesofwomanhood,girlhood, andthebeautyoffemininebondsand friendships.Usingcoloredpenciland occasionalcollage,shecreatesdetailed, vibrantscenesofeverydaylifeinfusedwitha touchoffantasy,expressedthroughbright
pale�esanddis�nc�veviewpoints.
Astheoldestoffourdaughters,the rela�onshipsbetweenwomenhavealways helddeepmeaningforher.Sheisdrawnto thestrengthandinnerlifeofgirlsand women,andtotheo�enoverlookedpower ofplatoniclove—connec�onsthatcanhold asmuchweight,ifnotmore,thanroman�c rela�onships.
O’Gradycon�nuestodevelopawhimsical yetdaringvisuallanguagethatcelebrates thesein�mate,femininemoments—both forthosewhorecognizethemselvesin them,andforthosewhomayotherwise overlooktheiremo�onalrichnessand value.
Image: “Pasdecheval”
MixedMedia
20.32cmx30.48cm
h�ps://www.instagram.com/myuhthebee/
MayaKaplan(b.2004)isaToronto-based ar�stworkingprimarilyinoilpaint.Sheuses herarttograpplewithpersonaltruths rela�ngtoextremeanxietyandredefining heriden�ty,whilealsomaintaining accessibilityinherart'smeaningforothersto feelseen.Originallyinspiredbyanar�cleon VirginiaWoolf’snovels,Mayapaintshorses asametaphorforfemininity,power dynamics,andconfinementvs.freedom.As sheembarksonherfinalyearatOCAD University,herDrawingandPain�ngthesis willcon�nuewiththisseries,delvingdeeper intoherinterestsinphilosophicaltheories, psychology,andpoli�cs.
Image:
“Turning” MixedMedia
76cmx56cm
h�ps://www.instagram.com/elizabeth.ann.roberts/
ElizabethisarecentMAPrintgraduatefrom theRoyalCollegeofArt(RCA),whereshewas awardedtheDeputyViceChancellor’s Interna�onalScholarship.HerBFAstudiesat theNa�onalArtSchool(NAS)inAustralia from2022to2024includedprintmaking, drawing,andpain�ng.From2017to2020, shea�endedtheArtStudentsLeagueofNew YorkandstudiedbotanicalartattheNew YorkBotanicalGarden.Thekeen observa�onalskillsshedevelopedthrough botanicaltrainingcon�nuetoinformand sustainherlifedrawingprac�ce.
FormerlyadancerwithTheAustralianBallet, Elizabethbringscomplexityofline,grace, andmovementintoherwork.Shelocates
iden�tyandauthen�citythroughthe posi�oningofhandsandfeetinher portraitsandfigurestudies.Sheo�enuses videofootageofherselfinperformanceto generateimageryshapedbykinaesthe�c empathyandrefinedgesture.
Elizabeth’ssocialsciencesdegreefromthe UniversityofSydney(BSWHons,First Class)providestheethicalfounda�onfor herar�s�cengagementwithothers.Her trauma-informedprac�ceexploreshow paincanbemi�gatedthroughdanceand movement.Sheisalsoanexperienced groupfacilitator,havingworked extensivelywithbothchildrenandadultsin fieldsrelatedtodanceandwell-being.
Image:
“TheGildedAge” OilonCradledWood 30inx30in h�ps://www.instagram.com/Debbiebarrmfa/
DeborahBarrisacontemporaryar�stwho drawsonherinterestinanthropologyand spiritualandculturaltradi�onsfromaround theworld.SheholdsaMasterofFineArts degreefromSanJoseStateUniversityanda BAfromMillsCollege.
BarrhasexhibitedintheUSA;Colombia; Nairobi,Kenya;Moscow,Russia;Monaco, France;Madrid,Spain;Berlin,Germany;and Luxembourg.
ShehastaughtartatColumbiaCollege, MercedCollege,andSanJoseState University,andisafull-�meprofessorat
ModestoJuniorCollegeinCalifornia.She teachesBeginningPain�ng,Advanced Pain�ng,MuralPain�ng,BasicDrawing, FigureDrawing,ArtApprecia�on,and Color&Design.
Inaddi�ontonumerousawardsforher work,includingtheAmericanBusiness Women’sAssocia�onNa�onal AchievementAward,shewonascholarship tostudymuralmakingattheNa�onal AcademyofArtandDesignandhas completedmuralsattheMJCPerforming ArtsCenterandKaiserHospitalin California.
Image: “RememberMe”
MixedMediaCollage
27.5cmx21cm
h�ps://www.instagram.com/Found.what/
SlaterSnookisamixedmediaar�stbasedin Massachuse�swhoseworkexploresthe intersec�onofthepoli�calandthepersonal throughhand-cutcollage.Usingfound images,archivalmaterial,andlayered textures,sheconstructsvisualnarra�ves thatques�onpower,memory,andiden�ty. Herprocessisslowandinten�onal,rootedin cu�ng,arranging,andreassembling
fragmentstorevealnewmeanings.Snook’s collageso�enjuxtaposebeautywith discomfort,crea�ngtensionbetweenwhat isseenandwhatisimplied.Throughthis approach,sheexamineshowpublic systemsshapeprivatelives,andhow personalstoriescanreclaimspacewithin largerpoli�calconversa�ons.
Image: “KingofToothMountain” OilonCanvas 90cmx90cm h�ps://www.instagram.com/Evaaferguson/
EvaisaSco�shar�stbasedinGlasgow. Followinghergradua�onfromtheUniversity ofGlasgowwithanMAinEnglishLiterature andLanguage,sheembarkedonherMasters inFineArtPrac�ceattheGlasgowSchoolof Art.Thisdecisiongrantedherthe opportunitytoexploreherideasthrough bothliteratureandthevisualarts.Working primarilywithoilpaints,shefocusesonthe topicoftheself.Herworkisaninves�ga�on ofthedeconstruc�onandreconstruc�onof theself,exploringiden�tyandthebody.
Image: “LOOKUP”
VideoInstalla�on 44inx44in h�ps://www.instagram.com/w._.mp4/
Wei-FangChangisavideodesignerand crea�vetechnologist—madeinTaiwan, physicallybasedinNewYorkandLos Angeles,andspirituallyintheuniverse.
Withextensiveexperienceinmo�on graphics,videoprojec�on,andinterac�ve programming—par�cularlyinlive experiences—sheshapeshervisuallanguage throughtheorganicflowofnatureandthe subtlepercep�onofthescreen-basedselfin conflictwithreality.Shelikesgreen,andall thingscomputa�onal.
Image: “Schwebezustand”
Acrylic,OilS�ckonCanvas 100cmx100cmx2cm h�ps://www.instagram.com/stefanieschairer/
StefanieSchairerisaBerlin-basedar�st whoseprac�cespanspain�ng,installa�on, andpar�cipatoryart/performance.She holdsanMAinArtTherapyandaBAin SocialWork,academicfounda�onsthat con�nuetoinformtherela�onalandsocially engagedaspectsofherwork.Since1998, Schairerhasexhibitedna�onallyand interna�onally,establishingalong-standing presencewithinbothindependentand ins�tu�onalartcontexts.
Herworkhasbeenpresentedin collabora�onwitharangeofgalleriesand
culturalorganisa�ons,including New&Abstract(Berlin),BAAM(Berlin), Subcultours(Berlin),Ar�qgram(London), GalleryD’orsH(Hannover),GraceEunaKim (Berlin),CICAMuseum(Gimpo,South Korea),GalleryLIFE(Seoul,SouthKorea), ArtGaze�e(SouthAfrica/England), BarbaraCaveng(Berlin),MalteSchlösser (Berlin),andSarahValerie(NewYorkCity).
Schairercon�nuestodevelopa mul�disciplinaryprac�cerootedincri�cal inquiry,socialinterac�on,andexpanded formsofvisualexpression.
Image: “Faith2”
MixedMediaonCanvas
121.92cmx91.44cm
Award-winningabstractar�stKarenL. Kirshnerisknownforhercolorful,complex, andhighlyoriginalwork.Herpain�ngshave beendescribedas“stunninglyoriginal,”and cri�cshavenotedthat“ifyouseekpowerin pain�ng,youwillfinditinKirshner’swork.”
Kirshnerhasreceivedmul�pleBestinShow awards,includingattheNa�onalLeagueof AmericanPenWomenandtwiceat WestburyArts.Shewasselectedbyjuryas AbstractAr�stoftheYearinana�onal compe��onwithADCGalleriesin Cincinna�,OH.Shehasalsoreceivedan AwardofExcellencefromtheArtLeagueof LongIsland,aSpecialAwardforBest AbstractPain�ngfromtheNa�onalArt League,andanawardfromtheNa�onal Associa�onofWomenAr�stsforBestWork onCanvas.Shehasearnednumerous HonorableMen�ons,includingfromthe
UniversityofSouthernMississippifora pain�ngintheirna�onalcompe��on.
HerworkwasincludedintheHeckscher Museum’sBiennialBodyPoli�c,andsheis representedbytheGeorgeBillisGalleryin NewYorkCity.Sheiscurrentlyexhibi�ng withFlowerfieldGalleryinSt.James,NY, andherworkwillbeshowninamajor interna�onalexhibi�oninShanghaifrom October–November2025.
Kirshnerisamemberofseveral professionalartorganiza�ons,including theNewYorkSocietyofWomenAr�sts,the Na�onalLeagueofAmericanPenWomen, theAr�stsAllianceofEastHampton,the Na�onalArtLeague,andtheNa�onal Associa�onofWomenAr�sts.Shehas beennominatedmul�ple�mesas“Best Ar�stonLongIsland.”
Image: “BeneathTheBody” MixedMedia 115cmx70cmx215cm h�ps://www.instagram.com/hongru_zhanggggg/ Photographer:YihanPan
HongruZhang(b.1996,China)isaLondonbasedar�st.SheholdsaBAinPerformance: DesignandPrac�cefromCentralSaint Mar�nsandrecentlycompletedanMAin SculptureattheRoyalCollegeofArt.She currentlylivesandworksinLondon.
Zhang’ssculpturalprac�ceinves�gatesthe boundariesbetweenthephysicalbodyand thesociologicaliden�tyitcarries.By challengingtradi�onaldefini�onsofthe body,iden�ty,andsocialnorms,herwork promptsreflec�ononhowtheseconstructs shapeourunderstandingoftheselfandthe other.Shefrequentlyemploys unconven�onal,even“monstrous,”formsto evokealiena�onandfear,symbolisingthe marginalisa�onindividualsexperience withinsociety.Theseformscri�quethe humancondi�onandexplorethecomplex rela�onshipsbetweenbody,culture,and
socialstructures.
AcentralthemeinZhang’sworkis transforma�on—bothphysicaland spiritual.Sheviewsthebodyasafluid, evolvingvesselofvulnerabilityandchange, embodyingthetensionbetweenlifeand death,ma�erandspirit.Metal,akey materialinherprocess,symbolises strengthandresilienceakintobone. Throughforgingandwelding,Zhang transformsmetalfromcoldrigidityinto dynamic,vitalforms.Thistransforma�on reflectsthebody’scapacitytoabsorband transmuteenergy,mirroringnaturalcycles ofdecayandrenewal.
Herworkinvitesviewerstoengagewiththe body’sshi�ingnatureandreflecton broaderques�onsofexistence, impermanence,andiden�ty.
Image:
“Copper,Clint&Burbon”
OilonCanvas
20inx20in
h�ps://www.instagram.com/KatherineLWilson_Art/ Photographer:DavinMethodArt
KatherineWilson'sartiscreatedinthe pursuitofbeautyasanar�s�ccrea�vegoal, resul�nginpain�ngsthattransend�me. Everanelusivemysteryoflife,theconceptof beautyremainssubjec�ve.However,to achievebeautyinart,therearefounda�onal skillsthatmustbelearned.Katherinehas masteredthoseskills,enablinghertoconvey theessenceofeachsubjectshehandlesin herlushpain�ngs.Sheunderstandsthe powerofsymbolismandputsthisuniqueskill tousebyincorpora�ngbackgroundsand mo�fstorevealthepersonalityofasi�erina portrait,forexample.
Thear�stpaintsfromaclearaesthe�c posi�oninwhichtradi�onalvaluesofideal
classicalbeauty,symbolism,andharmony area�ained.Asastudentofthemasters, ar�stssuchasAlphonseMuchaand Raphaelhavehadanimportantinfluence onherpain�ngstyle.Katherine'spain�ngs areavisualtreatfortheeyes.Thediverse arrayofsubjectma�erinheroeuvreportraits,landscapes,animals,andmoreonlyaffirmstheversa�lityandmasteryof skillthatshehashonedover�me.Her yearsofexperienceanddevo�ontoherart isshowcasedthroughtheexperthandling ofherchosenmediumofoilandbrilliantly composedstructurefoundineach pain�ng.
Image: “Howsunsetsartmade”
OilonCanvas
76.2cmx76.2cm h�ps://www.instagram.com/jadesartaccount_/
JadeMaracicisbasedinNewYork,currently pursuingaBFAinFineArtsattheFashion Ins�tuteofTechnology.Shealsostudiedat FordhamUniversityandexpandedher educa�onthroughinterna�onalstudyin Italy,withupcomingtraveltoJapan.
Maracic’sprac�ceisgroundedinoilpain�ng, whereshedrama�zesflee�ngmoments.Her workhasbeenfeaturedintheSUNY exhibi�onPlace:Observed,Imagined,and RememberedattheSUNYGlobalCenter (May2025–February2026),andher pain�ngwasselectedasthecoverartfor GandyDancer13.2,SUNY’sliterary
magazine.Shehasdonelivepain�ngsand soldherworkatcommunityfairs.
Beyondherstudioprac�ce,shehasworked asanassistantartteacherforfouryearsat UsdanSummerCampfortheArts,building experienceinartseduca�onand mentorship.Drawingonherextensive travelsandexposuretodiversecultures, Maracicintegratesglobalperspec�vesinto herar�s�cvision.Byreimaginingthe ordinaryasdrama�c,sheinvitesviewersto seethemselvesandtheircommuni�esin themostflee�ngofhumangestures.
Image:
“Thecleaninglady”
PortraitofaDog 14inx18in h�ps://www.instagram.com/Szidita�oo/
SzidoniaGergelyisaHungarian-born, Calgary-basedar�standmul�-awardwinningta�ooistwhosepassionforart beganinchildhood.Largelyself-taught,she learnedtodrawandpaintthrough independentstudy,focusingonportraitsand figura�veworksthatblendtradi�onal, contemporary,andclassicalinfluences.
Image: “Narciso”
DigitalCollage
60x40
h�ps://www.instagram.com/blancadelacruzfoto/
BlancadelaCruzisanar�s�cphotographer andauthorofthebookReinventarseantela adversidad(Reinven�ngOneselfintheFace ofAdversity).Photographyenteredherlife duringa�meofpause:chronicpainkepther confinedtoherbedandsofaforseveral years.
Priortothis,dancehadbeenherprimary meansofexpression.For10years,she danced,developingadeepawarenessofher body,whichnowallowshertodirecther subjectswithgentlenessandprecision duringherphotosessions.Whenherbody cametoahalt,shefoundanewwaytokeep dancing:throughthelensofacamera.
Fromherbed,shewouldspendhours studyingfashionmagazinesandwatching videosofphotoshoots,absorbingevery detail.
Blancaalsocreatesthestylingand aesthe�csofhersessions,usingfabricsand everydayobjects.
Herworkemergesfroms�llnessandthe needtotransformpainintobeauty.She exploresvulnerability,resilience,iden�ty, andcrea�vity,showingthatbeautycan alsoresideinvulnerability.
Image: “Eide�c”
DigitalCollage 48inx36in h�ps://www.instagram.com/robertsingerart/
RobertSinger(born1964)isfromOmaha, Nebraska,anda�endedtheUniversityof Iowa,wherehestudiedhistoryandstudio art.HehasaMaster’sDegreeinModernArt History,TheoryandCri�cismfromAzusa PacificUniversity.Since2002,hehasserved asPresidentandDirectorofDesignfor WaterstoneMusicalInstruments,LLC (modguitars.com).In2022,hefounded ElysianPedalCo.andSpinArtPickupsand producesbespokehandmadeinstruments.
Heisaneurosurgeonspecializingin neurovascularandneuro-oncological
surgery.Hereceivedhismedicaldegreeat theUniversityofNebraskaand neurosurgicaltrainingatVanderbilt University.Hecompletedfellowshipsin Interven�onalNeuroradiology(Stanford University)andCerebrovascularSurgery (Massachuse�sGeneralHospital/Harvard MedicalSchool).Healsocompletedthe MasterofHealthcareDeliveryScience (MHCDS)programatDartmouthCollegein 2016.
Currently,helivesandworksin Southampton,NY.
Image: “GreenUrbanism”
MixedMedia
21.59inx27.94in
h�ps://www.instagram.com/jhediiiii/
AjaniTyehimbaisadreamer,alchemist, collagist,andpoet.Theyarecommi�edto crea�ngandcra�ingworldsofqueerBlack joyoutsidethesystemsofpatriarchy. Throughcollage,theyaimtoembracethe Blackgazeasatoolofinspira�onand crea�on.
SomeoftheirworksexploreBlacknessand queernessthroughthelensesofurbanism, collec�vism,ac�vism,andnostalgia.Ajaniis inspiredtoexpresstheseideasthrough clothing,pa�erns,andtheoverall composi�onofBlackqueerlife.
Image: “Thalassa”
OilonWood
30cmx30cm h�ps://www.instagram.com/kirsch_fineart/
JasminaKirsch(b.1985,Germany)isa painter,photographer,ta�ooar�st,and designerwhoseworknavigatesthefragile linebetweenlifeanddeath,transienceand immortality.Guidedbytheconvic�onthat “lifeisanongoingflirta�onwithdeath, endinginconsump�on,”herprac�cedelves intoprimalemo�ons,femalestrength, sexuality,rela�onships,andtheparadoxesof thehumanmind.
RaisedinAlfeld,Germany,sherelocatedto theNetherlandsin2004,whereshe completedanappren�ceshipasata�oo ar�standearnedherBachelorofFineArtsat AKVSt.JoostAcademyofFineArts(2006–2010).Sincethen,shehasexhibited interna�onally,withshowsacrossEurope andintheUnitedStates,includingNewYork CityandLosAngeles.In2012,shese�ledin Berlin,whereshecon�nuestoliveandwork intheculturallydiversedistrictofNeukölln.
Kirsch’spain�ngsanddrawingso�en explorefemininitythroughlayered symbolism:skeletons,mythologicalbeings, flora,fauna,andgoddessesappearas recurringreferencestomortalityandthe enduringstrengthofthesoul.Her photography,bycontrast,embracesraw immediacy—rough,unpolishedmoments that,withintheirimperfec�on,reveal flee�ngbeauty.
Herworkhasbeenfeaturedin interna�onalpublica�onsandpla�orms, includingBeau�fulBizarreMagazine, CuratedbyGirls,andBK-informa�e.Across allmedia,herartseekstoembodyboththe vulnerabilityofthebodyandtheresilience ofthespirit,invi�ngviewersintoaspace wherebeauty,decay,desire,and mythologyintertwine.
Image:
“Enigmagne�c”
OilonWoodPanel
50.5cmx50.5cm h�ps://www.instagram.com/leighannwillar_ar�st/
LeighAnnWillarisaUK-basedar�stwhose workisdefinedbyagenreshecreated— Liminalism—wheresheexploresthemesof transi�on,in-betweenness,and transforma�on.Hercrea�verangeincludes pain�ngs,tex�lesculptures,illustra�on, collage,andworksincorpora�ngsoundand digitalmedia.Shepaintsprimarilywithoils onwoodandcanvas.Herpain�ngseach haveastorythataccompaniesthem—or, rather,thepain�ngswritetheirownstories throughher.
Sheisinfluencedbynatureandco-creates withtheimaginal,spiritual,andsupernatural realms.Herworko�enfeaturescreatures, visions,andlandscapesthatseemtoexistin theliminalspacesbetweendreamingand waking,allthewhilelisteningtothe metaphysicalbackgroundoftheworld.Sheis
par�cularlyinterestedinfosteringadeeper understandingofhumanrela�onshipto thenaturalworldandthespiritualrealms.
LeighAnnisbasedintheU.K.andisadual Bri�sh/Americanci�zen,havinglivedin GreatBritainfordecades.SheholdsaBA (Hons)degreeinFineArtand ContemporaryCulturesfromtheUniversity ofGloucester,U.K.
Withabackgroundinjournalismanda long-standinginterestinmediumshipand spiritualexplora�on,hermul�disciplinary prac�cereflectsbothintui�veinsightanda groundedconnec�ontonaturalrhythms. SheisadirectorofArtSpanCommunity ArtsCompanyandisalsoac�veasa teacherandmentor.
Photographersandfilmmakersworkingasa duosince2010,theyhavebuilttheirstory aroundasharedpassion:experiencing intensepersonalmoments,enablingothers toexperiencethem,documen�ngthem throughimages,andsharingthemwiththe widestaudiencepossible.
Theirfirstperformanceproject,Heroes UndertheWaves(2010–2013),explored photographyandvideo,stagingand costume,fic�onandperformance, addressingthemessuchasthelossof meaningamongyoungergenera�ons.
Theirsecondproject,Lesidiotsdel’image (2013–2014),consistedofexperimental self-portraitsandautofic�on,referencing burlesqueartworksandneo-baroques�ll lifes,whileplayingwithstereotypesand ar�ficialexo�cism.
Representedbytheinterna�onalgallery Pris�neinMonterrey,Mexico,theyexhibited theseprojectsonseveraloccasionsinMexico (Monterrey),theUnitedStates(SanDiego), andEurope.
Since2019,alongsidetheirworkas photographer-filmmakersinfashionand music,theyhavebeendevelopingnewvisual
forms,drivenbyadesiretoreconnectwith performance,in�macy,andstaged imagery—thefounda�onsoftheirearly prac�ce.Fromthisemergedtheproject Mémoirehabillée,basedonasimpleidea: crea�ngportraitsthroughthe accumula�onofclothes,objects,and memories.
Mémoirehabilléewasfirstpresentedin ParisinOctober2023byGaleriePorteB, thenexhibitedatthe2024Rencontresde laPhotographied’Arles(Offprogram),the Photaumnales(Beauvais),the Mesnographies(LesMesnuls),andthe Interna�onalPhotoFes�valofDaejeonin Korea.
Sincethesummerof2024,theyhavebeen workingonthewri�ngandproduc�onof twonewprojects:Ostension,which ques�onsthememoryofstrongemo�ons andtheirplaceinourlives,andChères Familles,whichexploresthecomplexityof family�es,whethertroubledorluminous. Theseprojectsunfoldthroughtes�monies, images,objects,andinstalla�ons,informs thatremainattheboundarybetween documentaryandperformance.
Image: “Ostension,lesoulagementdeAi” FineArtPrintonCansonBarytaPres�ge 93cmx140cm h�ps://www.instagram.com/pierree�lorent/
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A:Ourstorybeganwhenwefirstmet.Pierre wasstudyingfilm,andFlorentwasstudying artdirec�on.Thesparkcamewithourvery firstjointproject:HeroesUndertheWaves. Thisfour-handedproduc�on,blending photography,video,andperformance,wasa reflec�ononour“Genera�onY.”Weinvited strangerstoembodywanderingcharacters withinvastandimposingspaces.Forthem, asforus,itbecameanopportunityto experienceintense,memorable,and�meless moments.
Ourcuriositythenledustoexploreselfportraitureandstudiowork.Webegan stagingourselves,adop�ngtherolesof touristsin“sta�onaryjourneys,”crea�ng playfulreinterpreta�onsoficonicworksof art.Thoseearlyyearsofcrea�onservedasa truelaboratory;theylaidthethema�c founda�onsofourwork:iden�ty, storytelling,transmissionofmemory,and bothindividualandcollec�veremembrance. Fi�eenyearslater,thesethemesremainthe bea�ngheartofourprac�ce.
Atthat�me,wewerefortunatetobeno�ced andcollaboratewiththeGalerie Interna�onalePris�neinMonterrey,Mexico. Thatearlyrecogni�onstrengthenedour desiretoexplorethephotographicmediumin itsbroadestsense—fromperformanceto documentary,throughinstalla�on—always drivenbytheurgetocreateandshare powerfulexperienceswithoursubjects.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A:Ourjourneyhasbeenshapedbyseveral decisiveencounters,bothformaland informal.
Amajorinfluence,especiallyatthe beginningofourcareerinfashion photographywithFlorent,wasour collabora�onwithdesignerJean-Charles deCastelbajac.Itwasalongandforma�ve experience,richinlessons.Jean-Charles becameatruementor.Eachexchange offeredanincredibleopportunityto immerseourselvesinhisuniverse,tolearn howtotranslateitvisually,whilerefining andpreservingourowndis�nc�ve language.Heintroducedustotheno�onof the“poe�caccident,”aconceptthat remainsattheheartofourcrea�veprocess today.Itisthatunexpectedmoment,the onethatescapescontrol,yetturnsoutto bethemostauthen�candtrue.
Pierre:Onamorepersonallevel,my greatestinfluenceisundoubtedlyMa�hew Barney.Whatfascinatesmeishisbold blendoffic�onalanddocumentary narra�ves,theextremephysical engagementofthebody,andhis profoundlycinema�cuniverse.His Cremasterserieswasmyfirsttruear�s�c shock.Irememberspendingtenhours watchingit,notfullyunderstandingits meaning,yetdeeplyshaken,bothmentally andphysically.Thatabilitytocreatea visceral,unforge�ableexperience con�nuestoinspiremeprofoundly.
Florent:Forme,anequallystriking revela�oncamefromtheexhibi�onPingPongbyValérieMréjenattheJeude Paumein2008.Itwasmyfirstencounter withthetensionbetweennarra�vewri�ng, documentary,andautofic�on.Ittook�me formetorealizehowdeeplyithad influencedmygazeandourwork.Even today,Iremainmovedbythosein�mate voiceslayeredovers�ll,ordinaryimages— sosimple,yetsoprofoundlysensi�ve.
Image: “Lechavirementd'Ivana” FineArtPrintonCansonBarytaPres�ge 93cmx140cm
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A:Since2019,ourar�s�cprac�cehasbeen deeplyrootedinmemoryandits transmission—whetherindividualor collec�ve—andin�matelyconnectedto objects,garments,andtex�lesingeneral.For us,tex�lesarefarmorethanamedium;they arecarriersofstories.
Wetransformeverydayques�onsand objectsintomajornarra�ves.Intheseries MémoireHabillée,clothingbecomesthe confidantofourprotagonists.InChampde foire,aresidencycarriedoutinOradour-surGlane(amartyredvillageoftheSecond WorldWar),weseektoconnectthepresent withitstrauma�cpastthroughpersonal belongings.WiththecycleOstension, emo�onalmemoriesunfoldthroughthe fabrichandkerchief,uponwhichwe embroiderfragmentsoftheseintense moments.
Ul�mately,whatdrivesusisthedesireto elevatein�macytothelevelofthesacred, usingtex�leaswitness,vessel,and messengerofhumanexperience.
Q:Howhasyourstyleorapproachevolved overtheyears?
A:Yeara�eryear,ourapproachhasevolved andrefineditselfaccordingtothestorieswe choosetotell.Enrichedbyourexperiencein fashionandadver�sing,wehavechosento returntoamorepersonalformofar�s�c expressionandtomorenaturalis�c documentaryformats.Wefavorthe simplicityofnaturallightandrejectexcessive stylis�caesthe�ciza�oninfavorofthe strengthandaccuracyofcomposi�on.
Ourworkisguidedbyasimpleprinciple:the
storiesweseektocapture,evenintheir everydaynature,arefundamentally extraordinary.Ourroleistoletthemspeak intheirrawesttruthwhilerevealingtheir beauty.
Thispursuithasalsoledustoexploreother disciplines:video,installa�on,embroidery, andsculpture.Althoughphotography remainsourprimarymedium,itisameans ratherthananend.Opennesstoother prac�ceshasbecomeessen�alinorderto bestservethesubstanceanddepthofthe storieswewishtoconvey.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A:Doubt,farfrombeingahindrance,isa powerfulcatalystforself-ques�oning. Yearsofwork,withtheirshareofsuccesses andfailures,havebeendeeplyinstruc�ve. Itisthroughexperimenta�onthatweare abletopushtheboundariesofourthinking andprobetheverynatureofoursubjects.
Accidentandunpredictabilityareintegral tothear�s�cprocess;thekeyliesin learninghowtousethem.Collabora�onis anotheressen�alelement,bothfacilita�ng andchallenging.Workingasaduooffers precioussupportagainstthesolitudeof crea�on,yetthisdualdynamicinevitably mul�pliesperspec�ves,heighteningdoubts andques�ons.
Thepresenceofourprotagonistso�en restoresbalancetoourduo;athirdperson servesasaremindertostayfocusedon whattrulyma�ers:thehumanbeing.
FineArtPrintonCansonBarytaPres�ge 93cmx140cm
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A:In2019,theideaforMémoireHabillée begantotakeshape,ini�allyasaformal experiment—asculpturalaccumula�onof garmentsandobjects.Webuiltalargemetal structureinafield,onwhichwehungjackets lentbyPierre’sgrandfather.Afriendposed withinthisephemeralinstalla�on,near Amiens,inPicardy.
Thetruerevela�oncamea�erward,inthe post-photographicmoment.Uponseeingthe image,Pierre’sgrandfatherspontaneously beganrecoun�ngthestorybehindeach garment,unveilingmorethanseventyyears ofmemorythroughthefabric.Thus, MémoireHabilléewasborn.Thisexperience becameaprofoundlessonintrust:trus�ng ins�nct,experimenta�on,andtheorganic unfoldingofmeaning.Itwasfollowedbyfour yearsofdocumentaryworkexploringthe in�matestoriesofindividualsthroughtheir clothingandpersonalobjects.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A:Weplacegreatimportanceonintui�on andsensorypercep�onbeforebeginningany newproduc�on.Itisthroughencounters, conversa�ons,andlivedexperiencesthat subjectsnaturallyemergeinourminds.From theseintui�onsandpersonalques�ons, some�mesalsofromearlyphotographicor sculpturalexperiments,webeginaprocessof formaliza�onandstructuring.
Weestablishworkingprotocolsthatallowus tocarrythecrea�onofeachworkto comple�on:mee�ngwithprotagonists, conduc�nginterviews,periodsof prepara�on,momentsofshoo�ng,phasesof
materialproduc�on,composi�on,andfinaliza�onoftheworks.Thiscarefullydefined frameworkenablesprogresswithinthecrea�veprocesswhilealsoallowingforspontaneity— par�cularlyduringencounterswithoursubjects,intheunfoldingoftheirstories,andin momentsofperformanceandimage-making.
Q:Wheredoyouseeyourworkheadinginthefuture,andwhatareyouexcitedtoexplore?
A:Weareincreasinglymovingtowardahybridformofproduc�on,combiningphotography andinstalla�on,alwaysinsearchofin�mateexperiencestoshareandtosanc�fy.Ouraim istocreatearesonancebetweentheaudienceandtheworkthroughthissharedsenseofthe “sacredin�mate.”
Inrecentmonths,wehavebeenexploringthecomplexrela�onshipswithinfamilies—both tumultuousandluminous—abodyofworkthatisasemo�onallychargedasitisdeeply fulfilling.
Bornin1998andraisedinsouthColorado, AnaJoyceisanoilpaintercurrentlybasedin NewYork.AnaearnedaBachelorofScience degreefromRochesterIns�tuteof Technologyin2023,wheretheychosean individualizedstudyprogramtocombine pain�ng,psychology,arthistory,and linguis�cstudies.Theywereawardedthe NTIDSummerResearchFellowshipin2022, andtheyworkedasaresearchassistant studyinglanguagedevelopmentindeaf children,partneredwithPLAYlab (Percep�on,Language,A�en�on,YouthLab). Theirinterestinlinguis�csboreoflanguage
depriva�on,asAnagrewupdeafina hearing,non-signingfamily.Usingtheir passionforvisuallanguage,Anais currentlyasecond-yearMasterofFineArt candidateatRochesterIns�tuteof Technology,locatedinRochester,New York,wheretheyfocusonvisualarts-based inquiry—aspain�ngwasawayto communicatewhenAnawasachild.Postgrad,Anaplanstoteachfineartand priori�zemakingartsacademiaaccessible tounderrepresentedyouthofall backgrounds.
Image: “TheYellowWallpaper” OilonCanvas 122cmx183cm h�ps://www.instagram.com/ar�factsofmymindny/ Photographer:KyraAllen
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A:IthinkIalwaysgravitatedtowardsvisual artevenasachild,whichIfindtobeatypical answerfromanar�st,butwhereIdifferare myreasonsforthatpull.Iwasbornwith hearinglossandthroughoutmychildhood con�nuedtolosehearingun�lIwasdeafby 11yearsold.Ilackedaccesstovisual language—likesignlanguages—andIalways foundthatmylanguagewaswithdrawing, pain�ng,orreading.It’swhereIfeltthemost understoodandwhereIhadaccessen�rely, ratherthanguessesofwhatpeopleare saying.
Thisloveonlygrewwith�me.Inmyteens,I wasalwaysdrawing.Itriedoilpaintsforthe first�mewhenIwas16or17anditchanged everythinginaway.Ibecameobsessedwith textureandplayandhowthepaintsmoved onsurfaces.Somethingthat’sfunnyformeis thatbeforepain�ng,Ilovedcharcoalsand thoughtIwouldnevergetintousingcolor, onlyblackandwhite.Now,Ican’timagine doingthat!
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A:Thereareafew.ArtemisiaGen�leschiwas oneofthefirstpaintersIreallyconnected with.Ilovedreadingaboutherlife,andIfelt likeIunderstoodher.ShewasSA’dbya pain�ngmentorandobsessivelypainted scenesthatfeellikerevengeinaway.WhileI don’tdirectlyhavethesamestory,her inten�onofusingpainttoprocessthe difficultexperiencesshehadinherlifeis whatinfluencedmesodeeplythroughthese years.Sheusesclassical[biblical]storiesthat empowerwomenandbareherfeelingsabout herownexperiences.Itoowanttobaremy feelings.
DorotheaTanningisanotherpainter.She usesherdreamsasaframeworktobuild herworks.Thefiguresshepaintsdon’t makesenseinaconsciousworld—they collapseandconvergeontopofone another.Sheinspiredmetoexploremy owndreamsandbeginusingtheminmy ownworks.
AlexKavenskyandLarsEllingareboth insanelytalentedcontemporaryfigura�ve ar�sts.Theirworksfeellikeamemoryyou cannotquiterecall,orafeverdream.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A:GriefofhowIhavechangedover�me andhowithaschangedme.Itendto ruminateonthepastandalltheversionsof meIhavebeen—someonewhoIhave piecesofbutwillneverbeagain,or someonewhofeelslikeaseparateperson, astrangertome.WhenIlookatmylatest work,IcanvisualizewhatIwas experiencingduringthat�meinmylifeand reflect.
Q:Howhasyourstyleorapproachevolved overtheyears?
A:Myapproachthroughgradschool dras�callychanged,especiallyduring secondyearwithmythesis.Mymethodof synthesizingforpain�ngschanged.Iwrite alot,andtoywithdifferentconcepts,and read.Iusedtojustdothumbnailsketches, butwri�ngandreadingchangedthat.
Ialsoimmersemyselfintoaprocessfor references.Idon’ttrytoworkwithabad reference.
Iwouldratherspendali�leextraon whateveritisIneed(suchasaspecific se�ngorphototechhelp),takelike300 pictures,findatopthree,andkeeptoying withitun�lmycomposi�onalignswithmy goals.Iusedtojustse�leonsomanythings— these�ng,theidea,thereference.Stopping se�lingandpayinga�en�ontohow somethingfeelsinthebeginningchangedthe wayIpaint.
Addi�onally,IdiscoveredhowmuchIlove usingfluorescentcolorsforabase,andIplan tocon�nuebuildingaconsistentbodyof workusingfluorescentswithmyownvisual language.
I’veexperimentedwithdifferentsurfaces.I honestlyhavelearnedthatIdon’tenjoy canvas.Ilovewoodasasurface,andthisalso changedhowIpaintaswell.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A:Failureissomethingmymentortalks aboutalot.Tome,eachfailedpain�nggets meali�leclosertowhatI’mlookingtomake. ItakenoteswhenIfailsomethinganduseit asaproblem-solvingtool,notapersonal moralfailingthatIsulkabout.Thesecond a�emptisalwaysahundred�mesbe�er thanthefailedone.Neverbeafraidtobegin again.Failureisexperimenta�onandplay.
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A:Mymostrecentpain�ngsformyMFA thesisIhave�tledItHurtstoBecomearea diptych—twolargescaleworks�tledThe YellowWallpaperandDespiteWhat’s HappenedHere.Visually,theyareworks
whereIfeelthatIamtappingintomyown visuallanguageandmycomposi�onsare muchstronger.
Theyaresomeaningfultomeformul�ple reasons.Ireallystrugglewithhaving nightmares—hasbeenthatwaysinceIwas akid.Imovedstatesin2021,andwhenI moved,mynightmaresbegantakingplace inthehouseIgrewupin.Thatisthereason forusingroomsasase�ng.Iamunableto getaccesstothathouseanymoresinceit’s beensold,soIinsteadfoundahouseon Airbnbforthisprojectthatbroughtbackso manychildhoodmemoriesinthewaythat itlookedandfelt,andthatworkedwell.
InDespiteWhat’sHappenedHere,Iuseda childhoodphotoandaddedacoupleof personalmementosinthebackground(the snowglobeprimarily).Ithoughtabout crea�ngascenewheremyadultselfand childselfareinthesameplaneof existence.Iwantedittofeelhaun�ng,and thatinthepresenceofmychildself,my adultselfwouldjustfade.
InTheYellowWallpaper—nameda�erthe bookit’sinspiredby—Icaptureamoment ofmentallyunraveling.It’svulnerable,and inthisoneIalsohidepersonalmementos andmeanings.
WhenIwas11,thatwaswhenIlostthe lastofmyhearing.Iplayedpianoatthe �meandendedupqui�ng.Iremember tryingtoplayandmyearswerejustringing, andIjustlostmymindatthepianoandhit keysviolently.Thepersoninthe backgroundhi�ngthepianokeys fran�callyismimickingthat,butI’man adult—anotethatmanyofthebehaviors andcycleswelivebyasadultsstemfrom childhood.
SophiaConroy-Iglesias(b.1999,London)isa Bri�sh-Spanishar�stwhoseprac�cecentres onthefemaleformasavesselofmyth, in�macy,andmemory.InfluencedbyOld Masterdrawings,Renaissancedrama,and thesurrealedgeofanima�on,herwork dis�llsfragmentsofhistoryandpersonal experienceintocharged,symbolicscenes.
RaisedbetweenBri�shandSpanishcultures, Conroy-Iglesiasapproachesmythologynot asadistantnarra�ve,butasalivinglens throughwhichtoexplorethefeminine psyche.Shereconfiguresfamiliarsymbols, allowingthebodytospeakthroughthem anew—notasanescape,butasamirror.
Inheroilpain�ngs,femalefiguresappearas both�melessarchetypesanddeeply personalpresences.Theyinhabitspaces drawnfrombiblicalnarra�veandmyth,yet feelacutelycontemporary.Confinedwithin theedgesofthecanvas,theirbodiespress
Image:
“TheEntwinement” OilonCanvas 110cmx80cm h�ps://www.instagram.com/sophiaconroyiglesias/
againstfabricandground.Thesefigures embodyatensionbetweenvulnerability andstrength,fragilityandvitality,crea�ng imagesthataresimultaneouslytender, unse�ling,andempowering.
Wri�ngrunsparalleltoherpain�ng.Each canvasispairedwithahandwri�enpoem onitsreverse,asiftheimageitselfcastsa shadowinwords.Thesetextsactasa privatekeytothework,extendingthe pain�ngintoaninteriordimensionwhere language,memory,andvisionoverlap.
HerBAinGraphicCommunica�onDesign fromCentralSaintMar�ns(UAL,London) informsherinterestinappropria�onand visuallanguage.In2022,hergraduate projectShi�yGri�yLondonenteredthe permanentcollec�onoftheCentralSaint Mar�nsMuseum&StudyCollec�on, markinghercommitmenttointerroga�ng howimageandmeaningcirculate
ineverydaylife.
Throughpain�ng,drawing,andhand-bound books,Conroy-Iglesiasconstructsvisual fablesofthefeminine—in�mateworlds wherehistory,poetry,andfleshconverge. Herprac�ceinvitesustowitnessthebodyas bothsubjectandstoryteller:yielding, vulnerable,yetradiantwithagency.
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A:Iactuallybeganingraphicdesign.That’s whatIstudiedatartschool,andforalong �meIthoughtthatwouldbemycrea�ve path.Pain�ngenteredmylifealmost accidentally,a�erImovedabroad—itstarted asaquietwaytoprocessisola�onand change,andveryquicklybecamesomething Icouldn’tstepawayfrom.ItfeltlikeI’dfound thelanguageI’dbeentryingtospeakall along.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A:Myinfluencesareamixofclassicaland contemporary.I’vealwaysbeendrawntothe lightandtensionofpainterslikeCaravaggio andArtemisiaGen�leschi,aswellasar�sts whochallengethegazeandportray vulnerabilityontheirownterms.Beyondart, I’minfluencedbyrela�onships—momentsof distance,touch,andsilencebetweenpeople. ThoseunspokendynamicsarewhatItryto capture.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A:Ikeepreturningtoin�macy,control,and thequietpowerdynamicsthatexistbetween people.I’mfascinatedbyhowvulnerability cancoexistwithresistance—howasmall
gesture,likeagriporaturnedshoulder,can tellawholeemo�onalstoryaboutdesire, resistance,orsurrender.
Q:Howhasyourstyleorapproachevolved overtheyears?
A:WhenIfirststartedoilpain�ng,Iwasso focusedonrenderingandrealism(insome waysIs�llam…),butI’vestartedtoletgo ofthisideaofperfec�onandallowmore rawnesstoshow.Mybrushworkislooser. I’mnolongerblendingeverythingoutto makesmoothandseamlesstransi�ons betweencolours.Ilikebeingabletosee wheremybrush—andintheory,mybody— ins�nc�velystopsandcalculatesthenext stroke.
Thecomposi�onshavealsobecomemore cropped,almostlikecinema�cs�lls— piecesoflargernarra�vesthatexpand beyondthecanvas.Ithinkitreflectshow memoryandemo�onactuallywork:weall rememberthesameeventsdifferently.My pain�ngsarealmostlikesugges�onsfor theviewer,givingthemachancetocome upwiththenarra�veanddecidewhere eachscenefitsintothatstory.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A:Failureisakeypartofmyprocess.Someof myfavouriteworkshavestartedoffas failures.Whensomethingisn’tworking, that’swhenItendtoexperiment.Each failureleadstoatotallydifferentoutcome thatImayneverhavecomeupwithhadInot failed.Iliketothinkthatthereasonthe originalideaisn’tworkingisbecauseit’snot meanttoberealisedbymeyet—oreveratall.
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A:There’sonepain�ngthats�llfeelslikea turningpointforme—Siphon.Itwasthefirst �meIallowedthefiguretooccupytheen�re canvas,toletpartsdisappearofftheframe insteadofdefiningeverythingclearly.It capturedsomethingI’dbeenchasingfora long�me:thatfeelingofbeingpresentand absentatonce,bothseenandunseen.It mademerealisethatrestraintcanbemore powerfulthanfullrevela�on.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A:Ibeginwithastructure—usuallyaloose referenceorcomposi�onalsketch—butthe realpain�nghappensthroughintui�on.The structurekeepsthepain�nggrounded,but thespontaneitykeepsitalive.It’sadance betweencontrolandsurrender,which mirrorsthethemesIexplorewithinthework itself.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A:IhavesomanyideasthatIdon’tknow whichtoexperimentwithfirst.Visually,I wanttostartcombiningmyoilpain�ngs withgraphiclanguage:screenprin�ng, monotoneoverlays,andothertechniques thatdisruptthesurface.Ilovetheideaofa stark,limited-colourimageimposedovera sensuousoilpain�ng—somethingthatboth clashesandharmonises.Itfeelslikean honestreflec�onofmyprac�ce:classical atitscore,butalwaysinconversa�onwith somethingcontemporaryanddisrup�ve.
Image: “BetweenControlandRelease” OilonCanvas 54cmx65cm h�ps://www.instagram.com/Sarah.Ghasemipour/
SarahGhasemipourisanIranian-bornvisual ar�stbasedinGothenburg,Sweden.She worksprimarilywithpain�ngandvideoart, exploringthemesofmemory,home,and iden�ty—thefragilespacebetween belonginganddistance.Herworkreflectsthe emo�onaljourneyofmigra�on,where memoriesshi�likelightacrossaroomand “home”becomessomethingwecarrywithin ourselves.
Deeplyinspiredbycinema—especiallythe poe�csensibilityoffilmmakerslikeAndrei Tarkovsky—Sarahapproachespain�ngasif shewerecomposingafilmscene.Through color,light,andcomposi�on,shebuildsquiet
atmospheresthatevokereflec�onand emo�on.Herpain�ngso�enfeaturetwo figuresinsilentdialogue,symbolizinginner conversa�onsaboutcare,understanding, andself-connec�on.
Herrecentworkscon�nuetoexplorethese ideasacrossbothpain�ngandmoving image,tracingtheboundariesbetween s�llnessandmovement,solitudeand belonging.
Sarahiscurrentlycomple�ngher Bachelor’sdegreeinFineArtatHDKValand,UniversityofGothenburg.
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A:Itallbegana�erIimmigratedfromIranto Sweden.Mybackgroundwasin microbiology,butstar�nganewlifeina differentcountrymademeseemyselfwith neweyesandfromanewperspec�ve.I beganques�oningeverythingaroundme— whoIam,howI’mseen,andhowIrelateto theworld.Gradually,Idiscoveredthatart couldbeapowerfultoolforthissearch.It becameawaytolookdeeperintomyselfand tomakesenseofthisbig,beau�ful,and chao�cworld.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A:IfIhadtonameonlyonear�st,itwouldbe HilmaafKlint.Ifirstdiscoveredherthrough adocumentaryaboutherlifeandar�s�c processthatIsawattheGothenburgFilm Fes�valin2020,andithadadeepimpacton me.Iwasinspirednotonlybyhercourageas afemalear�stworkingintheearly20th century,butalsobyherpain�ngs—fullof color,energy,andspirituality.Ihavealways lovedcolor,andherworkmademeseehow itcanexpressemo�onandmeaningin powerfulways.Hera�tudetowardthe hierarchyoftheartworldalsoencouraged metocon�nuemyownpathandtoinspire otherwomentobelieveinthemselvesand trusttheirvoice.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A:Io�enreturntothemeslikehome, memory,iden�ty,belonging,andtheinner self,exploringemo�onalduali�essuchas connec�onanddistance,solitudeand in�macy.Whatinterestsmemostinthese themesisdiscoveringmyself—notjustasan
individual,butasahumanbeing.Human emo�ons,decisions,andreac�ons,andthe wayweperceiveandjudgetheworldall fascinateme.Inmywork,Io�enusemyself asakindofresearchsubject,observingmy ownfeelingsandexperiencesto understandsomethingmoreuniversal aboutbeinghuman.WhenItalkabout home,I’mnotonlyreferringtotheplace whereIwasborn,butalsotothehomein mymind—theplacewhereIfeelsafe.Allof theseideasleadmetosearchthroughmy ownmemories,iden�ty,andsenseof belonging.
Q:Howhasyourstyleorapproachevolved overtheyears?
A:WhenIfirststartedstudyingart,Iwas verycuriousandwantedtotryeverything. Iplayedwithsculpture,installa�on,and printmaking—andIreallyenjoyedthe process.Gradually,Iwasdrawnmoreand moretovideoart,film,andpain�ng.I realizedthesemediumsallowedmeto expressmyselfbestandtoexploreideas thatfeltclosesttome.
Image: “SeekingCompassion”
AcryliconCanvas 120cmx100cm
Q:Whatroledoesfailureorexperimenta�onplayinyourdevelopmentasanar�st?
A:WhenIfailinmywork,Io�engetfrustratedatfirst—it’shardnotto—buta�erawhile,it mo�vatesmetochangemymethodsandtrynewthings.Failurepushesmetolearnmore.I startsearchingfordifferenttechniquesorapproaches,andthatprocessalwaysteachesme something.Overtheyears,I’velearnedthatstudyingarthistoryandlookingcloselyatother ar�sts’workshelpsmeimprovebothmyideasandmytechnicalskills.SonowIseefailure aspartofgrowth—it’swhatkeepsmyprac�cealiveandmovingforward.
Q:Isthereapar�cularpieceyou’vecreatedthatstandsoutasespeciallymeaningfulto you?Why?
A:Twoofmyworksmeanthemosttome—mypain�ngSeekingCompassionIIandmyvideo artThatHomeforaFewDays.SeekingCompassionIIisverypersonalbecause,while pain�ngit,Icouldfeeldifferentsidesofmyselffinallycomingintodialogue.It’saboutthe wishtounderstandandacceptmyselfmoredeeply,andthatprocesswasbothemo�onal andhealing.Irememberlookingatthefinishedworkandfeelinglikesomethinginsideme hadso�ened—likethefiguresinthepain�ngwerelearningtocareforeachother.That HomeforaFewDayswasthefirstvideoartIevermade,anditwillalwayshaveaspecial placeinmyheart.It’sbasedonatrueandsimplestoryaboutfindingasenseofhomeina newplace.Thewholeprocesswasorganicandintui�ve,anditwasthefirst�meItrulyfelt confidentaboutmyar�s�cpath.Thatworkgavemethecouragetokeepgoing.
Q:Howdoyoubalancespontaneityandstructureinyourcrea�veprocess?
A:Tobehonest,Ihaven’treallyfoundtheperfectbalanceyet.Itrybothways—some�mesI plancarefully,andother�mesIworkmorespontaneously.Theresultsarealwaysdifferent ando�ensurprising.Lately,I’vebeentryingtoplanmore—toresearchtheideaand experimentwithtechniquesbeforeIstart.Butifsomethingspontaneoushappensduringthe process,Ialwaysfollowit.Eveniftheresultisn’twhatIexpected,atleastIgottoplayand discoversomethingnew.Ibelieveartshouldbeplayful.Forme,it’snotonlyaboutthefinal workbutabouttheprocessitself—that’swherethereallearningandexcitementhappen.
Q:Wheredoyouseeyourworkheadinginthefuture,andwhatareyouexcitedtoexplore next?
A:Inthefuture,Iwanttokeepdevelopingmypain�ngprac�ceandgodeeperintothe connec�onbetweenfilmandpain�ng—exploringhowatmosphere,light,andmovementcan existwithins�llimages.ThethemesIworkwith,suchasmemory,home,andiden�ty,ares�ll veryimportanttome,andIwanttokeepdiscoveringnewaspectsofthem.Iwouldliketo createlargerpain�ngsandexperimentwithcombiningthemwithmovingimagesorsound installa�ons.I’mcurioustoseehowthesemediumscancommunicatewitheachotherand createemo�onalspacesfortheviewer.Mostofall,Iwanttostayopen—tokeep experimen�ng,learning,andallowingmyworktogrownaturallywithme.
Image: “Holding”
OilPaint,Oilpastel,Pencil,andCharcoalonBelgianLinen 153cmx122cm h�ps://www.instagram.com/emmabacker.art/
EmmaLynBackerisaVancouverIsland–born ar�stlivinginToronto,Ontario,Canada.Her primaryprac�ceisinoilpain�ng,with experimentsinmul�mediaexplora�on spanningfrombronzecas�ngtovideo making.Herlarge-scaledrawingsand pain�ngsareabstractyetevoca�ve,pulling frompersonalexperienceandaninterestin psychoanalysis.Thepowerbehindeach pieceisintheprocess—her“BodyDrawing” works,createdwithouttheuseofhands, reflectadeepconnec�onto�me,memory, andexperience,andhowallareheldwithin thebodyandcanbereleased.Herpain�ngs
expressunseenemo�onandenergy throughcolour,form,andscale;dismantled bodypartsfloatalongsidesaturated pigments,andlinesscratchedinto brushstrokesrevealanorganicand intui�veprocess.
Althoughsheisabusinessownerand operatorofacateringcompany,EmmaLyn usesherfree�metoexploreanartprac�ce thatismalleableandexpansive,wherethe powerliesinwhatisconcealed.Eachstory istoldbytheviewerthemselves.
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A:IfeelI’mverymuchatthebeginningofmy journey,butIcouldsay—althoughitsounds cliché—thatitallbeganwhenIwassoyoung thattheonlymemoriesIhavearephotosof medrawingorpain�ngonali�leplas�c tableinthekitchen.Myparentsalways nurturedmyexplora�onofcrea�veinterests, andIfoundmyselfleaningtowards,and beingrela�velygoodat,art,sewing,dancing, etc.,fromaveryyoungage.I’vedoneafew differentthingsintermsofsoul-searching professionally,butIamconsistentlypulled backtocrea�vework.
ItooktwoyearsofFashionDesignat Ryersoninmyearly20s,droppedoutandgot intorestaurants,andthenwentbackto schoolatage28forDrawing&Pain�ngat OCADUniversityfortwoyears—andthenI droppedoutagain.I’velearnedbynowthat moderneduca�onandIdonotfullyalign, butIhavegainedsomuchskillrefinement andpersonalunderstandingfromthe professorswhoworkedwithme.
It’sonlynowthatIhavefoundthe confidencetoquitmy“realjob”in restaurantssothatIcandiveintomyart prac�ce.MypartnerandIstartedourown cateringbusinessthisyear,O�enCatering, andithasgivenmeenoughfree�methatI nolongerhaveanyexcusesnottomakeart. IfindthatIcanfillmy�mewithresearch, wri�ng,andadvancingmyartcareer—and thejourneyistrulybeginning.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A:It’snotnecessarilytangible,becauseI thinkthebiggestinfluenceonmylifeasan ar�sthasbeenthisinnatedesireforcrea�ng.
There’ssomethingwithinme—mind,body, andsoul—thatnagsatmewhenIhaven’t createdanythingforawhile.Ithasalways beenthere.
Otherthanthenaturaldrivetowardartmaking,humansandpsychologyaretwo biginfluences.Thewayhumansreactto andinteractwithoneanotherhas fascinatedmesinceIwasyoung,andnowI havethetoolsandunderstandingtoput moreresearchintothepsychological influencesthatdictatehumaninterac�on. Beingabletomanipulatethehumanform, oraveryhumanobject,inaworkofartto createsomethingabjectortoincitea visceralresponseispowerful,andIlove experimen�ngwithitandlearningmoreas Igo.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A:Upun�lafewyearsago,Iwaseternally uncertainaboutthevalidityofmyartwork becauseIdidn’tunderstandthattherewas amessagebehindit.Twoofmyprofessors atOCAD,HeatherFriseandSpencerJ. Harrison,throughobserva�onandcri�que, guidedmetodiscoverthemeaninginmy work.
Image: “HerFirst” BronzeCast,PreviouslyWornCo�onPan�es 25.4cmx26cm
Messagesof�meexperience,memory,and expressionsofunseenemo�onarewhatI returntomosto�en.Iliketoplaywiththe uncannyinmyvideoexperimentsand figura�vework;alimbcontortedinacertain waycanevokeapar�cularfeelingand insightspecificreac�onsfromtheviewer. Thesearethethemesthatinterestme—my abilitytoleadsomeonetorecallamemory thatmightnothavesurfacedotherwise,or tofeelsomethingthatisappealing, unse�ling,andconfusingallatonce.
Q:Howhasyourstyleorapproachevolved overtheyears?
A:Mystylehasevolvedthrough experimenta�onandanunderstandingof thecon�nuityofthethemesIexplore.It’s difficultformetopindownaspecificstyle becausemyworkisexpansiveandeverchanging.OnethingIfindfrustra�ngisthat theartworldseemstowanta“cohesive” bodyofworkinordertoconsideranar�st legi�mate.Idon’tknowifmyworkwouldbe consideredcohesiveunlessyouknowmore aboutmyprocessandinten�ons.
I’velearnedtoleanintowhatmightlooklike a“lackofcohesion”andallowthattobemy style.Ipaint,draw,writepoetry,takephotos, film,makebooks,sculpt,andperform— workinginamul�disciplinarywaymakesit nearlyimpossibletolimitmyselftoonevisual iden�ty.Myworkisareflec�onofenergy ratherthansomethingconfinedtoasingle categoryortechnique.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A:Idon’tthinkfailurereallyexistsinmy vocabulary,becauseeveryexperiment—even ifitdoesn’tturnoutthewayIenvisioned—is
worthit.Takingleapsoffaithandeither findingtheperfectmarkorabsolutely ruiningapain�ngisthemostfulfillingand daun�ngpartoftheprocessforme.
Mostofmyworkisintui�ve.I’llhavea feelingorseeaformasavisionandfeel compelledtoputitontopaper.Some�mes itworks,andthenIrollwithit.Ididaseries calledCupsthatstartedinthatliminal spacebetweenbeingawakeandfalling asleep.Isawagobletshapeandareddot— almostdreamlike—andimmediately starteddrawing.That“failednap”turned intooneofmymostpopulardrawing series.
Q:Isthereapar�cularpieceyou’ve createdthatstandsoutasespecially meaningfultoyou?Why?
A:OneofthemostmeaningfulworksI’ve createdisabronzesculpture�tledBronze Pan�es:HerFirst.Itwasmadeinabronze cas�ngcourse,andIwantedittoconnect tothethemesofmyprac�ce.Itookapair ofoldunderwear—yes,myown—dipped theminwax,shapedthemasifcasually discarded,andthencasttheminbronze.
Theworkismeaningfulbecauseitsolidifies amemoryoutsidethebody:ayoung woman’sfirstsexualexperience.Ittakesan otherwisedisposable,in�mateobjectand preservesitinamaterialassociatedwith monumentsandhistoricalpermanence.It gavemethechancetointen�onallymerge concept,emo�on,andmaterialinawayI hadn’tdonebefore.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A:I’mnotsureifIcanfullybalanceit—so muchofmyprocessisspontaneous.Wri�ng andphotographyarethingsIdoconstantly, andtheyactasthestructure.Ihave notebooks,scrappapers,linesofpoetry, randomthoughts,quotes—thisisthe founda�on.
Pain�ng,ontheotherhand,happensin bursts.WhenIhaveadeadline,it’schaosin thebestway.That’swhenIfeelmostalive. Structurekeepsmegrounded,but spontaneityiswhatmakestheworkfeelreal.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A:Iseemyworkmovingtowardamore consistentandcohesivecrea�veprac�ce nowthatI’mnolonger�edtofull-�me restaurantwork.Iwanttopresentmy mul�disciplinaryprac�ceinagallery space—whetheraformalspaceorapopup—toshowhowmythemescarryacross pain�ng,sculpture,drawing,and performance.
Onegoalistoeventuallyworkfull-�me withagallerythatrepresentsandsellsmy work.Havingthatlevelofconsistencyin myprac�cewouldbeincrediblyfulfilling. Un�lthen,I’llkeepcrea�ngandsearching fortherightconnec�ontomakethat happen.
Image: “Singleman” Photograph 90cmx120cm h�ps://www.instagram.com/Roos_rik/
RikRoosisaDutchphotographerbasedin Amsterdam.Hisworktypicallyexplores in�mateemo�onalthemessuchasdesire, loneliness,andregret—o�enrootedin personalexperienceyetresona�ng universally.
Whatdoweholdonto?Whatslipsaway? Anddoweevertrulyseewhatisinfrontof us,oronlywhatwehopetofind?
Image: “Wishyouwerehere”
Photograph
120cmx90cm
Image: “Lonely”
Photograph 120cmx90cm
Image: “SaintsandStarlets”
MixedMedia
122cmx91cm
h�ps://www.instagram.com/chrisbeatyart/
ChrisBeatyisaChicago-basedar�stwhose collage-inspiredpain�ngsanddrawings explorethefragmenta�onofpercep�onand iden�ty.HeearnedhisMasterofFineArts fromtheUniversityofIllinoisatUrbana–Champaignin2020.Hiswork,heldin privatecollec�onsacrosstheUnitedStates, hasbeenfeaturedinmul�plepublica�ons andexhibitedna�onwide.
Beatyworksinfragmentsandinterrup�ons, s�tchingtogethervisuallanguagesthat mirrortherhythmofarestlessmind—hypera�uned,nonlinear,andoverflowing.Each composi�onbecomesamapofobserva�on
andsensa�on,wheremeaningdri�s, dissolves,andreforms.Heapproaches a�en�onnotasadeficit,butasaflood, embracingitsintensityand unpredictabilityasbothmaterialand concept.
Alongsidehisstudioprac�ce,Beaty teachespain�nganddrawingatthe UniversityofSt.FrancisinJoliet,North CentralCollegeinNaperville,andSaint XavierUniversityinChicago,wherehe fostersvisualinquiryandcontemporaryart prac�ceamongemergingar�sts.
Image:
“NothingtoSee/Hear”
MixedMedia 122cmx91cm
Image: “SurrealBloom”
MixedMedia 76cmx56cm
Image:
“TheFamiliarOne”
MixedMedia
100cmx125cm
h�ps://www.instagram.com/momhugsss/
ShannonBulriceisamul�disciplinaryar�st basedinCaliforniawhoseworkexploresthe tensionbetweeninnocenceanddanger, beautyanddistor�on,visibilityandsilence. Raisedinahomemarkedbymentalillness andgenera�onaltrauma,andbecominga motheratsixteen,hercrea�velensisshaped bybothdeepempathyandasharp awarenessofpowerdynamics.
A�ertwodecadesasadesignerandbrand strategist,Shannon’spersonalartprac�ce nowcentersondigitalandAI-supported methodsthatlethershapevisualnarra�ves withimmediacyandemo�onalclarity.Her mostrecentseries,FamiliarMonsters, confrontstherealitythatpredatorsareo�en
notstrangers,butpeopleclosetous— trusted,evenloved.Theworkissurreal, tender,andhaun�ng,usingstylized portraituretomakevisiblewhat’susually hidden.
Herworkhasbeenshowninterna�onally, includinginthe2025Bri�shArtFair’s Digitalismfeature,andfeaturedin publica�onssuchastheSasseMuseumof Art’sdigitalcollec�ons.
Attheheartofherprac�ceisthebeliefthat artcanholdcomplexity—thatwecanshow what’spainfulands�llcreatespacefor beauty,healing,andtruth.
Image:
“HeCarriedMeHome”
MixedMedia
100cmx125cm
Image: “IKilledtheQuietOnes”
MixedMedia
100cmx125cm
Image:
“AmIPurelyDecora�ve?(Maiden)”
MixedMedia
134cmx102cmx34cm h�ps://www.instagram.com/torimcleanprint/
ToriMcLean(b.1969,Cambridge)isaUKbasedinterdisciplinaryar�stworkingacross print,installa�on,andsculpture.Her prac�ceusesthelanguageofchildhoodplay toexplorecomplexques�onsoffemalevalue throughinterac�ve,par�cipatoryworks.
Hermostrecentproject,IsThisMe?IsThis You?(2025),isaninterac�vetriptychofhalflife-sizedautomatonsthatexaminesfemale iden�tythroughthetriplegoddess archetypesofMaiden,Mother,andCrone. Combininganalogueanddigitalprintwith sculpture,eachfigureinterrogatessocietal expecta�onsofwomenbyasking:AmI PurelyDecora�ve?(Maiden),DoIMerely Mul�ply?(Mother),andWhereDoesMy ValueLie?(Crone).
McLeanholdsanMAinPrintfromtheRoyal CollegeofArt(2025).Herworkisheldinthe collec�onsoftheV&A,theRCA,and HampshireCulturalTrust,aswellasin
privatecollec�onsacrossEurope,theUSA, andAustralia.Sheistherecipientofthe TraversSmithCSRArtProgrammeaward (2025/26)andwasnamedoneof ColourHive’sNewTalent:15BestNamesto Watch(2025).Otheraccoladesincludethe DesignextInterna�onalGrandPrize(New York),theElleDecora�on/B&QTex�le DesignAward,andtheSocietyofDesigner Cra�smenDis�nc�onAward.
McLeanhasexhibitedatvenuesincluding BanksideGallery,MallGalleries, SouthwarkParkGalleries,HockneyGallery (London),andDesignext(NewYork). Upcominghighlightsincludeexhibi�ngat theRoyalSco�shAcademyofArtand Architecture(2025)andherfirstsoloshow, Pa�ern&Progress(2025).Shewas recentlyselectedbyLondonArtCollec�ve forinclusionintheirArtEvolpublica�on (2025)andshortlistedforVAA’sArt500.
Image:
“DoIMerelyMul�ply?(Mother)”
MixedMedia
134cmx1102cmx34cm
Image:
“WhereDoesMyValueLie?(Crone)”
MixedMedia 134cmx102cmx34cm
Image: “OrdainedSinners”
Illustra�on 54cmx38cm h�ps://www.instagram.com/asperaart/
MoiraMcMahonisanIrish-Australianar�stbasedinNaarm,workinginbothtradi�onaland digitalmediums.Hereclec�cyetclassicallydrama�cartstylereflectsherongoing explora�onofreligion,thebody,andculture.
Sherecentlya�endedthe2025PictoplasmacharacterdesignconferenceinBerlin,an experiencethatdeepenedherdesireforgreaterconnec�onandcommunityamongfellow ar�sts.ThroughDivide,shehopesnotonlytobediscoveredbyothercrea�ves,butalsoto discoverandengagewiththeminreturn.
Image: “IFEELIT” MixedMediaonCanvas 100cmx100cm h�ps://www.instagram.com/laurynaart/
LaurynaRakauskaitėisanar�stfromLithuaniawhocreatesfromtheheart.Guidedby intui�on,herar�s�cprocesso�enfeelsasthoughsomethingwithinheralreadyknowswhat topaintandhowtoexpressit.Sheisdrawntovibrantcolorsandposi�veenergy,whichshe workstoreflectineverypieceshecreates.
Workingprimarilywithacrylicsandbrushes,Rakauskaitėstrivestobeboldandfearlessin hermark-making,allowingeachpain�ngtocarryasenseofjoy,movement,and authen�city.Throughherwork,shehopestospreadkindness,light,andgoodnessintothe world.
Image: “Valleyofbloom”
DigitalPain�ng
40.64cm×27.94cm
h�ps://www.instagram.com/zoner_stoner07/
ManasiPatankarisanillustratorandgraphic designerwithastronginterestindigital pain�ng,visualiden�tydesign,conceptart, andpoetry.OriginallyfromMumbai,sheis currentlypursuinghermaster’sdegreein Illustra�onattheSchoolofVisualArtsin NewYorkCity.
ForPatankar,illustra�onisacompass—a waytonavigateunchartedterritoriesof colourandform.Crea�vethinkingservesas herroadmap,allowinghertoperceivethe worldconceptually.Thekeyjourneysthat shapeherlifeandthekaleidoscopeof emo�onsthroughwhichsheexperiences themallpointherbacktohertruenorth:her sketchbook—aplaygroundmuseumwhere
sheturnsthoughtsintoconcepts,aspace whererealitytakesleaveandasurrealist becomestheonlytourguide.
Herprac�cecentersonmetaphorsand symbolism,reflec�ngpersonalandsocioculturalthemesdrawnfromlived experience.Throughjuxtaposi�on,bold colours,objects,andwhimsicalforms,she buildsfantas�calworldsthatevoke emo�on,ambiguity,andwonder.The chancetostepawayfromtheordinaryand offeralternateperspec�vesiswhatfuels herasanillustrator.Elementsofdrag, humour,andpoetryarerecurring inspira�onsthatcon�nuetoshapeher bodyofwork.
Image: “FireEatsShadow”
MixedMediaonCanvas
76cmx76cm
h�ps://www.instagram.com/mercuryadore/
HeidyPerdomo(b.1988)isanar�stwhose workisshapedbyachildhoodspentmoving fromplacetoplace,findingbelongingnotin onehome,butinthespacesbetween.That rhythmofchangecon�nuestoinformher prac�ce,whereeachpiecebecomesbotha res�ngplaceandareminderthatbeautycan livewithinimpermanence.Herfirstteacher washergrandmother,whotaughtherthat artiswovenintodailylife—ablendof memory,care,resilience,andplay.Thatearly influences�llanchorsPerdomo’swork, keepingheropentocuriosity,surprise,and the“happyaccidents”thato�enleadtoher mostauthen�cpieces.
Herstyleisrootedinfigura�ve expressionism,centeredonemo�onal resonanceandthewaymemoryandfeeling echothroughform.Sheworksinoils, acrylics,pastels,andcharcoal,shi�ing betweenimmediacyandlayereddepth. Manyworksbeginwithmutedgradients andfaintfigures,asifmemoryisslowly surfacing;then,boldcolorbreaksthrough withsuddenclarity.Thisinterplayof s�llnessandintensitymirrorstheway emo�onrevealsitself—layered,fragile, andunexpectedlyluminous.
LauraJanePetelkoisaToronto-based photographercelebratedforherpainterly, abstractapproach,whichmergesemo�onal depthwithasenseofpoe�cmystery.Over thepasttwodecades,shehasdevelopeda dis�nc�veprac�cecenteredonongoing bodiesofworkthatchallengephotography’s tradi�onaldependenceoninforma�on, resolu�on,andliteraldepic�on.Byblurring, obscuring,anddis�llingform,herimages inviteviewersintoamoreintui�veencounter withthevisibleworld—onedefinedbyfeeling ratherthancertainty.
Petelko’sworkhasbeenexhibited interna�onallyatnotablevenuesandfairs, includingChris�e’sEyeoftheCollector preview,PhotoLondon,andtheLondonArt Fair,whereshecon�nuestoa�ractglobal a�en�on.SheisrepresentedbyGBSFineArt intheUnitedKingdom.
Image: “TheMagicWords-FromtheMaseries”
Photograph 30cmx42cm h�ps://www.instagram.com/laurajanepetelko/
HerseriesEndlessGone(2019–present)emergedfromadeeply personalreckoningwiththepossibility oflosinghersight.Throughin-camera abstrac�on,shedissolvesthe specificityofthelandscape,shi�ing a�en�onfromthefactualtothe experien�al.InMa(2020),created duringthepandemicwithdancers fromtheNa�onalBalletofCanada, sheexploredmovement,embodiment, andtranscendenceatamomentwhen performancespaceshadvanished. WithNightlife,Petelkoturnstothe naturalworlda�erdark—construc�ng surrealnocturnalscenesthatposi�on natureasanunseenwitnesstohuman presence,bothcuriousand unbotheredbyourtemporary illumina�on.
Acrossherevolvingprac�ce,Petelko remainsrootedinemo�onalsincerity. Eachseriesservesasamedita�onon presence,transforma�on,andthe ephemeralnatureofexperience— invi�ngustoreconsiderhowwesee, whatweno�ce,andwhatpersists whencertaintydissolves.
Image:
“Untether-FromtheMaseries”
Photograph 30cmx42cm
GizemVural(b.1988)isaNewYork–based ar�standillustrator.Herworkmoves betweenrepresenta�onandabstrac�on, consciousnessandunconsciousness,using coloredpencilstocreatecomposi�onsthat arebothdelicateandprofound.
Herprocesso�enbeginsduringwalksin nature,whereshephotographsthesubtle interplayoflightonplants—their�ssues, structures,textures,andforms.These momentsofnaturalbeauty,shapedbyan environmentbeyondcontrol,becomethe founda�onforherabstractdrawings.
Image: “InMyOwnGarden” MixedMediaonPaper 60.96cmx45.72cmx2.24cm h�ps://www.instagram.com/gizemvural_/
YunYeisamul�disciplinarydesignerand ar�stbasedinNewYork,workingacross bothdigitalandphysicalmedia.Sheis proficientindigitaltoolssuchasCADand crea�vecoding,aswellasawiderangeof fabrica�ontechniques.Herphysicalmaking skillsincludewoodworking,ferrousandnonferrousmetalworking,upholstery,machine kni�ng,andsewing.Inherdigitalprac�ce, sheworkswithprecisionmodelingso�ware suchasSolidWorksandRhino,andisequally comfortablecrea�ng2Dvisualwork.
Yealsospecializesingraphicdesignandweb design,o�enincorpora�ngcrea�vecoding intoherprojects.Herprac�ceintegratesfine artsensibili�esintomul�pledesign disciplines,includingproductdesign, furnituredesign,spa�aldesign,so�goods, andmore.
Image: “KnitLume”
MixedMediaLightFixture
170cmx130cm
h�ps://www.instagram.com/yun._.yeee/
NinaLysisaNewYork–basedar�stand formertelevisionjournalistwhoseprac�ce existsattheintersec�onofartandpoli�cal storytelling.BorninRussiaandtrainedin journalism,shetransformsherfirsthand experienceoftruth-tellingunder authoritarianpressureintoadeeplyhuman visualnarra�ve.Herpain�ngsexplorethe emo�onalandpsychologicaldimensionsof poli�callife—thefragilityoffreedom,the courageofdissent,andthequietendurance ofthosewhoresist.
Workingprimarilyinoilandmixedmedia,Lys combinesFlemish-inspiredrealismwith collage,miniaturescenes,andlayered symbolism.Eachpiecefunc�onsasboth portraitanddocument—notonlydepic�ng recognizablefiguressuchasopposi�on leaders,butalsoweavingtogetherfragments ofmemory,protest,andcollec�vegrief. Throughtornphotographs,scorched textures,andsubtlechiaroscuro,she
reconstructshistoryfromaplaceof empathyratherthanideology.
Herongoingseriesexamineshowpoli�cal violenceshapespersonaliden�tyand memory.Lysviewspain�ngasanactof witnessing—awaytopreservemoral clarityin�meswhentruthitselfisunder a�ack.Bymergingtheprecisionof journalismwiththevulnerabilityofart,she createsvisualtes�moniesthattranscend propagandaandinviteviewerstofeel ratherthansimplyobserve.
Sincereloca�ngtotheUnitedStates,Lys hasbecomeavoicefordisplacedand silencedcommuni�es.Herworkspeaksto thosewhohavelosttheirhomelandbut nottheirconscience.Rootedinrealismyet chargedwithmetaphysicaldepth,herart remindsusthatfreedomisnotaguarantee —itisaliving,breathingactof remembrance.
Image: “DinnerofEmpires”
MixedMediaonCanvas 122cmx152cm h�ps://www.instagram.com/nilys.art/
GraceCourbiscametotheUnitedStatesin 1990,thesameyeardemocracyfinallybroke throughChile’slongsilence.Bythen, however,arthadalreadyclaimedher.Shefell inlovewithitsboundlessfreedom—its refusaltobecontained.Whenshe discoveredthelens,shefoundahome.The camerabecameherportal,carryingherinto spaceswhereitwasjusther,thesubject,and thequietalchemyofbeauty.
Aself-taughtphotographer,Courbis’sworkis drivenbyafascina�onwithlight—howit shapes,conceals,andreveals.Sheusesitto createillusionsthatstretchbeyondwhatthe eyecansee,pushingagainsttheedgesofthe ordinaryandalwayschasingthemoment whererealityblursintomagic.
Image: “CradleOfSelf”
Photograph 60cmx45cm
h�ps://www.instagram.com/graceful_inspira�ons/
Photograph 60cmx45cm
RandyLeonciniwasborninNewJersey.He hashadmanycrea�veoutletsover�me, includingbutnotlimitedtomusic, skateboarding,andphotography;however, drawingandpain�ngwerehisfirsttrueloves. Ashewasexposedtovariedar�s�cstyles,he foundinspira�oninfinear�stslikeJames Bama,TimothyJahn,andPeterCarras,the la�erofwhomhestudiedunder.These figuresdefinedthetypeofarthewantedto createandhelpedhimfindhisar�s�c foo�ng.
Image: “ASaturdayMorning”
MixedMedium
30.50cmx45.70cm
h�ps://www.instagram.com/randy_leoncini_art/
OliviaLobainaisanarthistorymajorwithalifelongpassionfor art.Sheenjoysstudyingarthistory,learningtheculturaland historicalcontextbehindworks,andallowingthatknowledgeto informandinspireherownprac�ce.Travelisalsoasignificant influenceinherlifeandwork;shehasjourneyedspecificallyto ItalyandFrancetoseesomeofherfavoriteartworksinperson.
Lobaina’sworkhastradi�onallyleanedtowardrealism,butshe hasrecentlybegunexperimen�ngwithlooserstyles,focusing oncapturingimpressionsofrealityratherthanreplica�ngit exactly.Con�nuallyseekinggrowth,sheiscommi�edto evolvingasanar�standisalwaysinpursuitofthear�st’sspirit.
Image: “LaborDay” MixedMedium 45cmx60cm h�ps://www.instagram.com/oliviarosegallery/
SjaakToolwasbornina�nyvillageinthe north-westoftheNetherlands.A�erhigh school,hestudiedInforma�onTechnologyat theTechnicalUniversityDel�.Sincethere werenotmanyjobsatthat�me,hedecided totrytheartsanda�endedartcolleges.He studiedinTheHagueatPsychopolis,awork andmee�ngplaceforaspiringar�sts.There, hisloveforphotographystarted.Hetook photographstodocumenthiswork,andover �mehelearnedthatphotographyalso allowedhimtoexpressmanyofhisar�s�c quali�es.
Inthelate1980s,hemadeanothercareer moveandstartedasanITtrainer.Hebuilta successfulcareerofnearly35yearsasa lecturerinInforma�onTechnologyand workedatvariousuniversi�es.Since2023, whenhere�red,hehasrekindledhispassion forart.
Thelight,ripples,andreflec�onsonthe water’ssurfacecapturehisa�en�on.These arealwaysdifferentandinfluencedbythe environment,theincidentlight,andthe wind,whichiswhyheisfascinatedbythem. Heiscap�vatedbythecapricious,changing pa�ernsofthereflec�on.Heeditsthese imagestocreateanar�s�cimpressionthat evokeswonder.Ordinaryscenesare transformedintoasphereofcolorsand shapes.Byapplyingdigitaltechniquesto thesephotographs,theinterac�onsbetween lightandwaterareenhanced,revealingthe flowingdanceofnature.Withhisimages,he emphasizesthebeautyofnature.
Image: “Reflec�onX”
DigitallyEditedPhotograph VariousSizes h�ps://www.instagram.com/sjaakie200/
XinyiCindyZhang(b.1998)isavisualar�st basedinBeijingandChicago.Comple�ngher undergraduatestudyatCCAinSan Francisco,shedeterminedherexplora�onof makingsocio-poli�calcri�ques.Rebellionis thecoreofherworkandthemainsubject. Morepossibili�esofmetaphoricalnarra�ves, expressionsofhumanity,andreac�ons towardhumanhistoryareherexploring direc�on.Herworksaremainly representa�vepain�ngs.Sheisnow currentlyenrolledintheSAICMFAPain�ng program.Herworkshavebeenexhibitedin SanFrancisco,NewYork,andChina.
Withtheuseoftheimageofaferriswheelas themainmetaphorofcyclicaltragedy(such aswarsandviolence)inhumanhistory,the ar�stfabricatedasymbolizedworldwhere humanbeingsare�ghtlyhungonthehistory wheel,experiencingtheendofapeak,then fallingintoabarrenba�lefield,wherefigures representusandanimalsarealwaysthe hope.
Image: “Doggod”
AcryliconCanvas
121.92cmx91.44cm h�ps://www.instagram.com/xinyi.cindy.zhang/
KimJungSooisaninterdisciplinaryar�st andre-illuminatorbasedinChicago.She transforms“space”into“place”bytracingthe emo�onal,spa�al,andnarra�vepa�erns embeddedinenvironments.Kimuses surroundingelementstoexpressthefluid selvesrevealedthroughspace—capturing tracesofpeopleinbustlingci�es,the environmentalhistoriesofplaces,andthe digitallyextendeddimensionsofspace.Her researchexploreshowwedevelopspa�al abilityandspa�alknowledgetolocate ourselvesandformrela�onshipswithour surroundings.Thisapproachgoesbeyond simplynarra�ngaspace;itbuilds environmentswhereviewerscansensorially acquireapsychogeographicalsenseof “whereIam,”crea�ngaframeworkto understandfluididen��es.
KimholdsanMFAinArtandTechnology StudiesfromtheSchooloftheArtIns�tuteof ChicagoandanMFAinNewFormsfrom SeoulWomen’sUniversity.Sheisthefounder anddirectorofDynamicNature&Art(DNA), aChicago-basedcommunitypla�orm fosteringcollabora�onsbetweenar�sts, scien�sts,andtechnologists.Herworkhas beenpresentedinexhibi�ons,residencies, andcommunityprojectsinterna�onally, includinginIceland,Korea,andtheUnited States.
Image: “Fluidity/AbstractPortrait”
Sculpture 43inx23in/43inx22in
h�ps://www.instagram.com/kimjungsoo_studio/
EduardoOrtegaisaballpointpenar�stwhoseworkreflectson emo�onandexploresthebalancebetweenstruggleandbeauty. Hediscoveredartattheageof17,duringa�mewhenheneeded bothdirec�onandawaytoexpresshimself.Whatbeganasan outletsoonbecameameansoftransformingpainandpast experiencesintopurpose.
Eachdrawingcarriesapartofhisstory—hisculture,hisresilience, andhishopeforwhatliesahead.
Image: “Esperanza” BallpointPenonPaper 17cmx21cm h�ps://www.instagram.com/art_by_face/
KatjaTomzigisafreelancear�stwholives andworksinDresden,Germany.Sheisbest knownforhervibrantseriesFACETTESOF CREATIONand,mostrecently,theKaffeeGrotesken,launchedinthesummer.
Herar�s�cprocessisrootedindiscovery ratherthancontrol.Tomzigapplieslayersof colorontopaperorcoffeegroundsthrougha glassplate,allowingpigmentsandtextures todryandformnaturalstructures.From thesespontaneoussurfaces,waves,figures, anden�rescenesbegintoappear.Shethen refineswhatsheseeswithbrushandcolored pencil,makingthehiddenvisible.Eachwork iscreatedthroughthisinterplaybetween chanceandinten�on—betweenwhatthe materialrevealsandwhatshechoosesto bringforward.
Tomzig’sprac�ceisguidedbytheideathat crea�onalreadyexistswithinma�er,wai�ng tobeuncovered.Ratherthanimposingan imageontothesurface,sherevealswhatis alreadypresent.
Image: “September2020wass�llquitenastyhereand there.Energythieveseverywhere.”
MixedMedium 63cmx100cm h�ps://www.instagram.com/katjatomzig/
YijiaMaisaninterdisciplinaryar�stcurrently studyingattheSchooloftheArtIns�tuteof Chicago.Herprac�cecentersonexploring andimaginingunknowncreaturesas reflec�onsofherinnerlandscape— psychological,emo�onal,andins�nc�ve. Workingprimarilywithmaterialssuchas TPU,3Dprin�ng,metal,andwood,she constructshybridformsthatmergetheliving andthear�ficial,thedelicateandthe industrial.
Influencedbybiology,sciencefic�on,and personalmemory,Maenvisionsher sculpturesasen��esthatexistsomewhere betweengrowthanddecay.Herworkso�en appearalive—curious,tender,andslightly uncanny—embodyingherfascina�onwith transforma�on,adapta�on,andmuta�on. Throughsculptureandinstalla�on,she buildsimmersiveenvironmentswhere imaginedspeciesbecomemetaphorsfor humanvulnerabilityandresilience.
Ul�mately,hercrea�onsinviteviewersto experiencetheblurredboundariesbetween imagina�onandmateriality,sugges�ngthat evenfabricatedlifecanmirrorthe complexityofourownemo�onalworlds.
Image: “SYMBIONT1”
MixedMedia 170cmx50cmx40cm h�ps://www.instagram.com/yijiaaa_com/
ZhilinXiang(born2002)isamul�media, lens-basedar�stwhoseworkexplores themesofgenera�onaltrauma,diasporic community,iden�ty,andin�macy.Her prac�cecentersontheinterplaybetween physicalformandsocialpercep�on,using thebodyasbothsubjectandmetaphorto reflectbroaderculturalnarra�ves.Sheis currentlybasedinBrooklynandLondon.
Image: “BalletRoom”
Photograph 13cmx19cm h�ps://www.instagram.com/blueeyelili/
Jing�anYangisaChineseinterdisciplinary ar�stbasedinLondon,withanacademic backgroundinanima�onandprintmaking. Hisprac�ce,rootedinrela�onalart, inves�gatestheshi�ingdynamicsbetween individualsandsociety.Throughthemesof in�macy,iden�ty,andsocialcontradic�on, Yangexamineshowpersonalandcollec�ve boundariesintersectandblur,revealingthe paradoxesembeddedinhumanconnec�on andself-percep�on.
Workingacrosssculpture,pain�ng, printmaking,3Dmodeling,andexperimental video,Yangusesphilosophicalreflec�onasa methodtoexplorethebalancebetween individualityandcollec�vity.Hefrequently combinestradi�onalprintmaking techniques—par�cularlyetching,screen prin�ng,andlithography—withother materialstocreateimmersivevisual experiencesthatengageboththoughtand emo�on.Lithography,withitssensi�vityto touchandsurface,remainscentraltohis inquiryintogestureandtexture.
Image: “BloomTouch,neverReach”
Installa�on
102cmx42cmx193cm
h�ps://www.instagram.com/ching�nyeung/
Image: “Beau�fulDanger”
Photograph 61cmx91.5cm
h�ps://www.instagram.com/ben_in_toronto/
BenjaminGibsonisaqueer,Toronto-basedphotographerandcrea�vedirectorwhosework explorestheintersec�onofgritandbeautyinurbanlandscapesandportraits.Gibson explorestopicsclosetohisownlifeaswellassubjectswithaglobalimpact,fromrecoveryto climatechange.Withabackgroundincommercialandfineartphotography,Gibson’sstyle ischaracterizedbyitsraw,unfilteredapproachtocapturingthehumanexperience.His fascina�onwithstreetphotographybeganwithadesiretotellstorieso�enoverlookedinthe hustleandbustleofcityandman-madelife.
Image: “TheRedRider” Oil,MixedMediaonCanvas 30cmx40cm h�ps://www.instagram.com/ruthellenchapman/
RuthisaUK-basedpainterwhoseworkexploreshumanpresence,emo�on,andatmosphere throughexpressiveportraiture.Workingprimarilyinoilandmixedmedia,shefocuseson capturinganinnersenseofcharacterratherthanadirectlikeness.Herpain�ngso�encentre onsolitaryfigures,balancings�llnesswithintensityandinvi�ngquietreflec�onfromthe viewer.
Usingoils�cksforboldlayers,texturedsurfaces,andagroundedcolourpale�e,Ruth’s portraitssitbetweenrealismandabstrac�on.Hersubjectsreflectthemesofstrength, vulnerability,andindividuality.
Self-taughtandprocess-led,Ruthapproachespain�ngasanins�nc�ve,emo�onalprac�ce. Eachpieceevolvesthroughexperimenta�on,guidedmorebyfeelingthanbystrict technique.
Image: “mypoten�al”
MixedMediaDrawing
22.4cmx28cm
h�ps://www.instagram.com/Bybre�nelson/
Bre�Nelsonisanar�stwhoseworkisdeeplyinspiredbyretroaesthe�cs.Heincorporates referencestothepastthroughvintageclothing,hal�ones,grainytextures,andothervisual mo�fs,weavingnostalgiaintoamoderncontext.Hisprocessishighlyme�culous,witheach elementofapiecearrangedalmostlikeapuzzle.Everyobject,pose,anddetailis inten�onallyplacedtocreateacohesiveandbalancedcomposi�on.
Nelsonalsoembedssubtlepersonalreferencesthroughouthiswork—smallnodsto childhoodmemoriesorearlierpiecesinhispor�olio.Thesedetailsaddalayerofin�macy andindividuality,makingeachartworknotonlystylis�callydis�nctbutalsodeeply reflec�veofhisownlivedexperience.
Image: “RoomSkull”
MixedMedia 50cmx70cm h�ps://www.instagram.com/aligulec_ikiiki/
AliGulecisavisualar�stknownforhissurrealskullartworksthatmergeflowers,animals, andsymbolicimagery.Blendingdigitalandtradi�onaltechniques,hisworkexploresthemes oflife,death,andtransforma�on.Exhibitedinterna�onally,hisartiscollectedthrough galleriesaswellasonlinepla�orms.
Image:
“StairwaytoHeaven”
EtchingonZinc
70cmx50cm
Bornin1957inAntwerp,Belgium,KarelgraduatedfromtheIns�tutSaint-LucinBrussels andtrainedinengravingattheAcadémieRoyaledesBeaux-Arts,wherehereceiveda cer�ficateofpassagewithdis�nc�on.
InFrance,asamemberoftheFédéra�onNa�onaledel’Estampe,hefurtherrefinedhis technicalmasteryatAtelier63andlatercon�nuedhisdevelopmentintheParisstudioof DanishengraverBoHalbirk.
Karel’sparentsworkedintheportandship-repairindustry.Theiradolescence,studies,and careersweredisruptedbythewar,forcingthemintoworkatanearlyagetosupporttheir families.Determinedthattheirchildrenwouldhaveopportuni�estheythemselveswere denied,theyencouragedKareltoexplorecultureinallitsforms.
Hismother,whohadoncehopedtobecomeanoperasingerbeforethewarderailedher path,enrolledKarelinamusicschool.However,therigidteachingmethod—twoyearsof readingscoresbeforebeingallowedtosing—quicklydiscouragedhim,andhele�.Asan alterna�ve,hismothersenthimtothecommunaldrawingschoolinSchotennearAntwerp, directedbysculptorHermanCornelis,acigar-smoking,beardedgiantwhowouldtearpages fromoldbooksandpressthemintoKarel’shandswiththeinstruc�on:“Copythis!”
A�ercomple�nghisstudies,KarelmovedtoParis,whereheworkedasajournalistandeditor foranon-commercialac�vistnewspaper.A�erseveralyears,herealisedthatartwasmissing fromhislifeandreturnedtoit—ini�allybycopyingOldMasterpain�ngsonoakpanelsusing hand-madeeggtempera,Vene�anturpen�ne,andotherhistoricaltechniqueshe rediscoveredwithaformerclassmate.
Today,Karelprimarilyfocusesonwatercolourandetching,con�nuingalifelongcommitment tocra�smanship,tradi�on,andexperimenta�on.
Image: “MarionintheMirror”
So�PastelonBogusPaper
30inx24in
h�ps://www.instagram.com/M_organmccarthy/
Morgan’sar�s�cpathwasshapedearlybyhergrandmother’slifeinart,inspiringherto pursueherowncrea�vejourneyfromchildhood.Drawntolarge-scaleexpression,she refinedherfocuswhileearningaBAinTheatreArtsattheUniversityofSt.Thomasin Houston,TX.A�ercollege,shetrainedatCobaltStudiosinNewYork,becomingascenic ar�stspecializinginbackdropsforBroadwayproduc�ons,theLyricOpera,TheRocke�es, Disney,theJoffreyBallet,andothers.Formorethan15years,sheworkedprofessionallyas ascenicar�st,eventuallybecomingamemberoftheUnitedScenicAr�stsUnion, represen�ngscenicar�stsna�onwide.
Herworkinscenicpain�ngexposedhertoawiderangeofsubjects,media,andtechniques —fromtradi�onalmethodssuchasmixingdrypigmentswithanimalglue,tocrea�nglargescalearchitecturalbackdrops.Shemasteredthetechnicalandphysicaldemandsofpain�ng immensefabricpiecesranginganywherefrom10x10feetto30x100feet,whilealso confron�ngtheoccupa�onalhealthrisksassociatedwiththetrade.Thesechallenges eventuallyledhertoasecondcareerinindustrialhygiene,afielddedicatedtooccupa�onal healthandsafety.
Nowre�redfromscenicpain�ng,Morganworksasanindustrialhygienistwhilecon�nuing herpersonalar�s�cprac�cefromherhomeinMunster,Indiana.Sheremainsdevotedto large-scaleworks,o�enrangingfromtwotoeightfeetinheight,andhersubjectsspan portraitsofherchildrenandfamilytodepic�onsofbothwildanddomes�canimals.Drawing onherscenicpain�ngbackground,sheworksonpaperandfabricusingacrylic,so�pastel, coloredpencil,charcoal,andmixedmediatoachievelayeredandatmosphericeffects.
Image: “'Folds'lamp” MixedMedia 35cmx60cm h�ps://www.instagram.com/yaroshenkoarts/
NatashaYaroshenkoisaceramicar�stworkingwithvessels,lamps,sculpturalforms,and wallinstalla�ons.Herprac�ceexploreshowform,surface,andmaterialcancommunicate narra�vewithouttheneedforwords.
Sheo�enworkswithaneutralpale�eandunglazedclay,focusingontexture,propor�on, andthetac�leexperienceofeachpiece.Herprocessisguidedbycuriosity—tes�nghowclay canbestretched,combined,orreimagined,whileallowingittoremaintruetoitsnatural characterandtocarrythestoryembeddedinthework.
Yaroshenko’sprac�cevaluesquietpresenceovera�en�on.Eachpieceisintendedtohold spaceratherthanfillit,offeringasenseofsimplicityanddepththatencouragesreflec�on.
Throughongoingexperimenta�on,shecon�nuestoexplorewhatclaycanexpress—not onlyasafunc�onalmaterial,butasamediumforthought,touch,andsubtleemo�on.Her workhasbeenshowningroupexhibi�onsanddesignshowcases,withnewcollec�ons currentlyindevelopment.
Image:
“EternalInspira�on”
MixedMediaonCanvas
180cmx120cm
h�ps://www.instagram.com/grechko_art/
Dmitrywasbornin1985intheUkrainianSSRintoafamilyofanengineerandadoctor.
Fromanearlyage,heshowedanaturalpassionforart,spendinghischildhoodsketchingand drawingpurelyforthejoyofcrea�ng.Despitethisinclina�on,hechoseadifferentdirec�on andpursuedadegreeineconomics,enteringthestructuredworldofbusiness.
Attheageof34,a�erreloca�ngtoIsrael’svibrantculturallandscape,Dmitrymadethe decisiontoreturntohisfirstlove—art—andturnhislong-suppressedcrea�vecallinginto reality.Inthisnewchapter,inanewcountry,hediscoveredhowdeeplyhissurroundings couldshapehisar�s�cvoice.
Inspiredbystrikinglandscapes,layeredculturaltradi�ons,andtheemo�onalrichnessof dailylife,hepickedupthebrushandbegantransla�ngobserva�onintoexpression.
WhatdefinesDmitryisnotonlyhisar�s�ctalent,butalsothecouragetorewritehislife story.Leavingbehindthesecurityofaconven�onalcareer,heembracedtheuncertaintyof thear�st’spath,transformingeachstrokeintoatestamentofresilienceandself-discovery.
Throughtexturedlayersofpaintandexpressivepale�e-knifegestures,hisworksreveal fragmentsofmemory,emo�on,andspirit.Theyaremorethanvisualcomposi�ons—they areechoesoftransforma�on,adialoguebetweeninnerfreedomandtheworldaroundhim.
Today,Dmitrycon�nuestoexplorethatdialogue,crea�ngworksthatspeaktouniversal themesofiden�ty,rebirth,andinspira�on.
Image:
“BobandtheDoppelgangers”
DigitalIllustra�on
91.44cmx60.96cm h�ps://www.instagram.com/cult.riot/
JacobRisenhooverisanar�stfromFort Worth,Texas,whoseworkconsistsof illustra�onandphotography.Hehasbuilta brandaroundobscurecultfollowings, drawinginspira�onfromsourcessuchas ancienthistory,books,movies,TVshows, music,andmore.Hisprocessinvolves extensivelyresearchingachosensubject, selec�ngthemostcompellingelements,and thencrea�ngtheworkasheenvisionsitin hismind.
Risenhooverenjoysdrawingbothrealis�c andnon-realis�cfigures,o�enusing dynamicperspec�ves.Heisdetailoriented,spendingsignificant�meonsmall elements—because,forhim,thatiswhere themostjoyincrea�nglies.Hiscurrent bodyofworkfocusesoncultfollowingsas awayofconveyinghispersonal interpreta�onsofthemediathatinspires him.Evenforviewersunfamiliarwiththe subjectma�er,hehopeshisworkwilldraw theminandsparkcuriositytolearnmore
Image: “ChaosofIntegra�on”
MixedMediaonCanvas
102cmx152cm
h�ps://www.instagram.com/tribe_steph/
StephanieTribeisanAustralianpainterwhoseabstractworksexploreemo�onalstates— thoseflee�ng,half-knownsensa�onsthatresistlanguage.Throughlayeredoilglazes,she tracesthemovementoffeeling:ashi�inlight,atremorofcolour,thespacewherequiet turnsintourgency.
Herprocessbalancesthesubtleandthedeliberate.Somepain�ngsbeginwithathoughtor emo�onsheistryingtounderstand;othersemergesimplyfromtheactofpu�ngpaintto canvasandlistening.Throughbothreflec�onandmaking,Tribeseekstorendertheinvisible visible—notbyimposinganimage,butbyrespondingtowhatappearsthroughtheactof mark-making.
Sheisdrawntothespacesbetweenclarityandambiguity:wherememorylingers,where emo�onunse�les,wherewerecogniseourselveswithoutfullyunderstandingwhy.Inher work,sheoffersaplaceforboths�llnessandunrest,forrecogni�onandwonder.These pain�ngsaskustopause,tofeel,andtosensethatsomethinguniversalmayberes�ng insidewhatfeelsdeeplypersonal.
Image:
“Exhibi�on28”
Installa�on
VariousSizes h�ps://www.instagram.com/richard_e_further_out/
RichardEllisisaBri�shar�standmusiciancurrentlybasedinLosAngeles.HestudiedFine ArtatNewportCollegeofArtintheUKandhasworkedacrossmul�plemediums,including sculpture,pain�ng,printmaking(screenprintandetching),photography,anddrawingin pencilandink.
Duetothelimitedspaceandpoorligh�nginhiscurrenthome,Ellisshi�edawayfrom tradi�onalpain�ngandbeganexperimen�ngwithemergingAIpla�ormsasanewmeansof ar�s�cexpression.A�ersixmonthsofintermi�enttrialanderror,hedevelopedaprocessfor construc�ngpromptsthataccuratelyreflecthisar�s�cvision.Fromhundredsofgenerated images,heselectsonlythoserareworks—approximatelyoneineveryhundred—thathefeels hewouldbeproudtohavepaintedbyhand.
Ellisiscurrentlydevelopingseveralongoingseries,includingAr�st’sModel,Nightclubbing, Exhibi�on,andUFOClub,andhasrecentlybegunexhibi�ngthisnewbodyofwork.
Image: “LoveontheRocks”
MixedMediaonCanvas
73cmx104cm
YosZamPeisaMiami-basedvisualar�stworkingprimarilywithacryliconcanvas.Rooted insurrealism,hisworkblendshumanfigureswithnaturalelements—par�cularlytrees—to highlighttheprofoundconnec�onbetweenhumanityandnature.InspiredbyRenaissance masterssuchasLeonardodaVinciandMichelangelo,Zambranochannelsclassicalinfluence intomodern,symboliccomposi�onsthatspeaktothesoul.
Hispain�ngsserveasvisualmedita�onsonlife’sessen�althemes:purpose,love,growth, resilience,presence,andlegacy.Byembeddingpowerful,concealedmessageswithinhis imagery,Zambranoinvitesviewersintoapersonalyetuniversalexplora�onofmeaning. Eachpiecebecomesaquietconversa�on—urgingreflec�on,healing,andconnec�onina fast-pacedworld.
ZambranohasexhibitedinlocalMiamigalleriesandcon�nuestobuildabodyofworkthat strivesnotonlytobeseen,buttobefelt—resona�ngwiththosewhoseekdepth,beauty,and truthinvisualform.
Image: “Mountainarethespinesoftheearth” JewelryPiece
28cmx5cmx1.5cm
h�ps://www.instagram.com/tribe_steph/ Photographer:JacauelineKim
AnnaLiuisacontemporaryjewelryar�stwhoseprac�cetransformspersonalmemoryinto tangibleform.SheholdsaBFAinMetals/Jewelry/CAD-CAMfromTempleUniversity’sTyler SchoolofArtandArchitectureandanMAinJewelryfromtheSavannahCollegeofArtand Design.
Guidedbyadeepcuriosityforprocessandmaterial,Liufindsinspira�onintexturesshaped by�me—surfacesthatspeakoferosion,growth,andremembrance.Toher,jewelryisnot merelyanornamentbutavesselofmemory:atraceofemo�onpreservedinmetal.The mountainsofherhometowninSichuan,oncesilentwitnessestoheryouth,havebecome enduringsymbolsinherwork—echoesofbelonging,distance,andreturn.
Eachpieceshecreatesservesasaquiethomagetothelandscapesthatshapedhersenseof self.Throughtheactofforging,sheinvitesotherstoreconnectwiththeirownoriginsandthe subtlememoriesthat�meerodes.Inhervision,jewelrybecomesabridgebetweentheseen andtheunseen,thepresentandtheremembered—asteadfastreminderthatevenasthe pathhomefades,itsessenceendures.
Image: “Enarmoured” MixedMedium 41cmx41cm h�ps://www.instagram.com/zoeohareart/
ZoëO'Hareisaself-taughtIrishar�stwhosedis�nc�veworkisdeeplyrootedinwhatshe haslived,learned,andloved.Forher,pain�ngisanactofemo�onalexcava�on.Eachpiece beginswithanemo�onormemoryshefeelscompelledtounderstandorresolve.Crea�ng becomesameansofresolu�on,andcomple�onthenbecomesameansoffindingpeace.Her subjectsareinvariablyfemale,servingasbothmuseandmirror.Colourisanessen�alpart ofhervisuallanguage—morethananaesthe�cchoice,itservestheunderlyingconceptof herpain�ngs.Thoughherartisderivedfrompersonalreflec�on,shehopesitreaches further,resona�ngwithallsensi�vesoulslikehers.
Image: “TheVisit”
AcrylicandWatercolor 21.5cmx29.5cm
RonaldCarsonwasbornandraisedinFortHood,Texas,inamilitaryfamilyduringthe1960s. Hegrewupwithhisbrotherandtwosisters,livingwhathedescribesasanaverage, groundedchildhood.Helatera�endedEastTexasStateUniversity,wherehemajoredin Adver�singArtandminoredinFineArt.
A�ergradua�ng,CarsonmovedtoGeorgia,whereheexperiencedamodestbutsuccessful periodexhibi�ngandsellinghiswork.Threeyearslater,heacceptedaposi�onasanart teacherinruralGeorgia,beginninga32-yearcareerinpubliceduca�on.Overthespanofhis teachingcareer,heinstructedstudentsattheelementary,middle,andhighschoollevels, whilealsocoachingtrack.
Nowre�red,Carsonhasreturnedtohisfirstpassion—crea�ngart.Heiscurrentlyfocusedon rebuildingaconsistentstudioprac�ceandexploringhisar�s�cvoicewithrenewed dedica�on.
Image: “OX”
Figurine 15cmx21cm h�ps://www.instagram.com/Thepinkhareuk/
ToriWoolley,alsoknownasthePinkHare,isanemergingcontemporaryar�stwhohas createdadis�nc�verealmofcharacterswithintheYoodle-verse–aplayfulyetthoughtprovokinguniversethatbringsimagina�onvividlytolife.Herworkexplorestheboundaries betweenabstrac�on,storytelling,andinterac�on,witheachYoodlecharacterembodyinga fragmentofhercrea�vevision.
DoodlinghasbeenattheheartofTori’soriginssincechildhood,whensketchingacrosspages andscrapsofpaperofferedheraformofescapismandexpressionwherewordscouldnot. Whatbeganasspontaneousmarksevolvedintoalanguageofcharactersthatnowpopulate herpain�ngs,installa�ons,anddesigns,transformingpersonalcrea�vityintoashared imagina�vespace.
Toribreaksfreefromtheboundsofherimagina�on,steppingintothisworldwherethe Yoodle-verseandrealitymerge,connec�ngwiththeviewertocreateasinglemomentthat needsnowords.
Image: “PassingThrew”
MixedMedia VariousSizes
h�ps://www.instagram.com/DesmondBurdon/
DesmondBurdon’sar�s�cjourneybeganinachildhoodspentmovingthroughSyria,Ireland, Greece,Egypt,Italy,andtheUK.Hisfirstcamera,agi�fromhisparents,sparkedalifelong passionforcapturinglife’smoments,whichul�matelyledhimfromphotographyintothe broaderartworld.
Blendingphotographywithpain�ng,drawing,andfoundobjects,DB’sworkretainsaplayful, curiousspirit.
A�erasuccessfulthree-decadecareerasaninterna�onaladver�singphotographerin London,workingwithclientssuchasMarlboro,Mercedes-Benz,andBri�shAirways,DB relocatedtoNewZealand,whereherediscoveredthejoyofmixedmediaandembraceda morepersonal,expressiveapproachtoart.
Image: “Whatthewaterle�behind” Watercolour,FinelinersonPaper 29.7cmx42cm h�ps://www.instagram.com/KHoughtonART/
Ka�eHoughtonisawatercolourar�stbasedinCornwall,wheretheoceanisherconstant sourceofinspira�on.Sheisfascinatedbytheunknown—everyfragmentoftheseaseems toholditsownstory.Throughherpain�ngs,sheaimstocapturethevibrancyandintricate detailsshesees,imaginingthejourneyeachseashell,strandofseaweed,orhiddencavehas takenaspartoftheocean’sever-changingnarra�ve.
Fromayoungage,pain�nghasbeenherformofescapism—awaytofinds�llnessand perspec�veinachao�cworld.Livingwithmentalillnesscano�enmaketheworldfeeldark andunforgiving,butthroughart,shereconnectswiththepartofherselfthatseesbeautyin eventhesmallestdetails.Herworkremindsherthatthedarknessisn’tinfinite—thatlight andcolouralwaysfindawaythrough.
Image: “Agracechaos” MixedMedia 46.5cmx46.5cm h�ps://www.instagram.com/ayseyenell/
AyşeYenelisavisualstorytellerwhotracestheunseenthroughphotographyandvideo. Herworkstandsattheintersec�onofpersonalmemoryandthecollec�veunconscious, wherefragilityandresiliencecoexist.Herimagesareo�enblurred,misty,orfragmented— mirroringtheelusivetextureofmemories,dreams,andreveries.Thisapproachcreatesa mul�-layeredandpolyphonicnarra�vespacethattheviewercompleteswiththeirown memory.
Inherar�s�cprac�ce,themessuchaswomanhood,iden�ty,family,origin,andexistence cometothefore.
Fromchildhoodtothepresent,shemakesvisiblethetracesofthewomeninherlifethrough herbondwithnature—conveyingboththevulnerabilityandthestrengthofthefemalespirit simultaneously.
Image: “MediterraneanBeach” MixedMediumonCanvas 21cmx29cm h�ps://www.instagram.com/theo_fine_art/
TheodoreFineisaprofessionalarchitectfromIsraelwhocannotrememberaperiodinhis adultlifewhenhewasnotdrawing,pain�ng,orsculp�ngsomething.Hebelievesthatartis theonlythingworthdoing.Hecon�nuestoexplorenewpossibili�es,seeingartnotinthe materialsortools,butintheactofcrea�ngitself.
Image: “Fluidmemory02-WaveandWing”
Photograph 11.7inx16.5in
h�ps://www.instagram.com/cornelialikeni/
KeniLiisaChina-bornphotographercurrentlybasedinGlasgow,wheresheispursuinga Ph.D.attheUniversityofGlasgow.ShepreviouslyearnedaMaster’sdegreeinModernand ContemporaryArtattheUniversityofEdinburgh.Herdoctoralresearchexplores photography,literature,andmemorywri�ng,withapar�cularfocusonphoto-text, intermediality,womenar�sts,womenphotographers,andculturalmemory.
In2024,shepresentedtheexhibi�onMemoryPhoto-booth,fundedbytheSco�sh GraduateSchoolforArtsandHumani�es(SGSAH).
Image: “I'ms�llhere#5”
MixedMediumonCanvas 12inx12in
h�ps://www.instagram.com/antoniou.rebecca/
BorninEnglandandshapedbytheworldoffashion,RebeccaAntonioubeganhercrea�ve pathdesigningonthebodybeforeturningtothepageandcanvas.A�ermovingtoNewYork topursuefashiondesign,herprac�ceevolved:threadsbecamelines,fabricbecamepigment, andcolorbecameherlanguage.Fashionmorphedintoillustra�on,whichthentransformed intofineart.
Hermostrecentworkfocusesontheculturalmyththatawoman'sworthdiminisheswith �me.Hersensuousnudesreclaimthefemalebodyasasiteofpowerandenduringbeauty— strengthinsteadofconcealment.Antoniou’sprac�cechallengesthegazethateraseswomen astheyage,offeringinsteadanimageofbeautythatrefusestodisappear.
“I'mS�llHere#2”
MixedMediumonCanvas 30inx42in
Image:
“I'mS�llHere#3”
MixedMediumonCanvas 16inx24in
Image:
“TrappedAbovetheSurface”
Photograph VariousSizes h�ps://www.instagram.com/photosbyprucey/
OwenEmersonPruceyisan18-year-oldJapaneseAmericanphotographerfromPi�sburgh, Pennsylvania.Aself-taughtar�st,hebeganexploringphotographyinmiddleschoolusinghis iPhone,developingastrongvisualvoicethroughexperimenta�onandobserva�on.Hiswork spansfineart,portraiture,andconceptualimagery,withafocusonemo�onaldepthand narra�ve.
In2025,Owenreceived16OfficialSelec�onsand11HonorableMen�onsatthe Interna�onalPhotographyAwards(IPA),including7intheFineArtcategory,alongwith numerousaddi�onalawards.Hehasalsoreceivedguidancefromleadingphotographersand curators—includingMustafahAbdulaziz,StephenShore,BillShapiro,AlexWebband RebeccaNorrisWebb,Ma�Eich,andVirginiaHeckert—whohavehelpedshapehisar�s�c vision.
Image: “AscendingSilence”
Photograph VariousSizes
Image: “ThePerchedOne”
Photograph Varioussizes
Image: “ToxicNurture”
MixedMedia
29cmx41.5cm
h�ps://www.instagram.com/kuanhsuanlu_design/
Kuan-HsuanLuisaBrooklyn-basedvisualar�standcrea�vedirectorwhoseworkbridges illustra�on,graphicdesign,andcontemporaryart.Withabackgroundinbothcommercial designandfineart,Lucreatesvibrantdigitalillustra�onsthattransformeverydayemo�ons intosurrealandplayfulnarra�ves.
Lu’sprac�ceisrootedintheexplora�onofhumanconnec�onandvulnerability.Through boldcolors,exaggeratedforms,anddreamlikecomposi�ons,Luuseswhimsicalimageryto revealdeeperpsychologicallandscapes.Recurringthemesincludeempathy,communica�on, andthefragilebalancebetweennurtureandharm—o�enexpressedthroughchildlike symbolsthatdisarmwhileprovokingreflec�on.
Lu’sillustra�onshavebeenexhibitedinterna�onallyandfeaturedacrossvariousdesignand artpla�orms.Inaddi�ontoastudioprac�ce,Luhasledcrea�vedirec�onforglobalbrands, anexperiencethatstrengthenstheabilitytotranslatecomplexideasintoaccessiblevisual storytelling.Whiledesignworkinformsprecisionandstructure,thepersonalartworkseeks opennessandemo�onalresonance,invi�ngviewerstoconfrontuniversalfeelingsof isola�on,hope,andgrowth.
Workingprimarilyindigitalmedia,Luviewstechnologynotasalimita�on,butasatoolfor crea�ngbold,surrealenvironmentsthatblurthelinebetweenfantasyandreality.Eachpiece becomesastagewhereinnocenceanddarknesscoexist,remindingaudiencesofboththe beautyandfragilityofthehumanexperience.
Image: “Suckitup”
DigitalPhotograph
VariousSizes
h�ps://www.instagram.com/anna_maslennikov/
AnnaMaslennikov(b.1989,Moscow,USSR)isamul�disciplinaryar�stlivingandworking inTelAviv,Israel.WithabackgroundinTVandradiojournalism(GITR,2006–2011),she approachesartasbothpersonalexplora�onandsocialdialogue.
Herprac�cespansceramics,streetart,andsociallyengagedprojects,o�enrootedin ques�onsofiden�ty,resilience,andtransforma�on.Havingexperiencedloss,emigra�on, andtherealityofterrorism,Maslennikovdescribesherworksas“pillars”—anchorsthat supportbothherselfandothersthroughlife’sfractures.Whetherexpressedthroughclay formsorurbaninterven�ons,herpiecesreflectontherela�onshipswebuildwithourselves, withothers,andwiththespacesweinhabit.
Movementandplaceplayacentralroleinherprocess:ci�esandcountriesareperceivedas livingorganismswithwhichsheentersintoconversa�on.Justastheseenvironmentsshape her,sheseekstoleavehermarkonthem,crea�ngspacesofreturn,grounding,and reflec�on.
Alongsideherindependentprac�ce,Maslennikovhaspar�cipatedinresidenciesincluding ARTCLAY.GetArtFit(2024)andARTBOOST.GetArtFit(2024).Shecon�nuestoexpand hertheore�calfounda�onthroughcoursessuchasARToftheMOOC:Ac�vismandSocial Movements(DukeUniversity,2025)andModernArt&IdeasandWhatIsContemporary Art?(MoMA,2025).
Herworkhasalsobeenacknowledgedinbroaderculturalcontexts,includingaYahoo Financefeature�tled“EmpoweringWomeninInnova�onandBusinessVentures”(2024).
Throughherart,Maslennikovaddressessocialissues,challengestaboos,andopens conversa�onsthatreminduswearenotalone—andthatwithineachofusliesthestrength tostand,rebuild,andmoveforward.
Image:
“Whatdoyouknowabouthope?”
Porcelain
154cmx28cm
Image: “Kiss”
AcryliconPaper
59.4inx42in
h�ps://www.instagram.com/louisbullen_art/
LouisBullenisanar�standdesignerbasedinLondon,UK.Theyworkwitharangeof materials,includingpaint,ink,andcharcoal,thoughtheirprimaryfocusisacrylicpaint. Bullenmaintainsapainterlyqualityintheirbrushworkando�enusesexaggeratedcolour pale�estointroduceasenseofsurrealism.Drawntoevoca�veimagery,theyfrequently workfromcandidphotographstocreatepiecesthatfeelelectricandemo�onallycharged.
Theirworkexploresthemesofin�macy,humanconnec�on,andtheeveryday.Theyare par�cularlyinterestedindepic�ngunconven�onalsubjectma�eranduncoveringbeautyin themundane,eleva�ngoverlookedmomentsintosomethingresonant.
Image:
“GentleEmbrace”
OilonCanvas
120cmx91cm
h�ps://www.instagram.com/joannapilarczyk/
JoannaPilarczykisaLondon-basedcontemporaryfigura�vepainter,originallyfromPoland. SheearnedherMaster’sdegreeinVisualArtsandArtEduca�onfromtheUniversityof ZielonaGóra.
Knownforhervibrantandexpressivestyle,Pilarczykexploresthemesofiden�ty, connec�on,andself-reflec�onthroughcolour-richcomposi�onsthatblendrealismwith abstrac�on.Herworkcelebratesdiversityandthequietstrengthfoundineveryday moments,o�endepic�ngfiguresinin�mate,sunlitspaces.
Pilarczyk’sar�s�cachievementshavebeenwidelyrecognised.Shewasshortlistedforthe HerbertSmithFreehillsPortraitAward2025attheNa�onalPortraitGallery,aswellasfor theGuildfordHouseOpen2025,organisedbyParkerHarris,whereherworkwillbe exhibitedfromNovember2025toFebruary2026.ShereceivedtheBoynesMonthlyAr�st Award(November2024)—herthirdwinintheColourcategory—andwasafinalistforboth theInterna�onalFiKVAAwardforFigura�vePainters(2023)andtheWomenUnitedArt Prize(2022,2021).
Herpain�ngshavebeenexhibitedna�onallyandinterna�onally,includingattheRoyal SocietyofArts,MallGalleries(WomeninArtFair),SaatchiGallery(StartArtFair),andThe OtherArtFairattheTrumanBreweryinLondon.In2023,shepresentedherMyParadise seriesinasoloexhibi�onatOinkGallery.
Image: “Anewday” MixedMediumonCanvas 36inx42in h�ps://www.instagram.com/Rtuskastudio2/
TheartofRobertTuskaconsistsofmixedimageryusedtocreatenarra�ve-basedworks. Withabackgroundincomicart,hisprac�ceisstronglyinfluencedbythatgenre,o�en infusedwithanunderlyingsenseofhumor.Workingprimarilyinoilandwatercolor,Tuska createsvividcomposi�onsthatdepictpost-apocalyp�c,surrealistenvironments.
Inhismorerecentwork,hehasbeguntoincorporatethebeautyofnature,blendingitwith sublime,dreamlikeelements.Workinginaphoto-surrealiststyle,heexploresthepowerof juxtaposi�onandthemul�plemeaningsapain�ngcanconvey.Recurringthemesand intersec�ngvisualmo�fsappearthroughouthiswork,invi�ngviewerstolookdeeperinto thelayeredstorieswithineachpiece.
Image: “Endofsummer”
MixedMediaonCanvas
48inx52in
Image: “Robotinnature”
MixedMediaonCanvas 48inx48in
Image:
“HouseSpecial”
MixedMedia
41cmx51cm h�ps://www.instagram.com/adriennamatzeg/
Adriennaworksattheintersec�onofphotographyandtex�les,transla�ngtravelsnapshots intopunch-needleembroideries.Herprac�ceisdrivenbythenarra�vequali�esofboth mediums,withafocusonmemoryandnostalgia.Byreducinghersubjectstosimplified colours,shapes,andfragments,sheexploreshowmemoriesarerecalled,withapar�cular interestintraveldes�na�onsandsouvenirs.Herworkcelebratesthenuancesofordinary momentsthroughidealizedandcarefullyconstructedscenes.
Workingacrossarangeofanaloganddigitalprocesses—includingweaving,screenprin�ng, andphotographictechniques—AdriennaearnedherdegreeinPhotographyfromtheNova Sco�aCollegeofArtandDesigninHalifax,Canada.
HerworkhasbeenexhibitedatMOCAToronto,CryBabyGallery,TacitCollec�ve,the AffordableArtFairNYC,Maison&ObjetParis,theArtWithHeartAuc�on,andthe DesignTOFes�val,amongothers.Ithasbeenfeaturedinleadinginterna�onalpublica�ons suchasColossal,Designboom,LivingCorriereMagazine,andFrankieMagazine.Herpieces areheldinprivatecollec�onsworldwide,withnotablecommissionsfromTheGlobeandMail andEarlsRestaurants.Mostrecently,shecollaboratedwithUGGonitsFall2025campaign.
Image:
“Straightfromthepot”
Portrait
16x20
h�ps://www.instagram.com/Leephoto1/
MichaelLeeisaphotographeroriginallyfromNewJersey.Hebeganphotographingatthe ageoftwelve,o�enventuringaloneintoNewYorkCitytoexploreitsstreetsandurban environments.Hisworkspansscenicandurbanlandscapes,streetphotography,fashion, andnature.
Leea�endedtheAppliedPhotographyprogramattheFortLauderdaleArtIns�tute,where herefinedhispreviouslyself-taughtskillsandgainedexperienceinarangeofstudioportrait techniques.Hecon�nuestodevelophisprac�cethroughongoingeduca�on,including severalrecentphotographyworkshops.
Ac�velyseekinggalleryrepresenta�onandmagazinepublica�on,Leeisfocusedon expandingthevisibilityofhisworkwhilecon�nuingtogrowasanar�st.
Image:
“04:11:51”
Sculpture
93.6cmx65.2cm h�ps://www.instagram.com/charlie.ah/
CharlieHawkins(b.2004)isaLondon-basedar�stcurrentlystudyingFineArtPhotography atCamberwellCollegeofArts,UAL,wherehewillbeginhisfinalyearinSeptember.Working betweenprintmakingandsculpture,withphotographyasapointoforigin,hisprac�ce explorestherela�onshipbetweenenvironmentandself—examininghowthematerialcityis intricatelyinterwovenwithaninner,emo�onallandscape.
Theintegra�onofmul�pledisciplinesiscentraltohisprocess,allowinghimtomirrorthe layered,fragmentarynatureoftheurbanenvironment.Drawingonpsychoanalysisandideas ofsubjec�vity,Hawkinsapproachesspaceasbothamediatorofthesocial,poli�cal,and economicforcesthatshapethecity,andasasiteforloca�ngiden�tywithinano�en incomprehensiblelandscape.
Image:
“OpendeDoor...Paradise”
MixedMedia 60cmx61cm
h�ps://www.instagram.com/heinzmannart/
DafneHeinzmannisamul�disciplinaryar�stborninBuenosAiresandbasedinMiami.With Argen�neandBolivianroots,sheworksacrossphotography,tex�lecollage,andpain�ngto exploreduality,memory,andemo�onaltransforma�on.Herprac�cebalancesbold, expressivecolorwithmedita�ve,etherealimagery,invi�ngviewerstoslowdownand connectwiththepresentmoment.
Heinzmannapproachesartasaritualofpresenceandself-connec�on,transla�ngpersonal experienceintolayeredvisualnarra�ves.Light,texture,andmoodarecentraltoherprocess: shewalks,photographs,gathersnaturalfragments,andthenbuildscomposi�onsintui�vely inthestudio.Collage—bothphotographicandtex�le—hasbecomeaprimarymedium, allowinghertoweavetogetherfragmentsofmemoryandplace.
Herrecentprojectsfocusonnatureasalivingarchiveofheritage.EtherealMoments,a photographybookandongoingseries,capturesthesubtlebeautyofKeyBiscayne’s landscapesthroughunfilterediPhoneimages.Tenpercentofthebook’sproceedssupportthe BiscayneNatureCenter,reflec�ngHeinzmann’scommitmenttogivingbacktothe ecosystemsthatinspireherwork.EtherealMomentsisavailableatBooks&Books,Dale Zine,andtheBiscayneNatureCenter,andwasrecentlyfeaturedinKeyBiscayneMagazine.
Ac�veinMiami’screa�vecommunity,HeinzmannisamemberofOoliteArtsand Fountainhead,whereshecon�nuestostudyandcollaboratethroughworkshops.Her exhibi�onsspanphotographyandcollage,crea�ngcontempla�veenvironmentsthatinvite quietreflec�on.
Acrosseverymedium,Heinzmannseekstorevealthedeepconnec�onsbetweenhuman experienceandthenaturalworld.Herworkstandsasatestamenttoresilience, transforma�on,andtheunseenforces—ancestral,emo�onal,andecological—thatshapeour lives.
Image: “OJTears”
MixedMediaIllustra�on
46.2cmx27.52cm h�ps://www.instagram.com/_moonoise/
SharonMoonisanillustratorandmo�ondesignerbasedinNewton,Massachuse�s.Bornin Korea,shemovedtoMexicoCityattheageofsix,whereshewasraisedinatradi�onally KoreanhouseholdwhilesimultaneouslyembracingMexicancultureoutsidethehome.Her earlyfascina�onwithartwasshapedbythisblendingofcultures,whichcon�nuesto influencehervisuallanguageandcrea�veperspec�ve.
In2010,MoonmovedtotheUnitedStatestostudyattheRhodeIslandSchoolofDesign, wheresheearnedadegreeinApparelDesign.A�ersevenyearsworkingasafashion designer,shediscoveredadeeppassionforillustra�onandanima�onduringacareerbreak whiletransi�oningintomotherhood.Nowlivingwithherhusbandandtwoyoungchildren, shedrawsinspira�onfromtheeverydayjoy,wonder,andchallengesoffamilylife.These experiencesgroundherar�s�cvoiceinthemesofconnec�on,growth,andplay.
Moon’sworkreflectsboththeimagina�onofherinnerchildandtherefinedsensibili�esof herfashionbackground,resul�nginillustra�onsthatbalancestorytelling,movement,and design.
Image: “Souk”
MixedMediaIllustra�on
VariousSizes h�ps://www.instagram.com/fabiola.eats.art/
FabiolawasborninRomeandiscurrentlybasedinLondon,UnitedKingdom.Shestudied ArchitectureinRomeandlatercompletedaDesigndegreeatCentralSaintMar�ns, UniversityoftheArtsLondon.Duringherstudies,shealsoa�endedasemester-longcourse atSotheby’sIns�tuteofArtinLondon,broadeningherunderstandingoftheartworldand itsconnec�ontodesign.Alongsideheracademictraining,shecon�nuestorefineher prac�cebya�endinglifedrawingworkshopsandpain�ngclasses.
Drivenbyadeepneedtodraw,self-reflect,andexperiencethepresentthroughvisual connec�on,shetreatsthecanvasasaspacewherenecessitymeetspassion—where imagina�ontransformseverydaymomentsintoextraordinarymemories.
Shehasrecentlybegunsharingherworkpublicly,withfeaturesintheArtstoHeartsbook Ar�ststoWatch001,IssueNo.6,andinterviewswithAr�tandtheWomeninArtProject.
Image: “AreWeGoingtoTalkinChinatown?”
MixedMedia
80cmx52cm
h�ps://www.instagram.com/mingcheng0726/
MingChengisagraphicdesignerbasedin NewYorkCity.Herworkfocusesoncrea�ng though�ulvisualiden��es,publica�ons,and exhibi�ondesignsthatconnectstrategywith emo�on.OriginallyfromChina,she approachesdesignwithcross-cultural sensi�vity,bringingprecision,restraint,anda strongsenseofrhythmtoherprac�ce.She hascollaboratedwithins�tu�onssuchasThe NewYorkTimes,AmericanBalletTheatre,and theNewYorkPublicLibrary,developing designsystemsthatcommunicatewithclarity whilemaintainingacompellingvisual atmosphere.Herworkhasbeenrecognizedby organiza�onsincludingGraphis,Indigo,and theNewYorkProductDesignAwards.
Mingviewsdesignasalanguagethatbridges logicandintui�on.Sheisinterestedinhow subtlechoicesintypography,form,and pacingcanshapeemo�onandmeaning.Her processo�enbeginswithcloseobserva�on— ofmovement,tone,andsilence—andevolves intosystemsthatfeelbothinten�onaland alive.
Image:
“AboveTheRules”
MixedMedia
29.7cmx42cm
h�ps://www.instagram.com/witwit_wang/
Wan�ngWangisaLondon-basedvisualar�standphotographerwhoseworkexamineshow ecological,gendered,andperceptualsystemsshape—anddistort—thewaysweseeandare seen.HoldingaMaster’sdegreeinTelevisionfromtheUniversityoftheArtsLondon,her cinema�cbackgroundinformsherdis�nc�vevisualstorytelling.
Herresearch-drivenprac�cedrawsonphilosophyandculturaltheorytoexploretheshi�ing boundariesbetweentheorganicandtheconstructed.Workingacrossphotography, installa�on,andthepoe�csofpercep�on,shefocusesonthresholds—betweenlifeand decay,clarityandblur,orderandcollapse.Throughvisualandspa�alexperimenta�on,she inves�gateshowbodies,objects,andenvironmentsareshapedbybothnaturaland manufacturedsystems.O�enworkingattheedgeoftheseenandunseen,sheuseslight, shadow,andcomposi�ontodisruptfamiliarnarra�vesandturnflee�ngmomentsinto layeredvisualinquiries.
Wang’srecentexhibi�onsincludePARTLYCLOUDY(London,April2025),INTERGRADE (London,April2025),andLIQUIDSKY|IIIEdizione(Italy,May2025).Herworkembraces contradic�on—findingbeautyindecay,structureinfragments,andresistanceinsilence— openingpoe�cspacestorethinkvisibility,embodiment,andbelongingwithinecologicaland socialsystems.
Image:
“Deconstruc�ngVenus” MixedMediaCollage 18inx12inx1in
h�ps://www.instagram.com/shawn_marshall_art/
ShawnMarshallisaKentucky-basedmixedmediaar�stwithabackgroundinarchitecture anddesign.SheearnedaMasterofArchitecturewithaMinorinFineArtfromCornell University,aswellasaBachelorofArchitecturefromtheUniversityofKentucky.Inaddi�on toherstudioprac�ce,sheisavisualartseducatorandholdsaMasterofArtsinTeaching fromBellarmineUniversity.
Marshall’sworkhasreceivedbothna�onalandinterna�onalrecogni�on,withfeaturesin CuratoryArtMagazine,VisionaryArtMagazine,Create!Magazine,SuboartMagazine, ContemporaryCollageMagazine,andothers.Inthesummerof2024,shecompleteda residencywithJenToughGalleryinSantaFe,whichconcludedwithasoloexhibi�onin November2024.Shehasalsobeenawardedmul�pleAr�stEnrichmentGrantsfromthe GreatMeadowsFounda�on,themostrecentofwhichsupportedhertraveltoVenice,Italy, toa�endthe2024Biennale.SheisscheduledtoexhibitwithJenToughGalleryattheLAArt ShowinJanuary2026.
Marshall’sworkisheldinnumerouscollec�ons,includingtheS.N.A.P.Collec�oninLouisville, Kentucky,aswellascorporatecollec�onssuchasBrown-FormanCorpora�on,PNCBank, CommonwealthBank,andtheUniversityofKentucky.Herworkisalsorepresentedin privatecollec�onsthroughouttheUnitedStatesandEurope.
MixedMediaCollage 22inx17inx1in
MixedMediaCollage 18inx18inx1in
Image:
“Wheredoesadeerlookwhennooneiswatching,#2” BlackandWhiteImage,35mm VariousSizes h�ps://www.instagram.com/alyssa302611/
AlyssaSeddonisaChicago-basedphotographerandmul�mediaar�stinherfinalyearatthe SchooloftheArtIns�tuteofChicago,whereshewillreceiveherBFAinStudioArtin2026. Herworkexploresthein�macyofspaceandplace,aswellasthemesofmemoryand iden�ty.Sheo�engravitatestowardanalogmediumssuchas35mmfilm,120mmfilm,and datedtechnologiestoexamineanddistort�methroughherownperspec�ve.Byworking withthesemediums,shecreatesnostalgic,dream-likese�ngsthatabstractherpersonal memories.
Inherongoingseries,WhereDoesaDeerGoWhenNoOneIsWatching?,Seddonreflectson heruneasytransi�onfromgirlhoodtowomanhood.Theworkinves�gatesthetensionof inhabi�nganin-betweenstate—wherediscomfortexistsonbothsides,andwherethebody’s near-vulnerabilitybecomestheplacewhereshamese�les.
Image: “RigidFluidity”
MixedMedium
122cmx122cm
h�ps://www.instagram.com/jamesisles_/
JamesIslesisanAustralian-bornar�stcurrentlyresidingintheUnitedStates.A�er gradua�ngfromDartmouthCollegewithaB.A.inFineArts,hecon�nuedtopursuea dedicatedprac�ceasapainter.
ForIsles,pain�ngisanecessity—anac�vewayofmakingsenseoftheworld.Atagesixteen, hisfathersufferedhisfirststroke,strippinghimoftheabilitytospeak.Unableto comprehendthesuddenfractureofreality,Isleswasforcedtodismantleandreconstruct everythingheonceheldasfact.Communica�ondemandedconstantshi�sinpercep�on, andasthestrokesmul�plied,sodidtheefforttounderstand.Eachmedicaldeclinetook somethingnewfromhisfather,accelera�ngapainfulunraveling.
Duringthisperiod,Islesexperiencedaseizurethatresultedinaprolongedstateof depersonaliza�on.Numbnesssetin,andques�onsofexistencebecameunavoidable. Thoughtrauma�c,theexperiencedismantledearlyassump�onsabouthowtheworldworks andrevealedsomethingdeeper:arealitythatexistsbeyondinterpreta�on—aworldimmune tothoughtyetundeniablypresent.
Irresolu�on,Islesbelieves,corrodesthespirit;itdemandsstagna�on.Eachs�tch,mark,and wrinkleinhisworkbecomesana�empttodiffuseoverwhelmingandunknowabletruths. Theaccumula�onofthesegesturesformsawindowofunderstanding,wheresubconscious expressionisbalancedbyreason.Thefinishedpiecebecomesanavigablepointofclarity— evidenceofgrowth,mo�on,andsurvival.
Hisworksanchorhimtoexistence.Theyarebothrecordandrelease,allowinghimtokeep movingthroughaworldthatcannotalwaysbeexplained,butcanalwaysbepainted.
