FrontCover: MaraFaúndez “Paraentraralcielonoes precisomorir”
MixedMedia 100cmx80cm
Photographer:PiaBahamondes
Top: SydneyLemmon “Smirnoff”
MixedMediaonCanvas 50cmx60cm
BackCover: MaraFaúndez “Micama”
MixedMedia 200cmx150cm
Photographer:PiaBahamondes
Formoreinformationpleasevisitwww.dividemagazine.com
Mar�nSpli�capturestheworldfromloca�onsand perspec�veswerarelyexperience—underwater,from highaboveourheads,orthroughunexpectedangles. Hisworkinvitesviewerstoseefamiliarenvironmentsin unfamiliarways,revealingnewrela�onshipsbetween space,movement,andperspec�ve.
Image: “BrightonPierBelow”
Photograph 40cmx60cm
h�ps://www.instagram.com/throughthelens.ch
AlamkruthaGaminiisaHyderabad-born, Texas-basedphotographer,traveler,and publishedwriterdrawntolifeasitunfolds.Her workexploreshumanpresence,movement,and quiettransi�onswithineverydayspaces. Rootedintravelandculturalobserva�on,her photographyfocusesonlivedmomentsrather thanstagednarra�ves.Sheobservesrather thandirects,allowingscenestounfold organicallyandcapturingthepausesbetween rituals,journeys,andconversa�ons—spaces whereemo�onexistswithoutperformance.
Image: “Life,Uninterrupted”
Photograph 6240×4160
h�ps://www.instagram.com/wanderwithalamkrutha
RongLiuisaChinesear�stborninBeijing. Beforebecomingafull-�mear�st,Liuworked infinance.Marriedtoaforeignpartnerand havinglivedinfourverydifferentcountries,Liu hasencountereddiverseperspec�vesand heardmanyhumanstories.Theseexperiences ledLiuonanar�s�cjourneyandcon�nueto inspireanexplora�onofhumannaturethrough art.Livingacrosscultureshasdeeplyshaped Liu’screa�veprac�ce.
Liu’sworkfocusesoncapturingtheemo�onal andpsychologicalpresenceofindividuals throughdrawingandpain�ng.Working primarilywithpencil,charcoal,andoilpaint, Liuembracesthein�macyoftradi�onal materials.Atthesame�me,Liuisalsodrawnto digitalpain�ngasawaytoextendavisual languageintonewdimensions.
Liu’sportraitsaimnotonlytodepictphysical likeness,buttoreveallayersofexperience, memory,andconnec�on.Throughsubtlegazes andsmallgestures,Liuinvitesviewersto discoverthequietcomplexityofpeople.
Image: “Voiceswecan’thear”
MixedMediaonPaper
74cmx108cm
AlisonGaspardisaHouston-basedfinear�st whoseworkdrawsdeeplyfromtradi�onal studioprac�cesandtherichtradi�onsofart history.HoldingaBachelorofFineArtsin StudioArtandcreditstowardaMasterof ArtsinArtHistory,shebringsoveradecade ofimmersionintheartworldtoherprac�ce. Hercareerincludesservingasadual-credit instructorinArtHistoryandVisualArts, inspiringemergingar�sts,andcontribu�ng totheArtMuseumofSoutheastTexas throughculturalheritageandcommunity outreachini�a�ves.
Today,Alisonworksasata�ooar�st, infusingthedepth,technique,andnarra�ve poweroffineartintothiscontemporary medium.Shecreatesintricate,galleryworthyworksonskinthatarebothvisually strikinganddeeplypersonal,forginglas�ng connec�onsbetweenartandthehuman experience.
Herar�s�capproachisgroundedinstrong academicfounda�ons,withamasterful commandofcolortheory,composi�on,form, andstorytelling.Workingprimarilyinrealism andpainterlytechniques,sheexplores themesofhumanexperience,transience, memory,andtheinterplaybetweenthe personalandtheuniversal.Throughlayered hues,subtlegrada�ons,anddynamic composi�ons,Alisonproducesworksthat areemo�onallyresonantandvisually compelling.
Honoringtheenduringlegacyoffineart whilepushingitsboundariesthrough contemporaryexplora�on,sheviewsartas apowerfulvehicleforconnec�on— betweentheartwork,theviewer,andthe sharedhumancondi�on.Throughher pain�ngs,drawings,mixed-mediaworks, andta�oos,Alisoncelebratesthe transforma�vepoten�alofvisualart, invi�ngviewerstoengagewithstoriesthat lingerlonga�ertheini�alencounter.
Image: “DoomScrolling” MixedMediaonCanvas 122cmx152cm h�ps://www.instagram.com/alisonlenayfineart
Yasminisamul�disciplinaryar�stwitha backgroundinillustra�onandprintmaking. Herworkexploresthemesofpersonal growth,transforma�on,andthefeminine aspectsofheriden�ty.Shecreatesdelicate, emo�veimagerythatreflectsherevolving senseofself.
Natureisarecurringmo�finherprac�ce, o�enintertwinedwiththehumanformasa metaphorforemo�onalandpersonal evolu�on.Thissymbolismallowsherto expressacon�nuousprocessofbecoming, capturingmomentsofchange,vulnerability, andself-discovery.
Herprac�cespansavarietyofprintmaking techniques,includingscreenprin�ng, risographprin�ng,andUVprin�ng.Her processisshapedbyexperimenta�onwith color,texture,andfigura�veforms.Yasminis par�cularlydrawntothetac�lequali�esof printandthewayslayeredimagerycan conveydepth,mood,andsymbolicmeaning.
Sheo�enleansintoabstrac�on,especially withinthefigura�veform,asawayto interpretemo�on.Ratherthanpresen�ng clearnarra�ves,herworkinvitesviewersto engagewiththeimageryonapersonal level,drawingtheirownmeaningsfrom visualmetaphors.
Yasmin’sprac�cecon�nuestoevolveas sheexploresiden�tythrougharangeof symbolicforms.
Image: “Runrabbitrun” ScreenPrint 21cmx29.7cm h�ps://www.instagram.com/yasmin.elizz
Mariiaisanar�stofRussian heritagewhogrewupinThailand andrelocatedtoAustraliathree yearsago.Withafatherwhois anarchitect,crea�vityhas alwaysbeenasignificantpartof herlife.Shebegana�endingart schoolataveryyoungage, alongsideherformaleduca�on, andcon�nuedherstudiesun�l theageofeighteen.Duringthis �me,shelearnedfromawide rangeofcrea�veprac��oners, anexperiencethathashada las�nginfluenceonherar�s�c development.
Hertradi�onalarttraining providedastrongfounda�on whenshetransi�onedintodigital drawing,whichisnowher primarymedium.Despitethis shi�,shecon�nuestoenjoy workingwithpensandpaints. Mariiaiscurrentlyinherfinal yearofaMarke�ngandGraphic Designdegreeandisac�vely workingtowardintegra�ngmore artintoherprofessionaland crea�velife.
Image: “MyPigeon” DigitalIllustra�on 48cmx27cm
CherPruyswasborninReginaandhaslivedinnumerous placesthroughoutherlife,includingSaskatoon,Calgary, Edmonton,O�awa,andFortFrances.Sheiscurrently basedinDevlin,whereshelivesalongthebanksofthe RainyRiverwithherhusband,Mark,andtheirpets.
Fromanearlyage,Pruysdemonstratedastrong inclina�ontowardartandwasrarelywithoutadrawing toolbytheageofthree.Sheworkedformanyyearsin pencil,charcoal,andinkbeforetakinguppain�ngatthe ageof35.Beginningwithoilpaints,shelaterfoundher preferredmediumsinacrylic,watercolor,andgouache, developingadeepcommitmenttohyperrealism.
Althoughself-taught,Pruys’dedica�onanddiscipline haveledtosignificantinterna�onalrecogni�on.Herwork hasbeenjuriedintohundredsofinterna�onalexhibi�ons andhasreceivedextensiveawardsacrossglobaljuried pla�orms.Herpain�ngshavebeenwidelypublished, appearingonnumerousbookandmagazinecoversand featuredinhundredsofinterna�onalartpublica�ons.
Pruys’workisheldinbothprivateandpubliccollec�ons worldwide,reflec�ngacareermarkedbysustained excellence,technicalmastery,andglobalreach.
Image: “SweetOranges”
MixedMediaonCanvas 20cmx28cm h�ps://www.instagram.com/cherpruys
Image: “Uniformed”
MixedMedia
190cmx100cm
h�ps://www.instagram.com/digitalroiteen
KanPi�chaichanisaThai-Japanesear�stcurrentlystudyingFineArtatParsonsSchoolof DesigninNewYorkCity.BornandraisedinThailand,KanPi�chaichanspentnineyears livinginLondonbeforereloca�ngtoNewYorktopursuear�s�cstudies.Shapedbythese cross-culturalexperiences,KanPi�chaichan’sprac�cereflectsaninterestiniden�ty,place, andthewayspersonalhistoryinformsvisualexpression.Throughongoingstudiowork,Kan Pi�chaichancon�nuestodevelopacontemporaryar�s�clanguageinfluencedbythe diverseenvironmentsinwhichlifeandeduca�onhaveunfolded.
MichelleLouiseCarterisoriginallyfrom SheffieldandrelocatedtoNorthWest NorfolkinJanuary2017.Herlifestyle revolvesaroundnumerouscrea�veprojects, bothindependentandcollabora�ve,o�en workingwithteamsonavoluntarybasis.Her backgroundinstructuraldesignand technicaldrawingoccasionallyinformsher researchandapproachtoinstalla�on-based ideas.
Carter’spain�ngsprimarilyfocuson seascapesandlandscapes,characterizedby heavylayeringandstronglightvalues.In addi�ontopain�ng,shehasexpandedher prac�cetoincludefigura�vesculpture, workingmainlyinclay.Hersubjectso�en carryapoten�allycontroversialpresence, raisingques�onsforbothherselfandother ar�sts,andunexpectedlysuppor�ngher desiretotranslatedeepemo�onal experiencesintothree-dimensionalform.
Asadisabledar�st,Carterliveswiththe challengesofmul�plesclerosis,including colorvisionlossandneurological disturbances.Theselivedexperiences shapeherprac�ce,influencingbothher processandtheevolvingdirec�onofher work.
Image: “Fractureandreassemble(No.3)” ForagedandReclaimedClay,Plasterand Dri�wood,PaintedwithHand-madePigments MixedintoWhiteAcrylicPaint 14cmx8cmx10cm h�ps://www.instagram.com/darkartnorfolk
Image: “FractureandReassemble (No.2)”
ForagedandReclaimedClay, PlasterandDri�wood, PaintedwithHand-made PigmentsMixedintoWhite AcrylicPaint 14cmx8cmx10cm
AbdelrahmanAlkahlout(born1996,Gaza, Pales�ne)isanaward-winning photojournalistandvisualstorytellerwhose workdocumentsthehumancostofwar, displacement,andsurvival.Hebeganhis photographicjourneyduringthe2014war onGazaandhassincededicatedhiscareer tocapturinglifeundersiege,viewingthe cameraasatoolofresistance,tes�mony, andhumanconnec�on.Hisworkcenterson civilians—par�cularlychildren,families, medicalworkers,andsurvivors—whose storieso�enremainunheardamidongoing violence.
Throughouthiscareer,Alkahlouthascovered majoreventsincludingthe2021and2023 warsonGaza,theGreatMarchofReturn protests,andthe2023Turkey–Syria earthquake.Despitebeinginjuredmul�ple �mesbysniperfireandairstrikeswhile clearlyiden�fiedaspress,hecon�nuesto documenteventsonthegroundwith unwaveringcommitment.
Hisphotographyhasreceivedextensive interna�onalrecogni�on,earningmajor awardsandhonorsacrossleadingglobal photographycompe��onsandfes�vals.His
workhasalsobeenexhibitedwidelyin ci�esacrossEuropeandNorthAmerica,as wellasininterna�onalonlineshowcases.
CurrentlybasedbetweenIstanbuland Europea�erbeingdisplacedfromGaza, Alkahloutcon�nuestodocumentthe ongoinggenocideanditsimpacton civilians.Hislong-termprojects—Facesof Genocide,FaithAmongtheRuins,and ExodusintotheUnknown—seekto preservecollec�vememoryandconfront a�emptstoerasePales�nianiden�ty. Throughhislens,Alkahloutnotonly recordssufferingbutalsobearswitnessto resilience,dignity,andtheenduringhuman spirit.
Image: “FaithAmidtheRubbleofGenocide” Photograph 51.85cm×36.01cm h�ps://www.instagram.com/abd.pix96
Image: “AFather’sLastRun”
Photograph 54.47cm×36.32cm
Image: “TheDisplaced”
Photograph 44.92cm×32.10cm
DaisyAllardyceisaSco�shpainterwhospecializesinoilpain�ng, combiningrealismandfantasywithinapoli�calcontext.Herprac�ce usescrea�vityasaformofac�vism,producingworkthatengages withthesocialandpoli�calreali�essurroundingwomen’sbodiesand reproduc�verightsintheUKandtheUSA.Sheiscurrentlylivingand studyinginAberdeenatGray’sSchoolofArt,RobertGordon University,andisinthefinalyearofherartdegree,withstrong ambi�onsforherfuturecareerandar�s�cdevelopment.
Throughoutherstudies,Allardycehasdedicatedherselfto researching,developing,andrefininghercommitmenttofeministart. Abor�onisacentralsubjectwithinherwork,exploredthrough historicalresearchandanexamina�onofitsongoingpoli�ciza�onin boththeUKandtheUSA.Shefrequentlyincorporatessymbolic animalsandobjectstorepresentspecificemo�ons,moments,or eventswithinthe�melineofabor�onrights,whetherlegalor otherwise.
Herar�s�cinfluencesincludeLouiseBourgeois,ZarinaSitumorang, andWaltonFord,whoseuseoflight,color,andmacabreelegance inspiresherapproachtoaddressingcomplexandchallengingsubject ma�er.Throughthisvisuallanguage,Allardyceseekstouseartasa pla�ormforcommunica�on,awareness,andsocialengagement.
Asayoungwomanandar�st,sheisdeeplypassionateaboutthese themesandbelievesthatar�stsandcrea�vecommuni�esplayan informa�veandpoten�allyinfluen�alroleinexpressingresponsesto contemporaryglobalissues.Sheaspirestotakepartinthewiderart worldwhereverherpathleadsandplanstocon�nuedevelopingand strengtheningherprac�ceasapainterfollowinghergradua�on.
Image: “Jane” MixedMediaonCanvas 29.5cmx21cm h�ps://www.instagram.com/sensi�ve.socks
TimFureyisaNewJersey–basedar�stand printmaker.HereceivedhisBFAinFineArts fromArtCenterCollegeofDesignin Pasadena,CA,andhisMFAinPrintmaking andBookArtsfromtheUniversityoftheArts inPhiladelphia,PA.Hisworkhasbeen featuredinpublica�onssuchasBeau�ful/ DecayandCrea�veQuarterly.
Tim’sartworkdrawsinspira�onfromornate tapestryandsymmetry.Hisprimary mediumsarecoloredpencilandgraphite, andheisknownforhisintricatelydetailed drawingsandvibrantcolorpale�es.
Right: “ACloudThatFelltoEarth” ColoredPencilonIllustra�onBoard 27.94cmx35.56cm h�ps://www.instagram.com/�mfureydraw
Image: “Sca�er”
ColoredPencilonIllustra�onBoard
50.8cmx40.64cm
Alice-MarieisaFrenchdocumentary photographerbasedinAmsterdam.AliceMarie’sworkexploresthemesofin�macy, memory,andrecovery,focusingontheir expressionthroughportraitsofstrangers, friends,andlovers.Throughasensi�veand observa�onalapproach,Alice-Marie capturesmomentsofvulnerabilityand connec�on,crea�ngimagesthatreflectthe emo�onalcomplexityofhumanrela�onships andthequietnarra�vesthatunfoldwithin them.
Right: “ophelia”
AnalogPhotography,35mm,color. 40cmx60cm h�ps://www.instagram.com/alicee_brr
Image: “move”
AnalogPhotography,35mm,color 40cmX60cm
Image: “down”
AnalogPhotography,35mm,color 40cmX60cm
MaraFaúndezisavisualar�stwithadegree inVisualArtsfromthePon�ficiaUniversidad CatólicadeChileinSan�ago.
RaisedintheruraltownofPaine,onthe southernoutskirtsofGreaterSan�ago,she grewupsurroundedbythecolorsandforms ofthenaturallandscapeofCentralChile, whichhaveremainedalas�ngsourceof inspira�oninherwork.
Right: “Con�goenladistancia” MixedMedia 100cmx80cm
Photographer:PiaBahamondes h�ps://www.instagram.com/maramaria____
Image: “Paraentraralcielonoesprecisomorir”
MixedMedia
100cmx80cm
Photographer:PiaBahamondes
MixedMedia
200cmx150cm
Photographer:PiaBahamondes
AnikaGeldnerisacontemporaryvisualar�st basedinGermany,workingasafreelance painter.Herprac�ceisdefinedbyintense color,dynamiccomposi�ons,andalayered abstractvisuallanguage.Withinher pain�ngs,imagina�veworldsunfoldinwhich organicforms,graphicelements,and emo�onalstructuresintersect,invi�ng viewerstoformtheirowninterpreta�ons.
AtthecoreofGeldner’sworkisan explora�onofinnerimagery,percep�on,and imagina�on.Colorfunc�onsasacentral expressivemedium,conveyingmovement, energy,andemo�onalstates.Herpain�ngs canbeunderstoodasvisualexpedi�ons throughimaginedlandscapes,where personalexperiencemergeswithuniversal visualmo�fs.
AnikaGeldnerhasexhibitedherworkboth na�onallyandinterna�onally.Herpain�ngs havebeenpresentedinci�essuchasNew York,Paris,andDubai,aswellasina museumexhibi�oninChongqing,China, highligh�ngtheinterna�onalscopeofher prac�ce.
Shehasreceivedseveralawardsforher work,includingtheInterna�onalPrize Ar�stoftheYearinFlorenceandthe LeonardodaVinciPrizeinMilan.In addi�ontoherpain�ngprac�ce,Geldneris involvedininterdisciplinaryprojectsthat connectfineartwithappliedfieldssuchas designandfashion.
Herartbridgesinnerworldsandexternal percep�on,invi�ngviewersonavivid journeyofimagina�on.
Right: “VerflochteneWirklichkeiten” MixedMediaonCanvas 60cmx60cm
Photographer:AnneLaudeley h�ps://www.instagram.com/anikageldner
NatalieVorontsoffisafineartconceptual photographerwhoseworkexploresemo�on, memory,andthesilentlanguageoftheinner world.Withabackgroundinfashiondesign, Vorontsoffcreatescarefullycomposed imagesinwhichgesture,color,andgazeform quietemo�onalnarra�ves.
Herprac�ceisrootedins�llnessand symbolism,o�enengagingthemesof femininity,vulnerability,protec�on, transforma�on,andancestralmemory. Influencedbyarthistoryandclassical portraiture,Vorontsoffemploysamuted, painterlypale�e—blues,porcelaintones, sandhues,anddeepshadows—toconstruct contempla�vevisualspacesthatinvite feelingbeforeinterpreta�on.
Herworkhasbeenexhibited interna�onally,includingexhibi�onsin ParisandMilan,andhasbeenrecognized bymajorphotographyawardssuchasthe IPA,NDAwards,WPEAwards, LensCulture,andthePrixdela PhotographiedeParis.Throughherlens, Vorontsoffseekstodis�llemo�oninto imagesthatlingerbeyondthefirstglance.
Right: “FragmentsofWholeness.Purple”
Photograph 50cmx40cm h�ps://www.instagram.com/natalie.vorontsoff
Image: “HiddeninVeins”
Photograph 50cmx40cm
Photograph 50cmx40cm
Bornin1992inMontréal,Québec,Alicia Marulandahasbeendrawingandpain�ng sincechildhoodandlaterstudiedIllustra�on andDesignatDawsonCollege.Nowbasedin Toronto,shebalancesherar�s�cprac�ce withacareerinop�cianry.Sheworks primarilyinacrylic,amediumthatallowsher toactonspontaneousimpulseswhile buildinglayerstoconveydetailandprac�ce pa�ence.
Herworkexploresimprintsofmemory,love, andfamily,combiningtradi�onaltechniques withanexpressivecolorpale�etoinfuse simplesubjectma�erwithintenseemo�on. Drawinginspira�onfromdomes�clife, literature,andnature,Aliciaconstructs scenesrootedinpersonalrecollec�ons—
momentsthatarenotfixed,butreimagined andre-experienced.Throughexamining thesethemes,shealsoreflectsonherown evolvingrolewithinfamilyandsocial structures.
Right: “OneDayTheMaskWillBeYourFace” MixedMediaPortrait 61cmx61cm h�ps://www.instagram.com/marulandahyderart
Image: “Gazing”
MixedMediaon Canvas 61cmx91cm
SalggadoisaphotographerlivinginSydney. Hisworkisinformedbytheplaceshehas livedinandtraveledthrough,createdwhile movingthroughpublicspace.Ratherthan focusingoneventsorspectacle,his photographsa�endtowhatexistsquietly alongsidethem—smallgestures,pauses,and momentsthatdonotannouncethemselves. Theworkisrestrainedandobserva�onal, trus�ngtheviewertospend�mewithwhat ispresentratherthanbeingdirectedonwhat tosee.
Right: “Un�tled,Manha�an” Photograph 60cmx90cm h�ps://www.instagram.com/uncertaincomfort
Image:
“Un�tled,CabDriverinKyoto”
Photograph 60cmx90cm
Image:
“Un�tled,ManwithBook”
Photograph 60cmx90cm
BornintheMidwestandcurrentlylivingin SanFrancisco,California,MalachiArthurisa 26-year-oldpainterwhoseworkfocuseson uncoveringmeaningandnarra�vewithinthe imagesencounteredthroughouteveryday life.Adedicatedstudentofcomposi�on, paintapplica�on,color,andbrushhandling, Arthurseekstobalanceclassicalapproaches toskill-buildingandprocesswiththe developmentofasubjec�vevoiceandan ever-evolvingmodeofexpression.
HavingsplithisupbringingbetweenOmaha, Nebraska,andCalifornia,Arthurisdeeply interestedintherecurringmo�fswithin BlackAmericanlifeandinves�gatesthe uniquesocietalcontextsinwhichBlack communi�esexist.Drawntothe iconographyoftheworldaroundhimandthe meaningsembeddedwithinit,hiswork priori�zesinquiryandreflec�onoversta�c, closed-endedanswers.Hispain�ngsinvite viewerstoengagewiththeseques�onsand considertheirowninterpreta�ons.
A�erleavinghishometownofSacramento followinghighschool,Arthurstudied EnvironmentalStudieswithanemphasisin CommunityOrganizing,earningaBAfrom
CalPolyHumboldtin2022.Thisacademic backgroundhasinformedhisperspec�ve, providinginsightintodynamicsofpower, privilege,andsocioeconomicstructures relatedtorace,gender,andclassin America.
Havingcompletedmurals,commissions, andseveralexhibi�ons,Arthurcon�nuesto buildthefounda�onofhiscareerthrough anhonestinves�ga�onoftheworld aroundhim.HecurrentlyresidesintheBay Areaandiscomple�nghisMasterofFine ArtsattheAcademyofArtUniversity.
Right: “Whatddido” MixedMediaonCanvas 76.2cmx76.2cm h�ps://www.instagram.com/malachi_paints
AnnaTrevathan(b.2004,Kennesaw,GA)is anar�stbasedinAthens,Georgia,who createsoilpain�ngsdepic�ngwomen swimminganddrowning.Themesofnature, lakes,feminism,queerness,chronicillness, growinguparoundwater,andaneardrowningexperienceattheageoftenall informherwork.
Trevathan’spain�ngshavebeenexhibitedin theLyndonHouseArtsCenter49thAnnual JuriedExhibi�on,ThePeriodProject2024 Exhibi�on,andtheFall2025Capstone Exhibi�onattheLamarDoddSchoolofArt. ShereceivedtheScien�ficIllustra�onMerit AwardfromAugustaUniversity.
Trevathaniscurrentlypursuingadegreein pain�ngandscien�ficillustra�onatthe UniversityofGeorgiaandissettograduate in2026.
Right: “Watchdog” MixedMediaonCanvas 121.92cmx91.44cm h�ps://www.instagram.com/Annavicart
Image: “SinkorSwim”
MixedMediaonCanvas 121.92cmx91.44cm
LoaneTranColatruglioisanar�stof Vietnamese-Italianoriginwhowasbornand raisedinSwitzerland.Sheiscurrently pursuingtheWork.MasterprogramatHEAD –Geneva.Herar�s�cprac�cecombines photographywithinstalla�onand publishing,andherworkhasbeenpresented ingroupexhibi�onsinSwitzerland— par�cularlyinpublicspacesalongtheQuai WilsonontheshoresofLakeGeneva—aswell asinterna�onally.
Drawinginspira�onfrombothpersonal historyandsharedexperiences,Colatruglio exploresmul�pleiden��esthrough materiality.Herapproachispartofan ongoinginves�ga�onintomemoryand transmission,construc�ngfragilelayersof narra�vethroughwhichsheseeksto understandconnec�onsandruptures betweenthem.
Throughherwork,sheexaminesthe dialoguebetweenmaterialityand narra�ve,withpar�culara�en�onto traces,shadows,andsilencesthatshape iden�ty.Sheviewsphotographynotonlyas atoolforstorytelling,butasamedium capableofevokingfeeling,crea�ng connec�on,andgivingformtowhato�en escapesrepresenta�on.Workingatthe intersec�onofhistorical,emo�onal,and materiallayers,Colatruglioseeksopenand unfinishedformsinwhichfragmentsof iden�tycon�nuetoshi�andredefine themselves.
Right: “Walkingsidebysideinthemorning” MixedMedia 29.7cm×42cm h�ps://www.instagram.com/loane.lio
Image: “Si�nginthemiddayquiet”
MixedMedia 29.7cm×42cm
MadisonWebsterisapainterbasedin Edinboro,Pennsylvania,pursuingherMFAat PennWestEdinboroUniversity.Herpain�ngs combinethefigureands�lllifethrough constructednarra�vespaintedfromlifein herstudio.Sheexploresabstract,personal feelingsthroughscenariosthato�enfeel nonsensical,balancinghumorandunease throughuseofoldtoys,familiarobjects,and thefigureinterac�ngwiththem.
Herprocessisinformedbycollec�ngobjects, o�enfoundwhilean�quingorlooking throughproprooms.Theactofconstruc�ng thesescenesisanimportantpartofher prac�ce.Inhercurrentbodyofwork,she usesherstudiospaceasherstage,exploring whatisabletobecreatedwithinthe limita�onsofthespace.
Right: "CanYouCheckBehindTheCurtains?" OilonCanvas 99cmx109cm h�ps://www.instagram.com/madisonwebsterart
BritniEberleisanar�stwhoseprac�ceis shapedbyresilience,healing,and reclama�on.Forsixyears,herworldwas definedbythefourwallsofasingleroom.An aggressiveautoimmunediseasestripped awayherindependence,leavingher bedriddenandreliantonawheelchair.Daily lifebecameaseriesofmomentsdependent onothersforeventhemostbasicneeds, includingthedignityofbathing.Duringthis periodofisola�on,herconnec�ontothe outsideworldwaslimitedtowhatshecould seethroughawindow—adistant,vibrant realitythatfeltincreasinglyoutofreach.
In2023,Eberlereachedaturningpointand beganadedicatedjourneyofhealing,not onlythroughphysicalinterven�onbutby retraininghermindtoreclaimherhealthand herbody.Thisconsciousprocessof rebuildinglifefromtheinsideoutmarkeda profoundshi�.Thefollowingyearbecame hermostgratefulone,asitsignaledafull returntotheworld—withhercamerain hand.
Pickingupthecamerabecameherbridge backtoexistence.Throughthelens,her iden�tytransformed;shewasnolonger definedasapa�entoracasualtyofillness,
butasawitnesstothevibrancyofaworld shehadonceonlydreamedofrejoining. Eachimageshecreatesisaninten�onal actofcelebra�on—atributetomovement, light,andthefreedomshefoughttoregain.
Thissenseofcelebra�onliesattheheartof herwork.A�eryearsoffeelingconfined withinherownbody,Eberleisnowdrawn tocapturingthelibera�onandbrillianceof others.Herimagescelebratethenatural beautyofmelaninandtheintricate texturesofnaturalhair,honoringthe strengthandeleganceofhersubjectswith reverenceandcare.Everyshu�erclick becomesaprac�ceofgra�tude,preserving thebeautyofalifenolongerlivedinthe shadows.
Right: “Melaninmagic” Photograph 33392x5088 h�ps://www.instagram.com/ the.ascending.lark.photography
Image: “BeautyoftheExtremes”
Photograph 33392x5088
Image: “Theextremesofbeauty”
Photograph 33392x5088
IngridYanisayoungar�stwithabicultural backgroundandastronginterestinthe studyofhumanity,philosophy,and psychology.Sheusesartasapowerful mediumtoexploreandcommunicatethe connec�onsofthehumanmind.By combiningdigitalinterven�onswith tradi�onalmediums,Yancreatesoutcomes thatarebothsurrealandmischievous.
Herprac�cefocusesonchildhoodthemes, objects,andthecul�va�onofhuman consciousness,linkingherhumanis�cideas withperceptualreali�es.Throughthis approach,IngridYanseekstobridgeinner psychologicallandscapeswithexternal visualexperience.
Right:
“TheSleepofNatureProducesLimbo” OilandGelTransferonCanvas 41cmx51cm h�ps://www.instagram.com/ingridhuigris
Image: “3PM”
Oil,GelTransfer,Marker,andPenonCanvas 135cmx79cm
Alice-MarieisaFrenchdocumentary photographerbasedinAmsterdam.AliceMarie’sworkexploresthemesofin�macy, memory,andrecovery,focusingontheir expressionthroughportraitsofstrangers, friends,andlovers.Throughasensi�veand observa�onalapproach,Alice-Marie capturesmomentsofvulnerabilityand connec�on,crea�ngimagesthatreflectthe emo�onalcomplexityofhumanrela�onships andthequietnarra�vesthatunfoldwithin them.
Right: “TheMask” MixedMediaonCanvas 30.48cmx30.48cm h�ps://www.instagram.com/art__by__sg__
CaraHookeisayoungBlackar�stcurrently focusedonexpandingherprac�ceand reachingabroaderaudience.Workssuchas Disguise,TemporalLove,andManifest Des�nyrepresentkeymomentsinher personalar�s�cjourney.Throughthese pieces,sheexplorescomplexnarra�vesthat areeitherdeeplypersonalordirectly connectedtocurrentglobalevents.
Herworkreflectsagrowingabilityto combinefigura�veandabstractstyles,using symbolismtocommunicatenarra�vesshe believesareimportantand�mely.Atthis stageinherprac�ce,Hookeisfindingher ar�s�cvoiceandiseagertoconnectwith otherswhosharesimilarperspec�vesasshe stepsintothewiderartworld.
Right: “TemporalLove” MixedMediaonCanvas 48inx36in h�ps://www.instagram.com/beloved.cara
Image: “Disguise”
MixedMediaonCanvas 24inx36in
Thear�stisaCanadian-Chinesear�stbased inToronto,Canada,whoseprac�cecenters onpain�ng.Workingprimarilyinan impressionis�cstyle,theyuseloose, expressivebrushworktocaptureflee�ng, o�enoverlookedmomentsofeverydaylife. Ratherthandepic�nggrandnarra�ves,their workfocusesonthesubtlerhythmsand transientdetailsthatquietlyshapedaily experience.
Drawntothepassageof�meandits impermanence,thear�stexploresmoments thatexistbrieflybeforefading—shi�sinlight, ordinarygestures,andenvironmentsthatare easilyignored.Throughthisa�en�ontothe ephemeral,theirpain�ngsinviteviewersto slowdownandreflectonthequietbeauty foundintransience.Rootedinobserva�on andsensi�vity,theworkembraces uncertaintyandso�ness,offeringa contempla�vespacewhereimpermanence becomessomethingtobeno�ced,valued, andfelt.
Right: “Un�tled”
MixedMediaonCanvas 40.6cmX30.5cm h�ps://www.instagram.com/artmchu
PatriciaPedrazaSansonisadigitalphoto ar�standself-describedbeauty-hunter drawntopa�ernsfoundinnature.Herwork o�encentersonbotanicalthemes,exploring thevisualrichnessofnaturalforms.By deconstruc�ngandreconstruc�ngimagesof flowers,Sansoncreateskaleidoscopic mosaicsthatinviteadoubletake,inspire awe,andencouragedeepercontempla�onof nature’sabundantbeauty.
Right: “PurpleGaze” FloralThemedPrintonPaper 12inx12in h�ps://www.instagram.com/ patriciapedrazasansondesign
HerokisaNewYork–basedmul�disciplinary ar�stwhoseprac�ceexploresthe rela�onshipbetweenmemory,thebody,and space.Heinves�gateshowphysicalgestures andsensoryexperiencescanbetranslated intovisualstructures,visualizingthefluid intersec�onsbetweenthematerialandthe immaterial,theinternalandtheexternal.
Throughrepe��veandintui�veprocesses, Herokconstructssurfaceswheretensionand transforma�oncoexist,accumula�ngtraces of�me,emo�on,andmovement.Hiswork blurstheboundariesbetweendigitaland tac�lepercep�on,reinterpre�ngbodilydata andspa�almemoryaspainterlygestures thatchallengefixedno�onsof representa�on.
ForHerok,pain�ngisnotanactofdepic�on butanexcava�on—ana�empttouncover theinvisibleinterac�onsthatarisebetween body,memory,andenvironment.
HeholdsanMFAinPain�ngandDrawing fromPra�Ins�tuteinNewYorkandaBFA inIllustra�onfromtheSavannahCollegeof ArtandDesign(SCAD).
Right: “Field#1”
Acrylic,Oil,HousePaint,HanjiPaperonCanvas 52inx68in
Photographer:FedericoSavini h�ps://www.instagram.com/herok
Image: “Field#2”
Acrylic,Oil,HousePaint,HanjiPaperonCanvas 52inX68in
Photographer:FedericoSavini
Image: “Outoffield#1”
18inX24in
JianyeZou(Jenny)isafreelanceillustrator, graphicdesigner,picturebookar�st,riso prin�ngenthusiast,andtradi�onal calligrapherbasedinLongIsland,NewYork. Sheholdsabachelor’sdegreefromZhejiang UniversityandlaterearnedanMFAin Illustra�onfromSyracuseUniversity.Sheis currentlyamemberoftheSocietyof IllustratorsofLosAngeles(SILA)anda recipientofprofessionalillustra�onawards fromorganiza�onsandpublica�onssuchas WIAand3x3Merit.
Jianye’sprac�cecentersonexploringoriginal graphicexpressionthroughsimplified geometricformsandlinearcomposi�ons, whilesubtlyintegra�ngso�colorpale�es, pa�erns,andunderstatedtextures.She favorslayeringcolorsandtexturesto generateunexpectedvisualoutcomes, infusingeachworkwithherdis�nct emo�onalsensibility—whetherrestrainedor intense—andembracingbothwithequal openness.
Right: “Un�tled” DigitalIllustra�on 20inx60in h�ps://www.instagram.com/real_jane720
DigitalIllustra�on 20inx16in
Image:
DigitalIllustra�on 20inx16in
BorninTurkey,Bey�Barbarosdiscovered photographynearlytwodecadesagowhen hefirstpickedupasimplepoint-and-shoot camera.
In2007,heimmigratedtotheUnitedStates, se�lingnearNewYorkCity—ametropolis thatbecamebothhismuseandhiscanvas.
Today,hispor�olioexceeds12,000 photographs,spanningmonumental skylines,serenelandscapes,andabstract composi�ons.Aself-taughtar�st,hehas builthiscareerthroughpersistence,vision, andpassion,crea�nglarge-scalefineart worksthattransformspacesandchallenge percep�on.
Bey�livesandbreathesphotographynot merelyasacra�,butasawayofseeing. Throughhislens,hecapturesnotonlywhat isvisible,butwhatiso�enoverlooked—the whispersoflight,thedialoguebetweensteel andsky,andthefragilepoetryofnatureset againstthepermanenceofstone.
Hisworkthrivesoncontrast:thechaosof NewYorkagainstthecalmofaforestpath, thegrandeurofskyscrapersagainstthequiet
enduranceofthenaturalworld.Each imagebecomesamedita�onon�me— whatflickersforamomentandwhat endureslonga�erwearegone.
Intheabsenceofhumanfigures,his photographsinvitereflec�on.Viewersfind themselvesmirroredinglassfacades, rushingrivers,andfadinghorizons.B. BarbarosPhotographyisnotabout documenta�on;itisabouttransforma�on.
Everyframeiscra�edtoseducetheeye andelevatethespaceitinhabits—�meless yetmodern,in�mateyetmonumental.To stepintohisworkistoenteraworldwhere beautycommandspresenceandevery detailwhispersitsowntruth.
Right: “Welcometothedarkside-Daisy”
DigitalPhotograph VariousSizes
h�ps://www.instagram.com/planet_manha�an
Image: “Welcometothedarkside-BlackRoseAlive”
Photograph 40cmx40cm
Image: “Welcometothedarkside-BlackRoseDead”
Photograph 100cmx100cm
Dariaisanar�stbasedinNewYorkCity.She holdsadegreeinArtandDesignfromthe MoscowArtIns�tuteof1905.Working primarilywithacrylicpaint,sheexploresa widerangeoftechniques,including scratching,mul�-layering,andthecrea�on ofrich,tac�letexturesoncanvas.
Herar�s�cvisionisdeeplyshapedby personalobserva�on,theexperienceof immigra�on,andtheprocessofadap�ngto lifeinanewcountry.Themesofiden�ty, innertransforma�on,interpersonal rela�onships,andpsychologyplayacentral roleinherprac�ce.
Hermissionistobringthetherapeu�cpower ofarttotheviewer,usingcolor,form,and movementastoolsforemo�onalconnec�on, reflec�on,andhealing.
Dariahaspar�cipatedinnumerousna�onal andinterna�onalexhibi�ons,includingThe OtherArtFair,Superfine,BoomerGallery, VanDerPlasGallery,CCAN,JonesGallery, andothers.
Right: “HarmoniousChaos.Composi�on#5” AcryliconCanvas 71.1cmx55.9cm h�ps://www.instagram.com/daria.borisova_art
Image: HarmoniousChaos.Composi�on#2” AcryliconCanvas 91.4cmx45.7cm
“HarmoniousChaos.Composi�on#1”
JonGesalaga’sprac�cefocusesonthe crea�onofimagesasspacesofexperience ratherthanrepresenta�onsofapre-exis�ng reality.Hisworkoriginatesfromlivedstates, innertensions,andpercep�onsthatdonot alwaysfindclearforminlanguage,yet demandvisualtransla�on.
Hisbackgroundbeginsinanalog photography,wherehiswayofseeingwas shapedthroughlight,�me,framing,andthe materialcondi�onsoftheimage.This founda�onlaterexpandedthroughdigital tools.Ar�ficialintelligenceentershisprac�ce asacon�nua�onofthistrajectoryrather thanarupture,allowinghimtoconstruct imagesthatnolongerrelyondirectcapture whilemaintainingaphotographiclogicat theircore.
Gesalagadoesnotapproachtechnologyasa subjectorspectacle,butasameansto materializesymbolicimagesthatoperate betweenthephysicalandtheimmaterial,the visibleandthesuggested.Thebodyo�en appearsinhisworkasapresenceorsurface
ofinscrip�onratherthananarra�ve gesture.
Hisworkdoesnotoriginatefromfixed ideasorpredefineddiscourses,butfrom innernecessity.Theconceptualdimension func�onsasaninvisiblestructure,present intherepe��onofmo�fs,atmospheres, andtensions.Hisimagesdonotseekto explainorresolve,buttoopenaspace whereexperiencecancondenseand endureover�me.
Right: “NOOS” Photograph 60cmx40cm h�ps://www.instagram.com/jon.gesalaga
Image: “EPYPHANY” MixedMedia 60cmx40cm
Image: “ABYSSAL”
Photograph 60cmx40cm
LindaLewis(USA)receivedherMasterof FineArtsdegreein1997fromArizonaState University.Duringhergraduatestudies,she wasawardedaFulbrightScholarshipto studyattheDanishDesignSchoolin Copenhagen,whereherresearchledtothe developmentoforiginalandadapted techniquesthatformedthebasisofherMFA thesis.UponreturningtotheUnitedStates, shereceivedtheNathanCummings Founda�onSummerTravelFellowship,which supportedresearchtravelinCroa�a, Romania,andTurkey.
Lewisini�allyestablishedanextensive na�onalandinterna�onalexhibi�onrecord infiberart,withsoloexhibi�onsat ins�tu�onssuchastheUniversityofArizona, AppalachianStateUniversity,BlueStar ContemporaryinSanAntonio,andtheBath HouseCulturalCenterinDallas.Herwork wasincludedinmajorjuriedexhibi�onsin Kyoto,Sydney,andtheArizonaBiennial, earningmul�pleawards.Herworkand wri�nghaveappearedinpublica�ons includingFiberarts,SurfaceDesignJournal, AmericanCra�,andinterna�onal newspapersandmagazines.
A�erreloca�ngtoTexasin2005,Lewis graduallyshi�edherprac�cetodigital photomontage,workingprimarilyinAdobe
Photoshop.Althoughlargelyself-taught, herdigitalworkquicklygainedrecogni�on injuriedexhibi�ons,includingfirstprizefor digitalmediaatthe45thInterna�onalArt ShowattheBrownsvilleMuseumofFine Art.Shehassincereceivedmul�ple“Bestin Show”andjuriedawardsforphotography anddigitalart,andherworkisregularly featuredintheonlinemagazineLivingthe PhotoAr�s�cLife.
In2020,Lewispar�cipatedinatwopersonexhibi�onatGalleryExMachinain Barcelona,acyberpunk-andsteampunkthemedgallery.Thisexperiencedeepened herengagementwithsteampunkimagery, alongsideagrungeaesthe�cthatsheuses asavisuallanguagetoexplorehumor, spectacle,andpostmodernnarra�ves throughdigitallyconstructedscenes.
Right: “AbandonedDolls” DigitalPhotomontage 50.8cmx50.8cm h�ps://www.instagram.com/linda.lewis.125323/
Image: “ChargingSta�on”
DigitalPhotomontage
50.8cmx50.8cm
IgorZeigerisanUzbekistan-bornIsraeli Italianar�st,curator,andphotographer knownforhispowerfulexplora�onsofthe humancondi�on.BorninTashkent, Uzbekistan,heearnedamaster’sdegreein communica�onsfromTashkentUniversityof Informa�onTechnologies.Zeigerimmigrated toIsraelin2000,firstlivingonakibbutz beforese�linginTelAviv.Hecurrently divideshis�mebetweenhisworkinJaffa andItaly.
Zeigerbeganhisjourneyasanautodidactin documentaryphotographyandlater formalizedhisprac�cebystudyingatthe StudioGavraSchoolofPhotography, gradua�ngin2012.Hehascitedmentors suchasDavidAdikaandisrecognizedasa FellowoftheRoyalSocietyofArts(FRSA)as wellasamemberoftheRoyalPhotographic Society.In2018,heco-foundedthear�s�c coopera�veBeamCollec�ve.
Hisar�s�cstyleiso�endescribedasboth beau�fulanddisturbing,capturingtheraw beautyofthehumanformwhileexploring thedarker,morevulnerabledimensionsof humanexperience.Hiscomposi�ons emphasizetheemo�onaldepthand
narra�vepresenceofhissubjects, challengingtheboundariesof contemporaryphotography.Hisworkhas beenpublishedinnumerousinterna�onal magazines,includingHaaretz,SkyArte Italia,andLensMagazine.
Zeigerhasexhibitedextensivelyworldwide, withsoloexhibi�onssuchasSameasYou (2015)andModernRenaissance(2021). Asacurator,hehasorganizedexhibi�ons includingErosandThanatos(2020).His photographsareheldinthepermanent collec�onsofmajorins�tu�ons,including theHaifaMuseumofArt,theMuseumof ArtsofUzbekistan,andtheUnited KingdomGovernmentArtCollec�on.
Right: “LaFamigliaN2” Photograph 55cmx33cm h�ps://www.instagram.com/igor.zeiger
Image: “LaFamigliaN3”
Photograph 55cmx33cm
Image: “LaFamigliaN1”
Photograph 55cmx33cm
NicCruzisaninterdisciplinaryar�stbasedin LosAngeles,California,specializingin illustra�onandoilpain�ng.Hereceivedhis bachelor’sdegreeinartfromtheUniversity ofCalifornia,Irvine,andiscurrentlypursuing hismaster’sdegreeattheCaliforniaIns�tute oftheArts.Hissubjectma�ercenterson nature,thehumancondi�on,andhowthese twoconceptsinteract,collide,andnurture oneanother.
Anoutdoorsmanatheart,Cruz’sfavorite pas�meishikinganddrawinghis surroundingsthroughenpleinairoilpastel illustra�ons.Throughhiswork,hehopesto fosteranapprecia�onforthesublimeandto bringaudiencestogetherthroughashared loveofnature.
Right: “JungleFowls” MixedMedia 18inx24in h�ps://www.instagram.com/nicruzer.jpeg
5.5inx8.5in
Image: “AbbotsburySubtropical Gardens” MixedMedia 5.5inx8.5in
DeepSeaisaShanghai-basedar�stwho workswithplants,flowers,moss,and discardedmaterials.Since2017,hehasbeen crea�nginstalla�onsthattreatplantsnotas decora�on,butaslivingpar�cipantsinthe work—organismsthatgrow,leantoward light,andeventuallyfallapartontheirown schedule.
Heo�enbeginsbycollec�ngdiscarded materialsfromstreetsandconstruc�onsites, includingbrokenwood,rustedmetal,and objectsthathaveoutlivedtheiroriginal purpose.Thesefoundelementsbecome scaffoldingforrareplantsandwildgreenery, formingcomposi�onsthatblurtheline betweensculptureandecosystem.Hiswork doesnothidethefactthatthingsdie;blooms sitalongsidedriedstems,healthyleaves besidepeelingbark.Allarepresentedaspart ofthesamecycle.
Recentprojectsinclude1xSpeedatHONG ArtMuseuminSuzhou(2024–25),an immersiveenvironmentbuiltaround birdsong,scent,andthe432Hzfrequency, designedtoslowviewersdowntowhathe calls“natural�me.”Hissoloexhibi�onat EYECANDIES×KuiyuanArtMuseumin
Shanghai(2024)exploredhowmisplaced objectsandoverlookedplantscanform newrela�onshipswhenbroughttogether deliberately.Healsoproduces commissionedworksforbrandsandpublic spaces,transla�nghisapproachinto temporarygardensandspa�al interven�onsthatchallengehownatureis typicallyencounteredinurban environments.
Right: “ACloudThatFelltoEarth” TemporaryInstalla�onusingGrass,Shrubs andDriedPlants 350cmx400cm h�ps://www.instagram.com/deepsea256
Image: “BeaconsforaOne-SpeedValley” TemporaryInstalla�onusingTallWoodenPoles WrappedwithFabric,DriedPlants,andFreshFlowers, ArrangedinaLooseCircleonanAlpineMeadow. 250cmx250cm
Image: “RiverMarkersforPassingTime”
SmallStoneCairnsStackedinaShallowStream, BoundwithRopeandDecoratedwithFreshFlowers andSeedPods. 30cmx60cm
KurtS�mmeder,bornin1972inBad Leonfelden,Austria,isacontemporaryvisual ar�stspecializinginoilpain�ngand lithography.Since2008,hehaslivedand workedinLinz,wherehehascon�nuously developedhisar�s�cvision.
Hisworkisdis�nguishedbyacompelling blendoffigura�verepresenta�on, psychologicaltension,andallegory.Inhis pain�ngsandlithographs,bodylanguage servesasacentralmeansofexpression, crea�ngvisualspacesthatpowerfullymerge pastandpresent.Technicallypreciseyet sensuallyopen,hisworksreveala mul�layerednarra�vedepth.
S�mmeder’screa�veprocessismarkedbyan intensereflec�ononthehumancondi�on, combiningtradi�onaltechniqueswith contemporaryvisuallanguages.Hisar�s�c approachinvitesviewerstoexplorethe hiddentensionsandinnerworldsembodied withinhisfigures.
Since2010,S�mmederhasregularly
exhibitedhisworkinsoloandgroup exhibi�onsacrossEurope,Asia,andthe UnitedStates.Notablevenuesincludethe LondonBiennale,ArtRevolu�onTaipei, andArtMiamiduringArtBaselMiami Week,aswellasexhibi�onsinParis,Tokyo, andMunich.Hisworkhasreceived mul�pleinterna�onalrecogni�ons, includingashortlistplacementforthe pres�gioustARTgetPain�ngPrize.
KurtS�mmederisrenownedforhis profoundinsightintohumanemo�onand hisabilitytonarratestoriesthroughline andshade,leavingalas�ngimpressionon hisaudience.
Right: “Ieatmynightmares” MixedMediaonCanvas 40cmx30cm www.instagram.com/kurts�mmeder
Q:Couldyoutellusabitaboutyourar�s�c background—howdiditallbeginforyou?
A: Crea�vitywasalwayspresentinmy family.Myfather,acarpenter,was constantlydrawingplansandsketchesfor furniture—heevendesignedtheplansforour house.Mymother,aseamstress,wasalways dra�ingpa�erns,whichIfoundveryabstract asachild.Atfirst,however,Ifoundmyplace asamusician.Ibeganplayingthedouble bassatfi�een.Bythe�meIwasthirty,Iwas makingalivingfrommusic,butIdecidedto leaveitbehindbecauseIexperienceditas tooflee�ngamediumofexpression.Of course,therewereotherreasonsaswell,but inhindsight,thatwasthedecisiveone.
Q:Whoorwhathasinfluencedyourlifeas anar�stthemost?
A: A�erafewyearswithli�lecrea�ve expression,IreachedapointwhereIfeltthat lifeismorethanwhatIcantranslateinto wordsorsounds—twothingsthatforalong �mefeltalmostiden�caltome.Iwas searchingforaformforsomethingthatgoes beyondthought,forarealitythatneither religionnorpsychologicalorsocial explanatorymodelscouldtrulyoffer.That longingul�matelyledmetopain�ng.
Q:Whichthemesormessagesdoyoureturn toinyourwork,andwhy?
A: Iamfascinatedbyaforcethatcannotbe expressedinwordsandthatIperceivemost clearlyontheleveloffeeling.Tome,thisisa deeplyhumantheme—onethatmanymyths describeallegorically.Inpar�cular,hand gesturesinOldMasterpain�ngsserveasa mirrorofmyownwordlessnessinthefaceof processesintheworldandinmylife.Forme, theyarefarmorethanatechnicaldeviceto supportavisualnarra�ve.Bodylanguage
andgesturearetranscendent,universal languages—cross-culturalando�en carryingthesamemeaning.Theyarethe languageofthehumanfamily.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Inthebeginning,pain�ngfromalive modelwasveryimportanttome—notonly fortechnicalreasons,butalsoasawayto learnhowtodealwiththesolitudethat comeswithworkinginthestudio.Over �me,however,Irealizedthatwhileworking withmodels,certaintransferphenomena canoccur—thingseveryoneexperiencesin everydaylife,butwhichcanbecomemuch strongerinthestudioifyouallowthemin. Becausethesedynamicso�enbeganto influencemysubjectssostronglythatthey overshadowedtheactualtheme,I eventuallydecidedtointegrate photographyandvideointomyprocess. Thisallowedmetoshortenmodelsessions andfollowmyintui�onsmoreclearly.
Q:Whatroledofailureand experimenta�onplayinyourdevelopment asanar�st?
A: Ihavelearnedthatfailuresareo�en disguisedsignposts.Whatfeelswrongin themomentlaterrevealsitselfasa necessarystep.Forme,experimenta�on usuallygrowsoutofthiskindofproduc�ve failure—notfromaplan,butfromtheneed toovercomeresistance.
Right: “DrinkingHands” MixedMediaonCanvas 40cmx30cm
Q:Isthereapar�cularworkofyoursthat holdsspecialmeaningforyou?Why?
A:Itwillprobablyalwaysbemyveryfirst pain�ng,becauseitmarkedtheturningpoint whereImovedfromtheflee�ngnatureof musictothepermanenceofpain�ng.Within myar�s�cdevelopment,however,thereare otherworksthatopeneddoors:thefirst handpain�nginwhichIrealizedthatgesture aloneisenough;themomentIunderstood thatIdonotneedfacesinordertosay somethingaboutbeinghuman.Eachofthese pain�ngswasasmallfailureinmya�emptto paintsomethingspecific—andatthesame �me,asuccessindiscoveringsomething unexpected.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Iamsomeoneforwhomorderinthe workspacema�ers.Itistheonlyformof structurethathasremainedunchangedfor meovertheyears.Beyondthat,Iregularly prac�ce“notthinking,”whichdissolvesthe feelingofspontaneityarriving—becausethe senseof�medisappearsandeverything simplyis.Onlya�erwarddoIo�enno�ce howmanydifferentthingshavehappened. Ofcourse,itdoesnotalwayswork,butwhen itdoes,Iamhappya�erward.Others probablycallthisstate“flow.”
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyoulooking forwardtonext?
A: BecauseItrytokeepalayerinmy pain�ngsopenasamirrorofthepresent �me,itisdifficulttosayinwhichdirec�on thefuturewillleadme.Thethemeofgesture, however,isquiteliterallyburningundermy fingers.Iamcarryingtheideaofforminga largermythologicalcyclemadepurelyof
handpain�ngs—perhapstheOdyssey.This ideahasbeenwithmesincemysecond yearofsecondaryschool.Atthat�me,a mathema�csteachersparkedaninsa�able fascina�oninmeforthewaysofthinking oftheancientGreeksthroughdiscussions ofthePythagoreantheorem.Iamaterribly supers��ousperson.Thisyear,Jupiterwill moveintoLeo—mysign—anditissupposed tobemagnificent.Iamalreadylooking forwardtoit.
Right: “TalkingHands” MixedMediaonCanvas 40cmx30cm
DariaAndrewsisaPolish-bornar�stliving andworkinginTasmania.Herprac�ceis primarilygroundedinoilpain�ngand expandedmaterialprocesses,examining representa�onsofthefemalebodyandthe inward,psychologicaldimensionsof transforma�on.Herworkconsidersthebody asasiteofmemory,mythology,vulnerability, andresilience,withpar�culara�en�onto narra�vesar�culatedbywomenar�sts acrosshistory.
Recentprojectsinves�gatetheconceptof theheroine’sjourneyasanalterna�veto tradi�onalheroicnarra�vesofconquest, focusingoncyclical,inward,andembodied formsofchange.Andrews’workdrawson mythology,livedexperience,andclose observa�on,allowingconceptualconcerns toemergethroughsustained,process-based a�en�on.
LivingonafarminNorthernTasmania, Andrews’prac�ceisshapedbydaily observa�onoflandscape,animals, weather,andthematerialremnantsof rurallife.Long-termprojects—including OneHundredDaysUndertheTasmanian Skyandsculpturalworksincorpora�ng bones,eggshells,andfeathers—arise directlyfromthisenvironment.These worksemphasisea�en�veness,repe��on, andmaterialpresence,grounding psychologicalandmythicinquiryindirect engagementwithplace.
Right: “TheBathroom” MixedMediaonCanvas 120cmx80cm www.instagram.com/daria_andrews_
Q:Canyoutellusaboutyourar�s�cjourney –howdiditallbeginforyou?
A: Itwasn’tpar�cularlywelcomedinmy familyformetobecomeanar�st.AlthoughI wasdrawntodrawingandpain�ngasa child,crea�vitywasassociatedwith vulnerabilityandinstability.Acloserela�ve, whowasalsomyfirstmentor,hadtakenhis ownlife,andbeing“ar�s�c”wasquietly understoodassomethingthatdidn’tbelong toreallife.Iabsorbedthatlogicearlyonand assumedartcouldexistasahobby,butnot asawayofliving.
SoIdidwhatseemedsensible.Ispentalmost twentyyearsworkinginbusiness,including fi�eenyearsatabusinessschoolinWarsaw. Iwasasinglemother,verybusy,very focused,andverygoodatwhatIdid.Art didn’tdisappearduringthat�me;itjust relocated.Itlivedmostlyinmydreams, whereitwasvividandpersistent,evenifI didn’tyetknowhowtotakeitseriously.
Inmylatefor�es,whilewalkingmynewly adopteddoginaparkinWarsaw,Imeta Sco�,Tasmanianmanwhowasvisi�ngon holiday.Notlonga�er,wedecided,quite calmlyandveryquickly,thatwewantedto spendourlivestogether.Twomonthslater,I foundmyselfinTasmania.Oneofthefirst placesIwantedtovisitwasMONA(Museum ofOldandNewArt,Hobart).
Ihadvisitedmanymuseumsbefore,butthat visitwasdifferent.Somethingshi�ed.Itfelt lesslikediscoveryandmorelikerecogni�on, asifsomethinglongdormanthadbeen switchedbackon.WhenIreturnedto Poland,Ibeganpain�ngagainforthefirst �mesincemyteenageyears.Thatwasthe pointwhereartstoppedbeingsomethingI longedforprivatelyandbecamesomethingI wasfinallywillingtoclaim.
Andso,inmyverylatefor�es,Ibecamean ar�st:late-emerging,quickly-learning,and fullofchildlikeexcitementandcuriosity.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Soona�erreturningfromAustralia,I wasintroducedtoAlfonsKulakowski,a ninety-three-year-oldPolishlandscape painter.Asayoungman,hesurviveda gulaginSiberia,escapedtoKazakhstan, andonlymuchlaterinlifewasableto returntoPoland.Hepassedawayduring Covidattheageofninety-six.
Iwasdeeplymovedbyhisstory,fascinated byhispain�ngs,andimpressedbyhiswork ethic,drysenseofhumour,andquiet wisdom.Alfonspaintedpleinairwhenever hecould.Whenheworkedinthe landscape,cowswouldo�enlookatthe canvasoverhisshoulder.“Cowscanreally appreciateart,”heoncesaid.“Unlikemost people.”
Herecognisedmypassionforpain�ng immediately.Atonepoint,hetoldme, “You’vegotapieceofgoldinyourheart.If youdon’tletitshine,itwillbotheryoufor therestofyourlife.”Notlonga�er,he invitedmetostayathishome.Ihadjust quitmyjobtofullycommittoart,sothe �mingfeltexact.
IlivedwithAlfonsforsixmonths.During theday,Ihelpedcareforhisolderbrother. Intheevenings,wepaintedandtalked aboutart.Heprimedmyfirstcanvas,andit wasinhisstudiothatImademyfirst pain�ngsasanadult.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Thefemalebodyiscentraltomywork.I approachitasasiteoftransforma�onrather thanrepresenta�on.I’minterestedinthe heroine’sjourneyasanalterna�veto tradi�onalheroicnarra�vesofconquest. Historicallyandmythologically,women’s transforma�onsareo�eninward,cyclical, andembodied,ratherthanlinearor externallyrewarded.Thebodybecomesa placewherememory,mythology, vulnerability,andresiliencecoexist,without needingresolu�on.
Anotherrecurringpresenceinmyworkis birds.Shortlya�ermovingtoTasmaniain 2020,wefoundanabandonedbirdand broughtithome.Itturnedouttobeacygnet. Weraisedhimun�lhebecameafullygrown blackswan.WecalledhimSwannySwan, andfora�me,wewerehisparents.We taughthimeverything,includinghowtofly, whichsoundsslightlyabsurdbutfelt completelyserious.Whenheeventuallyle�, itwasgenuinelyheartbreaking.
Soona�er,weadoptedagoose.LucyGoose iss�llwithus,andtheflockhassincegrown toincludeBrucetheGoose,MellowYellow, andanumberofchickens.Birdsappear frequentlyinmymedita�ons,andI experiencethemquiteliterallyasspiritual guides.Theirsenseoffreedom,naviga�on, andcommunica�oncon�nuestoinformhow Ithinkaboutmovement,orienta�on,and belonging,bothinlifeandinmywork.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Myworkhasbecomemorerefined,but alsomoregroundedinprac�ce.Lifedrawing hasbecomeaweeklyrou�neforme,andit
hasfundamentallychangedthewayI paint.Itsharpenedmya�en�ontoweight, balance,andpresence,andbroughtmore disciplineandconfidenceintomyhandling ofthefigure.
SincemovingtoafarminTasmania,I’ve alsobecomeincreasinglydrawntopain�ng fromnature.Livingwiththelandscapeona dailybasishasshi�edmysenseofcolour andrestraint.Myrecentproject,One HundredDaysUndertheTasmanianSky, involvedpain�ngthesameviewforone hundredconsecu�vedays,observinghow lightandweatherslowlyreshapethe landscape.
Thatsustaineda�en�onhasinfluencedmy pale�e.Ithasbecomemoresubtle,quieter, and,asIliketosay,moreTasmanian.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Atthemoment,I’mfullyfocusedonthe nearfuture,whichismyupcomingsolo exhibi�onatMadelineGordonGalleryin mycurrenthometown,Launceston.That bodyofworkfeelslikeanatural con�nua�onoftheques�onsI’vebeen livingwith,andithasmyfulla�en�on.
Whenitcomestothemoredistantfuture, I’mlessinterestedinse�ngclear des�na�ons.Ofcourse,Ihavepersonal andprofessionalgoalsI’dliketoachieve, butI’mmorecomfortablebeingledbythe workthantryingtoleadit.Itrustthe processfully,andI’mhappytosurrenderto whereverittakesmenext.
BülentDenizAkbostancıwasborninAnkara, Türkiye,in2005andiscurrentlystudyingat AKIArtEZUniversityoftheArtsinEnschede, theNetherlands.Fromanearlyage, Akbostancıhasbeendeeplyfascinatedby fishandtheunderwaterworld.Thisearly curiositylaterintersectedwiththeories surroundingmerpeople,markingapivotal shi�intheirar�s�cprac�ceandeleva�ng theircrea�veexplora�on.
Duringthisforma�veperiod,Akbostancıwas alsostronglyinfluencedbytheworkand personaofLadyGaga.Inhighschool,this influencehelpedshapetheearlycharacterof theirart.Whiledrawinginspira�onfrom Gaga’svisualandperforma�velanguage, Akbostancısimultaneouslydevelopedan understandingoffashion,thehumanfigure, andinterdisciplinaryar�s�cexpression throughcloseobserva�onand reinterpreta�on.
WhentheCOVID-19pandemicbegan, Akbostancıturnedmoreintenselytoward pain�ng,atwhichpointmusicbecamea centralsourceofinspira�on.Various musicalgenresbegantointertwinewithin theirinnerworld,forminganintegralpart oftheircrea�verealityandvisuallanguage.
Right: “IndexOfFrisson” MixedMediaonCanvas 121cmx124cm www.instagram.com/26_mavibalik_03
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Itallstartedwithapain�ngImadeduring thepandemicasanassignmentformyhigh schoolartclass.Thispain�ngcombinedThe Crea�onofAdambyMichelangelo,TheBirth ofVenusbyBo�celli,StarryNightbyVan Gogh,TheGazingBallbyJeffKoons,and LadyGaga.Crea�ngthisworkshowedme howdifferentbranchesoftheartworldcan coexistthroughdifferentmethods.Withthis realiza�on,Ibeganexploringnewconcepts, whicheventuallymarkedthebeginningofmy ar�s�cjourney.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Foralongperiodof�me,mybiggest inspira�onwasLadyGaga.Ievenbeganmy portraitstudiesusingherface,whichledto whatIcall“same-facesyndrome,”where everyfaceorportraitIdrewresembledher. By2025,thisinfluencebegantofade,andI becamemoreinterestedinmerpeopleasa sourceofinspira�on,alongsidemyown paracosm.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Idon’tusuallypayclosea�en�onto recurringthemesorconcepts,butone elementthatrepeatedlyappearsinmywork istheimageofamermaidoragroupof mermaids.Ibelievethesechimericfigures keepresurfacingbecauseofthedeep connec�onIfeeltowardthem.Whetherit’s theirappearanceorthehabitatsthey inhabit,Ifindmyselfunabletoletthemgo.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Mystylehasevolvedintoakindof fingerprintofmyinnerworld.Mydreams, hopes,failures,love,longing,fascina�ons, andsenseofromancehaveallmergedinto asingle,dis�nc�veindexwhentranslated intomyart.
Q:Whatroledofailureand experimenta�onplayinyourdevelopment asanar�st?
A: Igenuinelyenjoyexperimen�ngwhen makingart—itfeelslikeabreathoffresh air.Ialsofindmomentsoffailureincredibly useful.Usingfailureasatoolduring experimenta�onhelpsmelearnmore aboutthematerialsIworkwith. Some�mesIevenfailonpurpose,justto seeifnewpossibili�esmightemergewithin apiece. Right: “WonderfulLand” OilandAcryliconCanvas 104cmx90cm
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Allofmypiecesstandouttomeintheir ownway.Idon’thaveoneworkthatfeelslike “themostmeaningful”or“theweirdestand coolest,”becausetheyareallconnectedby onecommonground:myself.Ifanything,my currentbodyofwork,viewedtogether,feels likethemostmeaningfulpiecetome.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Ibelieveinbalancingspontaneityand structure,butmostofthe�meIleanmore towardspontaneitythanstructure.That said,becausemanyofthescenariosand visionsIworkwitharespontaneous,some piecesendupbeingmorefirmlystructured anddisciplinedthanothers.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Iseemyworkasabreakfromworldly problemsandevents,becausethat’showI personallyexperienceit—aspacetocalm downandfeelsafe.Inthefuture,Ialso imaginemyworkbeingviewedasakindof heritagefornewgenera�onstocome. Beyondtheselong-termideas,I’mexcitedto exploremyparacosmmoredeeplyandto reflectitmorepreciselyinmyart.Ialsowant toexpandmyuseofmaterialsandeventually developanarchive.
Right: “DreamsAndTheirMeanings”
MixedMediaonCanvas
70cmx60cm
SophieLindenisaninterdisciplinaryar�st livinginDetroit,Michigan.Bothanoil painterandajeweler,Lindencentersglass beadsandsemi-preciousstonesashermuse. Inspiredbytheconnec�onbetweenallliving things,Linden’sworkisheavilyinfluencedby naturalpa�ernsandherenvironment. Illustra�ngtheemo�onallandscapewithin throughsymbolicarrangementsofbeadsand string,Lindenrevealsanin�matedialogue withtheinternalnaviga�onofchange. Analyzingherrela�onshiptoa�achment andcontrol,hermostrecentworksserveasa medita�veinves�ga�onofemo�onal conflict,grief,andshi�ingperspec�ve.
Shestudiedoilpain�ngattheBirmingham BloomfieldArtCenter(2013–2017)and graduatedfromtheUniversityofMichigan’s StampsSchoolofArtandDesignin2021,
wheresheearnedherBFAandaminorin ArtHistory.Linden’sworkwasawarded BestofShowforPor�olio(2017)inthe regionalScholas�cArt&Wri�ng Compe��ons.Shehaspar�cipatedin mul�plegroupshows.
Right: “Upstream” OilonCanvas 45.7cmx61cm
Photographer:TimJohnson www.instagram.com/slart_
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: ItstartedathomewhenIwasreallyli�le. Icomefromafamilyofar�sts;bothmymom andgrandmotherarepainters.WhenIwasin elementaryschool,Iwouldsitwithmymom asshepaintedandwouldpaintalongside her.AsIgrew,sodidmyinterestinart,and bythe�meIwasinmiddleschool,my parentsenrolledmeinspecializedartclasses a�erschool.Istartedwiththeclassicskillbuildingprogramslikecharcoals�ll-life drawingandthenfiguredrawing.Bythe�me Iwasinhighschool,Iwastakingoilpain�ng classeswhereIlearnedthetradi�onal Vene�anstyle,learninghowtorenderlifelikescenesfromthespecificlayering techniques.OnceIwasabletohonemycra�, Ineverstopped.Imean,IguessIshouldsayI wasconstantlymakingartevenbeforeIfinetunedmyskills,buta�erlearningtheprocess ofoilpain�ng,Ikeptpushingtomakelarge bodiesofwork.A�erreceivingmyBFAfrom theUniversityofMichigan,Imovedto Detroit,whereIlivecurrently,tocon�nue pursuingacareerinthearts.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: I’mveryfortunatethatIhaveafewpeople tocredit!First,mymom,ofcourse,asshe wasmyfirstinspira�onandalsomybiggest supporter.Iamveryluckytohaveparents whosawmypassionfromanearlyageand providedmewiththeresourcestolearnand pursueartasalifepath.It’shardtosay whereIwouldbenowwithoutallthe guidanceI’vereceivedovertheyears.Ihave hadafewinstructorswhohavebeen instrumentaltomygrowth.ToddBurroughs, whowasmyoilpain�ngteacherinhigh school,taughtmeeverythingIknowabout themedium.Heguidedmetomakelarge
bodiesofworkthatendedupbeingvery successfulintheScholas�cArtandWri�ng compe��onsandhelpedmetothinkofmy artprac�ceascon�nuousexplora�on. JamesCogswellwasmypain�ngprofessor inuniversity.Inmyearlycollegeyears,I struggledtobreakawayfrombasic idea�on,hi�ngwallsofcrea�veblock frequently.Heencourageshisstudentsto createwithoutthefearoffailure,ashis classhadalmostnoguidelinesotherthan tomakesomethinginspiredbyasingle prompt.Throughhim,Ilearnedtopush myselfthroughself-imposedlimita�ons anddiscovernewandexci�ngwaysto expressmycrea�vity.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A: LookingovereverythingI’vemadeinmy life,therearetworecurringthemes.The firstandforemostwouldbemyfascina�on withnatureandmydrawtowardpa�erns andnaturalmaterials.Ithinkthisshowsup moreinthevisualsideofmyart,the subjectma�erandmediumsI’veused. Asidefrommyfirstexposuretoartbeing theflorallandscapesmymompainted whenIwasakid,I’vespentalargepor�on ofmylifeoutside.Myparentswouldtake mybrotherandmeoncampingtripsto NorthernMichiganeverysummerfromthe ageofthree,andonceIwasoldenough,I startedgoingtoanoutdoorsysleepaway camp.Trees,rocks,ripplinglakes, campfires,plants,andanimalsweremy firstloves.Tothisday,Iams�llcomforted andawedbynature’sbeauty,the complexi�esinitspa�ernsandstructures, andtheconnectednessofalllivingthings. Thebeadsinmymostrecentworkalso comefromalifespentintheartsandcra�s roomatsummercamp.
Ipickedupjewelrymakingthereandhave con�nuedtheprac�cesince.
Thedeeperandmoreunderlyingmessagesof myworkseemtofocusmoreonthemesof control,orratherlackthereof,andthe passageof�me.Iwasrecentlydiagnosed withOCD,whichdefinitelylendsitselfto par�allyansweringthatques�onof“why?” thatI’vebeenaskingmyselfforyears.I’ve struggledwithanxietyformuchofmylife anddiscoveredahelpfulan�dotewas assumingcontrolofeverythingpossible, refusingtoacceptdefeat.Whilethiswas greatforgeneralperseverance,it’sobviously afalliblesolu�on,astherearemanythings outsideofoneperson’scontrol.I’vebeenvery sensi�vetoloss,tomovingthroughbig changesinlifeandhavingtoleavebehind people,places,situa�ons,andhomesthatI loved.AsI’vegrown,Ilearnedhowtousemy artasawaytoprocessthisandcope.I exploredthesethemesalotinhighschool a�ermyparents’divorce,andI’mnow returningtotheminmyprac�ceaswe collec�velymovethroughthishellholeofa poli�calandenvironmentalclimate. Generallyspeaking,IwouldsayInowcreate withatoneofop�mism,ofcuriosity, acceptance,andgra�tude.I’vejustbeen feelingreallycalledtoexpressmyexperience lately,notonlytohelpmyselfprocessbut alsobecauseIunderstandalotofpeoplecan relatetothefearoflossandchangeof everythingthatisfamiliar.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: SinceIwasclassicallytrainedatayoung age,Ihavealwaysleanedonthesideof realismorarepresenta�onalstyle.Inmore recentyears,I’vebeenplayingwith abstrac�on,manipula�ngthecomposi�onof myreferencestoremoveexternalcontext.
Eitherbyzoominginclosetothesurfaceof anobjectorremovingabackgroundalmost en�relysothatthesubjectsappeartofloat inspace,mypain�ngscalldirecta�en�on tothevisualproper�esandpa�ernswithin theobjects.IthinkthesedaysIamless worriedaboutperfec�oninmyprocessand moreintriguedbyflowanddiscovery.
Q:Whatroledofailureand experimenta�onplayinyourdevelopment asanar�st?
A: Iusedtobereallyhardonmyselfabout failure.Icouldn’tacceptit,andwhenIdid feellikeIfailed,Iwasdeeplyembarrassed. I’vesincecompletelyshi�edmyoutlookto apointwhereI’mnotreallysureIbelievein “failure”anymore.Iliketothinkof unsuccessfula�emptsatsomethingasa posi�ve.Theyarelessons,boxesIcheckoff alist.Triedthatone,didn’twork,goodto know.Let’smoveontothenext!Idos�ll believe,toanextent,thatthereisalways anotherroute;Ijustneed�me,trial,and errortodiscoverit.Atthispoint,the unknownismoreharmful.IfIhaveanidea andIdon’tgettotryit,Iwon’tbeabletolet itgo.AndIloveahappyaccident!Ithink someofmyfavoritear�s�cchoiceshave comefromplayingaround.Playhas becomeahugepartofmycrea�veprocess ingeneral.Inmymostrecentseries,Itried thesamesubject,paintedintwelve differentcomposi�ons,varioussizes,and shapes,toseewhichonesIlikedbest.I definitelyhavefavorites,piecesIthinkare moresuccessfulthanothers,butthat’sthe wholepoint.Noneedtobeashamedofthe onesIdon’tlike;theytaughtmesomething valuable.Ialsohaveintroducedbeading andjewelrymakingintomyprac�ce.It’sa completelydifferentar�s�coutletthan pain�ng.Igettoreallyplay,movingpieces aroundfreely,swappingoutdifferent
colorsandshapesintui�vely.Ithelpsto oscillatebetweenpain�ngandjewelry,to givemybrainabreakwhenonebeginstofeel tootedious.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Ireallytrytoleanintomyintui�onwhenit comestofollowingcrea�veurges.IfI’mnot inaplacewhereIcansitdownwithmyart,I willwritedownnotesinmyphone.Usually, it’sjustalineortwo,aconceptorafeelingI wanttoexplore.WhenIwasmakingmybead pain�ngs,Iwouldgobacktomynotesand thenplayaroundwithmovingbeadsinto composi�onsthatdepictedwhatIwas feelingemo�onally.Ingeneral,Ialsotryto listentomybodyandnotforcemyselfifIam feelingtrulyuninspired.However,there’sa limittohowmuch�meoffI’mabletogive myself,especiallyifI’mworkingwitha deadline.I’mmostconsistentwithstructure, andItrytocreatesmallcheckpointsfor myselfsothatIcankeepmomentum.Ido believethatdisciplineisanactofself-love, though.Tome,the�meIcommittomy studioprac�ceisanactofdevo�ontoa fulfillinglife,andthat’sreallyhelpedme reframepushingmyselfinmomentsthatI wanttoprocras�nate.It’sajourney,though, andIcandefinitelyleanineitherdirec�on, workingwaytoohardandpushingmyselfto burnout,onlytothentakereallylongbreaks outofexhaus�on.Thekeyisbalanceand takingcareofmybodywithrest,movement, andpropermeals,somethingthatIam alwaysworkingonimproving.Thebo�om lineisbalancehasbecomeanessen�alpart ofmycrea�veprocess.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Fornow,Ihavenewbeadcomposi�ons inmysketchbookI’dliketopaint,focused moreonplayingwithcolor,pa�ern,and texture.AsIwassayingbeforeabout periodsofplay,some�mesIliketogoback tomakingthingsthatjustfeelgoodvisually un�lI’mmovedtomakingsomethingmore meaningful.I’mexcitedtoexploredifferent backgrounds,playingwithlight,and maybeincorpora�ngothervisualelements intothecomposi�ons.Allthewhile, though,Iamconstantlythinkingaboutthe stateoftheworldandmyplaceinit.I definitelyhaveadesiretoaddmyvoiceto theongoingconversa�on,andIameager tofindmorewaystoexpressmy perspec�ve.I’mnotexactly�edtothe beadsinthelongterm,andIamexcitedby thechallengeofpushingmyprac�cedown newavenues.
Right: “LoveLe�erToMyClosedDoors” OilonCanvas 91.4cmx61cm Photographer:TimJohnson
KelseyAmannisafigura�vear�stworking primarilywithoilpaintandgraphite.Based inQueens,NewYork,shegraduatedfromCal Poly,SanLuisObispoin2024withaBFAin StudioArt.SincemovingtoNewYork,her prac�cehasfocusedonthequietmoments thatcharacterizethetransi�onalperiod betweengirlhoodandwomanhood,andon howimagescanconveythatnarra�ve withoutbecominglostintransla�on. Outsideofherstudioprac�ce,sheworksat St.Joseph’sSchoolfortheDeaf,whereher dailyengagementswithstudentsandfaculty haveprofoundlyinfluencedherapproachto image-making.
Right: “Pre�yinPink” MixedMediaonCanvas 11inx14in www.instagram.com/Kelseyamannart
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Igrewupwithastronginclina�ontoward thearts.Iwasalwaysexperimen�ngwith clay,DIYartprojects,andmakingsmall figurines,butmyearliestmemoryofcrea�ng artinvolvesdrawinghandsspellingout wordsinASL.Idis�nctlyrememberlyingon thelivingroomfloor,watchingmyle�hand spellwordsasIdrewwhateverIwassigning. Itwasn’tun�lcollegethatbecominganar�st feltlikeaviablecareerpath.Un�lthen, makingartwassimplypartofmyiden�ty, whilebeingan“ar�st”feltlikeavague conceptthatbelongedtothepast.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Inhindsight,growingupinaDeaffamily wasthemostinfluen�alfactorinmyar�s�c development.Fromthebeginning,myworld wascenteredaroundvisuallanguage. Makingartfeltintui�vebecauseIwass�ll communica�ngideasvisually—onlythrough differentmediums.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Lately,I’vebeencirclingbacktowhatit meanstobefullygrownup.I’matanage whereIfunc�onasanadultandtakeon adultresponsibili�es,yetIs�llfeelchildish andimmatureinmanyways.Although,on paper,Iamawoman,Iwouldins�nc�vely introducemyselfasagirl.I’mdrawnto composi�onsthatfeelbothcurrentand nostalgic,whichhasresultedinmywork becomingadialoguebetweenpastand present.Ideaso�enarisefrommypresent experiences,buttheirini�alsparkisrootedin memoriesassociatedwithspecificmoments orobjects.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Mystylehasbecomemorecontrolled over�me,withgreatera�en�ontolight, color,andmeaningfuldetails—suchashow afigure’shairlooksorwhatclothingthey wear.Inmyrecentwork,Ifeelasthough I’vetrimmedawayexcess,focusingmore clearlyonthemomentsthattrulyma�erto me.Myapproach,however,hasbecome muchmoreintui�ve.WhenIwasinschool, Iplacedheavyemphasisonapain�ng’s messageandtriedtojus�fyeveryelement ofacomposi�on,whicho�enlimitedmy freedom.Now,insteadofleadingwithmy head,Ileadwithmygutandtrustthatthe workwillmakesensetomeover�me.
Right: “DoubleBunnies” MixedMediaonCanvas 16inx20in
Q:Whatroledofailureandexperimenta�on playinyourdevelopmentasanar�st?
A: Making“bad”artisjustasimportantas making“good”art.Some�mesIbeginpieces I’mgenuinelyexcitedabout,onlytofind myselfslowlydisconnec�ngfromthem. Whilethat’sneveragreatfeeling,Ilearnjust asmuchfromthose“huh?”momentsasIdo fromthe“aha”moments.
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: AdrawingImadeinDecember2024�tled IfOnlyforJustOneSecondstandsoutas especiallymeaningful.It’sasmallpiece—only 8×10inches—butitfeltlargerthanmyself. Thatdrawingresetmymindsettowardartmakingandreignitedmyloveforartasa lifelongpursuit.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Imovebetweenprojectsasneeded,butin averystructuredway.Forexample,Idon’t movefromonepain�ngtoanotherun�lI finishaworkinglayer.Iliketohaveideas, drawings,andpain�ngsinprogress simultaneously,soifIstarttoburnouton one,Icanswitchtoanother.Idea�onisfairly spontaneousatfirst,butrepe��onplaysa largeroleasIreworkelementsofa composi�onun�lI’mreadytocommit.From thatpointon,theprocessbecomesmore methodical—gatheringprops,crea�ng references,andrefiningdetails—thoughit remainsspecifictoeachindividualpiece.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Iamcurrentlyfinishingaseriesofeight drawingsthatIbeganin2025abouta smalltoyrobotwhohaslosthisway. Beyondthenarra�veitself,I’vebeen thinkingdeeplyaboutthepowerofvisual imagerytocommunicatestorieswithout relyingonwri�en,spoken,orsigned language.Ofallformsofcommunica�on, imagesmaybetheonlymediumthatcan engagedirectlywiththeviewerwithoutthe needfortransla�on.ThisissomethingI plantoexplorefurtherasIbeginnew projects.
Right: “IfOnlyforJustOneSecond” MixedMediaonCanvas 9inx12in
YiTiTsaiisaTaiwanesephotographerbased inLosAngeles.Forher,photographyisa gentleformofspeaking—awaytotellthe truthwhenwordsfeeltoofragiletoholdit. Sheo�enbeginswithordinaryobjects— bananas,stockings,gloves,adinnertable— andreshapesthemintosymbolsthatcarry thequietweightofgenderedexpecta�ons, desire,andemo�onallabor.
Livingfarfromhomehasmadehermore sensi�vetothespacesbetweenvisibilityand invisibility.Thedistance,theculturalshi�s, andthepressuretoperformiden�tyallmove quietlythroughherwork.Tsaiunderstands howpeoplelearntoappearcomposed, pleasant,strong,orunbothered,evenwhile carryingstoriesthathavenowheretogo.Her imagesarebornfromtheseunspokenplaces, fromthecrackswheretendernessand exhaus�oncoexist.
Herphotographsareneitheraccusa�onsnor escapes;theyareso�invita�ons.Eachimage offersamomenttopause,tobreathe,andto
feeltheweightofwhatwomenareaskedto carry,alongsidethebeautyoftheir resilience.Tsaihopesherworkcreatesa spacewhereviewerscanlowertheirguard andrecognizethemselvesinsmallgestures offragility.
Attheheartofherprac�ceisasimple belief:everypersondeservestobeseen withoutdistor�on,withoutfear,and withouthavingtoearntheirrighttoexist. Throughherimages,shehopestomake thatrecogni�onpossible—toremindus thatvulnerabilityisnotsomethingtohide, butsomethingthatconnectsustoone another.
Right: “BehindtheSuccess” Photograph 60cmx40cm www.instagram.com/yi�.photos
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Myar�s�cjourneybeganasawayof understandingmyownemo�onsbeforeI knewhowtonamethem.Iwasdrawnto makingimagesearlyon,nottodocument reality,buttotranslateinternalexperiences intosomethingvisible.Photographybecame aspacewhereIcouldslowdown,observe, andsitwithques�onsratherthanrush towardanswers.Over�me,thisins�nct developedintoaprac�cerootedin symbolism,whereobjects,gestures,and composi�onscarryemo�onalandsocial weight.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Mybiggestinfluencehasbeenmylived experience,especiallymomentsof vulnerability,discomfort,andquiet observa�on.Ratherthanasinglear�stor movement,I’mshapedbythewayeveryday lifereflectslargersystems:howbodiesare seen,valued,orconsumed,andhowcertain experiencesarenormalizedoroverlooked. Theseobserva�onscon�nuetoinformboth myvisuallanguageandtheques�onsIreturn toinmywork.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A:Io�enreturntothemesofconsump�on, desire,vulnerability,andthewaysbodies, par�cularlyfemalebodies,areprojected ontoobjectsandmaterials.I’minterestedin howsomethingordinarycanquietlyhold tensionordiscomfort.Thesethemesfeel personalbutalsodeeplysocial,reflec�ng systemsthatshapehowwesee,use,and discardbothobjectsandpeople,formingan ongoingbodyofworkthatexamines
visibility,value,andpower.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Earlierinmyprac�ce,Ifocusedmoreon aesthe�csandformalcontrol.Over�me, myapproachhasbecomemoreinten�onal andconcept-driven.Inowplacegreater emphasisonmeaning,emo�onal resonance,andtherela�onshipbetween viewerandimage.Myworkhasshi�ed towardsubtleconfronta�on,grounding visualrestraintinaclearlydefined conceptualframework.
Q:Whatroledofailureand experimenta�onplayinyourdevelopment asanar�st?
A: Failureandexperimenta�onare essen�altomyprocess.Manyofmy strongestworksemergedfrommoments thatini�allyfeltunsuccessfulor unresolved.Experimenta�onallowsmeto pushbeyondwhatfeelscomfortableor familiar,whilefailureteachesmewherean imagebecomestoosafe.Iseebothas necessarystepstowardhonestyinmy work.
Right: “Peeled” Photograph 60cmx40cm
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Ratherthanasinglepiece,I’mmost connectedtoworksthatmarkedashi�in howIunderstoodmyownvoicewhenI stoppedtryingtoexplaineverythingand allowedambiguitytoexist.Thesemoments feltmeaningfulbecausetheyreflectedtrust: trus�ngtheimage,theviewer,andmyselfto sitwithcomplexitywithoutresolu�on.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Myprocessbeginswithrigorousresearch, observa�on,andconceptualdevelopment.In thestudio,intui�onbecomespartofthe method:Itestmaterialsandligh�ngandlet
theirreac�onsinformfinaldecisions.Itreat theseshi�sasevidencethatrefinesthe image’smeaning,keepingthework grounded,precise,andresponsive.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: I’minterestedincon�nuingtoexpand myexplora�onofobject-basedsymbolism andtherela�onshipbetweenbodies, materials,andpower.Movingforward,I’m excitedtoexperimentacrossformatsand deepentheemo�onalcomplexityofmy work.Iwantmyimagestoremainvisually restrainedwhilecarryinggreater conceptualandsocialweight,contribu�ng tocontemporaryconversa�onsaroundthe body,consump�on,andpower.
Ma�hewWilkinsonexplorestheevolving rela�onshipbetweenfleshandfunc�onin hiswork—aspaceinwhichthehumanbody isnolongersacred,butrewired,retooled, andreimagined.Thefigureshepaintsinhabit aliminalstatebetweentheorganicandthe mechanical,notasmetaphorsofdystopia, butasreflec�onsofapresentalready undergoingtransforma�on.
Post-Organicrespondstotheentanglement ofbiology,technology,andideology.Onone level,theseworksrepresentthephysical consequencesoftechnologicalimmersion: bodiesshapedbymachines,augmentedby code,orexhaustedbyproduc�vity.On anotherlevel,theypointtoadeeper muta�on—ofiden�ty,ofmemory,andof whatitmeanstobehumaninapost-human age.
Themechanicalelements—wires,tubes,and industrialforms—arenotmerelyimplantsor tools,butextensionsofconsciousness. Likewise,fleshisnolongerpurelybiological; itabsorbsthegeometryoffunc�onandthe burdenofdesign.Inthishybridzone,pain, pleasure,u�lity,andobsolescenceconverge.
Socially,theseformsques�onhowbodiesare
condi�onedbysystems—howtheyare categorized,modified,ormadeefficientin serviceofsomethingexternal.Biologically, theyaskwherenatureendsand engineeringbegins.Technologically,they echoacontemporarytrajectory:machines learningtomimiclife,whilehumans reshapethemselvesinincreasingly machine-likeways.
Wilkinsonusespainttoblurboundaries— betweenmuscleandcable,skinand circuitry,iden�tyandar�fact.Eachsurface islayered,textured,andpunctuatedby star-likespecks,sugges�ngacosmicor existen�aldimension.Thesebeingsmaybe futurerelics,orperhapspresenttruthsseen throughanalteredlens.
Ratherthanofferinganswers,Wilkinson presentsanatomicalriddles—bodiesinflux, machinesthatbreathe,andviewerswho mayrecognizemorethantheyexpect.
Right: “Biogenesis” AcryliconCanvas 100cmx60cm www.instagram.com/ma�hewwilkinson_art
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Istarteddrawingfromanearlyage,o�en storylinesofairba�lesthatIwoulddraw.I wasalsointocomicsandhadaMarvelbook ofhowtodrawsuperheroes,whichIwould copy.Iwasalsointomilitaryaircra�and wouldmakemodelsanddrawthem.During that�meinthe70s,avia�onwasgoing throughalotofexperimenta�on,crea�ng manyweirdandwonderfuldesigns,which fascinatedme.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Everythinginthat70sandearly80s culturalmel�ngpot.Science,physics,and understandingmoreaboutouruniverseand existence.Comics,2000AD.Theearlyworks ofRidleySco�,AlienandBladeRunner, whichwouldofcourseincludeH.R.Gigerand SydMead.Cyberpunkandthemeldingof manandmachine.Tetsuo:TheIronManand Akira,Japaneseanime.Inart,thedepic�on ofthehumanformthroughoutthe Renaissanceperiod.SalvadorDalíandthe surrealists.Illustratorsforcomicsandfilm.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Theman-machinedichotomy.The rela�velyfasttransi�onfromanalogueto digitalandtheexisten�aldreadIfeeldaily.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Itwasalwaysmoreillustra�ve,penciland inkdrawingswithli�lecolouronpaper.Now Ijustwanttopaintlargeandlooseon canvas,whichIamworkingontoimprove.
Q:Whatroledofailureand experimenta�onplayinyourdevelopment asanar�st?
A: Failurethroughexperimenta�onismore frequentthansuccess;itisanessen�al partofgrowth.Ifaileveryday,butitishow Ievolveasanar�st.
Q:Isthereapar�cularpieceyou’ve createdthatstandsoutasespecially meaningfultoyou?Why?
A: Mypieceen�tledPostOrganicII: Reclama�onFieldisthelargest(2m×1.2 m)thatIhavea�emptedandincludesa skylinefrommychildhood.Ilovedbeing abletoworklarge.Crea�ngthisthing emergingorsinkingintotheagricultural landscapewasmaybethefirst�meIfeltI wasge�ngclosetowhatitisI’mtryingto getat.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: I’mnotsure.Toomuchstructurewill ul�matelys�flethecrea�veprocess,butit isalsonecessaryforprojectsorideastobe realised.It’ssomethingIstrugglewithand amhopefullyimprovingon.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Diggingdeeperintotheman-machine narra�veiswhatinterestsmemost,and learningaboutthepsychologicaldrivers whichseemtorelentlesslymoveus forward.Ifeelitisextremelyrelevantand offersavehicleformetohonemyskills.
QiuruiDu(Beijing)isacontemporarypainter whosevibrant,theatricalworkshave garneredinterna�onalrecogni�onfortheir incisiveexplora�onofmodernChinese society.Spli�nghis�mebetweenShanghai andNewYork,Duhasemergedasoneofthe mostcompellingvoicesofhisgenera�on, bridgingEasternandWesternar�s�c tradi�onsthroughadis�nc�vevisual languagecharacterizedbysaturatedcolor pale�esanddarklyhumorousnarra�ves.
EducatedatParsonsSchoolofDesignand Pra�Ins�tute,Duhasbuiltadynamic interna�onalcareersincehisdebutsolo exhibi�onin2018.Hehaspresentedover15 soloexhibi�onsandpar�cipatedinmore than50groupshowsacrossChina,the UnitedStates,andSouthKorea,including exhibi�onsinBeijing’s798ArtDistrictand presenta�onsconnectedtomajor interna�onalartfairs.
Du’sworkhasreceivedsignificant interna�onalrecogni�onthrough ins�tu�onalexposure,secondarymarket inclusion,andcri�cala�en�on.Hispain�ngs haveenteredmajorinterna�onalauc�ons, appearedinprominentartanddesign publica�ons,andareheldinprivate
collec�onsacrossAsia,NorthAmerica,and Europe.
Beyondhisstudioprac�ce,Dufoundedthe E.E.(ExtraExist)ArtGroup,acollec�ve dedicatedtoamplifyingthevoicesof emergingAsianar�sts.Hehascurated morethan15exhibi�onsandcollaborated withmajorglobalbrands,demonstra�ng art’scapacitytoengageaudiencesbeyond tradi�onalexhibi�onspaces.
In2025,Dupublishedhisar�stbookThe BizarreWorldofQiuruiDu,a200-pluspagevolumedocumen�ngworkscreated between2017and2024,spanning mul�pleseriesandtracingtheevolu�onof hisvisualuniverse.
Right:
“TelenovelaSerie:A�ernoonTeaTime” MixedMediaonCanvas 200cmx150cm www.instagram.com/qiuruidu
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Is�llrememberthefirst�meIreallysat downtodrawsomethingseriously.Imust havebeenfourorfiveyearsold.Itwas summerinChina,whichmeantTVsta�ons wereendlesslyreplayingTheLegendofthe WhiteSnake,thisiconiclovestoryabouta whitesnakespiritwhotransformsintoa womanandfallsinlovewithahuman.Iwas completelyobsessed.
Oneday,Iwasatmymother’soffice—she’s aninteriordesigner,bytheway—andIfound apieceofprinterpaperanddrewtheWhite Snake:herhumanformandthenhersnake form.Whenmymothersawit,shecalled overalltheother“aun�es”intheofficeto comelook.Irememberfeelingthisflushof… Idon’tknow,pride?Recogni�on?Something thatmademewanttokeepdrawing.
Growingup,Iwasalwaysinmymother’s office:thousandsoffabricswatches, materialboards,andinteriordrawings sca�eredeverywhere.Ironically,Ihavezero interestininteriordesign,probablybecauseI sawtoomuchofitasakid.Butbeinginthat environment,surroundedbycolorsamples andformstudies,itwasimpossiblenotto absorbacertainvisuallanguage.
WhenIwenttoParsonsforillustra�on,Is�ll wasn’tsureifI’dactuallybecomeanar�st.I lovedmakingthings,buttheideaofitbeing acareerfelt…abstract.Itwasn’tun�lmy �meatPra�thatIrealizedwhatIwas actuallydoingwasusingpain�ngtoprocess everythingI’dobservedgrowingupin China—allthoseaun�es,allthosesociallives, allthosecontradic�ons.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Honestly?Thosesameaun�esfrommy mother’soffice.AndtheonesI’dsee everywheregrowingup—atmarkets,at templefairs,inshoppingmalls,doing squaredancinginpublicparks.People alwaysaskme,“Whymakemiddle-aged Chinesewomenyourmaincharacters?” AndI’mlike,whynot?They’reeverywhere, they’refascina�ng,andnobodytakesthem seriouslyassubjects.They’rewalking contradic�ons:tradi�onalbutalsoweirdly westernized,frugalatthegrocerystorebut impulsiveaboutbuyinggold,conserva�ve aboutsomethingsbutsurprisinglyopen aboutothers.
IcallmymaincharacterDamaWang.She’s sortofanamalgama�onofallthese womenIobserved.Throughher,Ican exploreeverything—consumeranxiety, aging,socialstatus,genderperformance. She’smywayintotalkingabout contemporaryChinesesocietywithout makingittooheavy-handed.
Also,beingqueerdefinitelyshapeshowI seethings.You’realwaysabitoutsidethe mainstream,whichisactuallytheperfect posi�onforsa�re.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A: Theperformanceofhappiness, definitely.Thatgapbetweenhowthings lookandhowtheyactuallyfeel.
Chineseculturehasthisthingwhereyou’re supposedtopresentacheerful,prosperous facetotheworldnoma�erwhat’s happeningunderneath.Myparents’ genera�onespecially—theylivedthrough somuchupheavalandchange,andthe responsewastojustmakeeverything
brightandloudandcelebratory.Don’t complain,don’tshowweakness,justkeep smiling.
Mypain�ngshavethesesupersaturated colorsandexaggerated,theatricalscenarios. Peoplesome�mesthinkthey’refunand lighthearted.Butifyouactuallylookat what’shappening—theexpressions,the situa�ons,theli�ledetails—it’so�enquite dark.There’sanxietyabouteverythingthatis happeninginoursociety,aboutsocialstatus, aboutkeepingupappearances.The brightnessisthemask.
I’malsoobsessedwithsoapoperaaesthe�cs, whichiswheremyTelenovelasseriescame from.Thoseshowsaresoover-the-top melodrama�c,butpeoplelovethemexactly becausetheyexternalizeallthesehidden emo�ons.Everythingthat’susuallykept private—maybeitisjealousy,despera�on,or compe��on—getsblownupintotheatrical gesture.That’sbasicallywhatI’mdoingwith paint.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Earlyworkwasverymuchaboutsociety, childhoodmemories,andfantasies,but filteredthroughsocialobserva�on.Iwas lookingoutward,usingcharacterslikeDama Wangasaguidetoexplorethesebig collisionshappeningincontemporary Chinesesociety.Shewasmylensfor examiningconsumerculture,genera�onal conflict,urbantransforma�on.Theworkwas commentary,observa�on,metryingtomake senseofthesocialtheateraroundme.
Butlately,I’vebeenmovinginward.I’mmore interestedinprivateemo�ons,desire,the queersideofthingsthatImaybekeptmore guardedbefore.Insteadofusingcharacters
tocommentonsociety,I’mmorecurious aboutwhatpeopleactuallyfeel underneathallthatperformance—the privatestuff:longing,sexuality, vulnerability,theemo�onswedon’tputon display.
It’snotthatI’veabandonedsocial commentaryen�rely,butthefocushas shi�ed.I’mlessinterestedin“here’swhat’s wrongwithconsumerculture”andmore interestedin“whatdoesitfeelliketowant somethingyou’renotsupposedtowant?” Thepersonal,thein�mate,thepartsof ourselveswehide.
Visually,I’vealsogo�enwaymore comfortablewithbeing“corny.”Iusedto worrymyworkwastooflat,too exaggerated,toomuchlikebadChinese kitsch.ButthenIrealizedthat’sexactly whatIshouldbeleaninginto.The corninessisthepoint.Itreflectshowwe actuallylive,constantlyperformingfor eachother,turningourlivesintoepisodes ofsomebizarresoapopera.
Ialsostoppedtryingtomake“serious contemporaryart”thatlookslikewhat WesterngalleriesexpectfromChinese ar�sts.There’sthiswholeindustryof traumapornandpoli�calvic�mhoodthat getsmarketedas“importantChinese contemporaryart.”I’mnotinterestedin that.I’dratherbetackyandhonestabout whatI’mactuallyfeeling.
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: TheTelenovelasseries,Ithink.That’swhen Istartedbeingreallyopenaboutmy queernessinsteadofcodingitintosocial commentary.
Soapoperasareinherentlycamp— everythingisexaggerated,melodrama�c, performed.Andthatcampaesthe�cgaveme permissiontoexploredesire,rela�onships, andemo�onalintensitywithoutpretending tobemaking“serioussocialcri�que.”Icould justbehonestaboutfeelings.
Thosepain�ngsareunapologe�cally theatricalinawaythatfeelsveryqueerto me.Theheightenedemo�ons,thedrama,the waycharactersrelatetoeachother—it’sall muchmorepersonalthanmyearlierwork.
7.Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: I’mprobablymorestructuredthanpeople expect.Isketchthingsout,plan composi�ons,thinkaboutcolor rela�onships.I’mnotjustthrowingpaint aroundhopingsomethinghappens.
Butwithinthatstructure,Ileaveroomfor accidents.Thecharactersdevelop personali�esasIpaintthem.Some�mesI startwithoneexpressioninmind,andbythe �meI’mactuallyworkingontheface, somethingelseemerges.Ifollowthatinstead offorcingmyoriginalplan.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Ihavesoloshowscomingupin
GuangzhouandXi’anin2026,but honestly,whatexcitesmemoreisbuilding anen�reuniversewhereallmycharacters existtogether.Notjustindividual pain�ngs,butawholeinterconnected world—DamaWang,theBabes,everyone fromtheTelenovelasseriesallinhabi�ng thesamereality.
Iwantexhibi�onstobecomemore immersive,lesslikelookingatpain�ngson wallsandmorelikesteppingintothat universe.Maybeinstalla�ons,narra�ve elements,environmentswhereviewerscan actuallyentertheworldI’vebeen construc�ng.
I’malsointerestedinmakingcommercial collabora�onsmoreconceptually interes�ng.Notjustslappingmyimagery onproducts,butactuallythinkingabout howconsumerculturecanbepartofthe ar�s�cconversa�oninsteadofseparate fromit—makingthecommerceitselfpartof thecommentary,Iguess.
Ialsowanttokeepsuppor�ngyoungAsian ar�ststhroughtheE.E.ArtGroup— crea�ngpla�orms,cura�ngshows,and givingspacetoemergingvoices.
Right:
“TelenovelaSerie:Woman,Man,Eat” MixedMediaonCanvas 360cmx150cm
HanyingXuisamul�disciplinaryar�st workingprimarilyinpain�nganddrawing. Herprac�ceexploresinnerpercep�onand theunseenforcesthatshapehuman experience.Throughlayeredabstrac�onand intui�vemark-making,shecreates immersivevisualspacesthatexistbetween thesubconsciousandthephysicalworld.
Herworkisinformedbyongoingresearchin philosophy,psychology,andmys�cism,with par�cularinterestinDaoistthought,Carl Jung’stheoriesoftheunconscious,and medita�onprac�ce.Xuapproachespain�ng asanevolvingprocessguidedbyintui�on, chance,andmaterialresponseratherthan fixedrepresenta�on.Transparency,depth, andgesturalmovementarecentraltoher visuallanguage,evokingstatesofflux, transforma�on,andinterconnectedness.
Originallytrainedineconometricsand management,Xuworkedininvestment bankingbeforetransi�oningfullyintofine art.SheiscurrentlyaPost-Baccalaureate studentattheSchooloftheArtIns�tuteof Chicago,whereshecon�nuestoexpand herprac�ceacrosspain�ngand installa�on.
Right: “UnseenSpirit” MixedMediaonCanvas 61inX69in www.instagram.com/Hanying_Xu_Art
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Ihavealwaysfeltasenseofdistancefrom theworld,asifpartofmeobservesEarth fromanotherrealm.Asachild,Iwas introspec�veandquiet,findinghumansocial structuresstrangeandoverwhelming.Over �me,myrela�onshipwiththeworld deepenedthroughsocializing,traveling,and formingconnec�ons.YetIhavealwaysfound moresolaceinthewilderness—amongtrees, rocks,andanimals—thaninthecompanyof people.
Fromanearlyage,Ireceivedsustained traininginChinesecalligraphy,whichshaped myunderstandingofrhythm,movement,and theinternallogicofgesture.Thisearly disciplineestablishedawayofrela�ngto expressionthroughflowanda�en�on,andit con�nuestoinformhowIapproachpain�ng today.Althoughmyeduca�onandearly careerfollowedaconven�onalpath—I studiedeconomicsandmanagementand laterworkedataleadinginvestmentbankin China—Iexperiencedanintenseinner ruptureduringthoseyears.ThelifeIwas livingnolongeralignedwithwhoI understoodmyselftobe,andthat misalignmentbecameimpossibletoignore.
Pain�ngbecamethewayIcouldfully becomemyselfandliveincloseralignment withwhatfeltessen�al.Thisrecogni�onled metopursueformalarttrainingatthe SchooloftheMuseumofFineArtsatTu�s UniversityandlaterattheSchooloftheArt Ins�tuteofChicago.Myar�s�cprac�ce movesbetweendifferentdimensions,using pain�ngasawaytocommunicatewith unseenenergies.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Mystrongestinfluencescomelessfrom asinglefigurethanfromrecurringstatesof percep�on.Certainplacesinnature, specificmomentsin�me,andpar�cular soundscandrawmeintosubconscious statesthatgivemetheabilitytopaint whatcannotbeseen.Thesemoments shapethewayIpaint,allowingtheworkto emergefromintui�onratherthan representa�on.
CarlJung’swri�ngsontheunconscious, Daoistthought,andmyownmedita�on prac�cehaveallshapedhowIunderstand innerexperienceandpercep�on.Iamalso inspiredbyar�stssuchasHilmaafKlint andWassilyKandinsky,par�cularlyinhow theyapproachedabstrac�onasameansof accessingspiritualorinvisibledimensions ratherthanformalexperimenta�onalone. Together,theseinfluencesguidemy prac�cetowardbuildinginnerlandscapes thatexistbetweendifferentdimensions.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A: Iamconsistentlydrawntospecific places,moments,andfieldsofexperience— par�cularlyinnature—suchasspa�al atmospheres,shi�sinlight,orsoundsthat movemeintotranscendentalstatesof awareness.Withinthesecondi�ons,my percep�onloosens,andIfeelmyself dri�ingbetweendimensionsratherthan remainingfixedwithinordinary�meand space.
Thesestatesbringaprofoundsenseof innerhappinessandclarity,wherethe instantaneousandtheeternalseemto coexist.TheyarenotideasIaimto illustrate,butlivedexperiencesIwantto remainwithin.Pain�ngbecomesthewayI
staywiththesestatesandallowthemto unfoldvisually.Ratherthandeliveringafixed message,myworkemergesfrommomentsof expandedawareness.Throughabstrac�on,I trytogiveformtoexperiencesthatexist beyondlanguage—statesthatdissolve boundariesandallowpercep�ontomove freely.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Earlierinmyprac�ce,Iwasmore concernedwithform,control,andfindinga visuallanguagecapableofholdingwhatI wasfeeling.Over�me,myfocusshi�ed awayfromconstruc�ngimagestoward enteringspecificstatesofawarenessand allowingtheworktoemergefromwithin them.
Asmyprac�cedeveloped,Ibecameless interestedinresolvingapain�ngandmore interestedinremainingwithuncertainty.I learnedtotrustintui�onandsustained a�en�on,allowinggesture,layering,and materialresponsetoguidetheprocessrather thanpreconceivedcomposi�on.
Q:Whatroledofailureandexperimenta�on playinyourdevelopmentasanar�st?
A: Idonotexperiencefailureasafixed categoryinmyprac�ce.Pain�ng,forme,is anongoingdialogue—eachgesture,pause,or shi�inmaterialbecomesaresponsetowhat theworkasksforinthatmoment.What mightappearasfailurefromtheoutsideis o�ensimplypartofthisconversa�on.
Experimenta�onkeepsthedialogueopen. Ratherthanworkingtowarda predeterminedresult,Ilistencloselytothe pain�ngandrespondintui�vely.Decisions areguidedbysensa�on,rhythm,and
a�en�onratherthanjudgment.Inthis sense,experimenta�onisaboutstaying present.Theworkevolvesthrough con�nuousadjustmentandexchange, shapedthrougha�en�veness,trust,and sustainedengagement.
Q:Isthereapar�cularpieceyou’ve createdthatstandsoutasespecially meaningfultoyou?Why?
A: Oneworkthatfeelsespecially meaningfultomeisUnseenSpirit.It emergedfrommydesiretogiveformtothe invisibleenergiesIsenseduring medita�on—subtlestatesofawareness thatexistbeyonddirectvision.The pain�ngwascreatedwithoutanyprior planorfixedcomposi�on.Ienteredthe processopenly,respondingintui�velyto whatunfoldedonthesurface.
Duringitsmaking,Idevelopeda spontaneouswipingtechniquethat allowedgesturestoappear,dissolve,and reconfigureinreal�me.Whatmakes UnseenSpiritsignificantisthatitmarksa momentofcompletetrustintheprocess. Theworkisnotarepresenta�onofan image,butatraceofaninternalstate—an encounterwithunseenenergyshaped throughintui�onandpresence.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Iusuallybeginwithaloosestructure— some�mesasmallsketchoranini�alidea— butItreatitasapointofdeparturerather thanafixedplan.Oncethepain�ngbegins,I allowac�veimagina�ontotakethelead, le�ngtheworkmovebeyondthelimitsofits originalframework.
Spontaneityplaysacentralroleinthis process.Asgestures,materials,andrhythms respondtooneanother,thepain�ng developsthroughintui�onand a�en�veness.Structureemergesgradually throughspontaneousbrushstrokes,layering, andsustainedengagement,shapedbywhat theworkasksforratherthanwhatwas ini�allyimagined.Balancingspontaneityand structureisnotaboutmaintaining equilibrium,butaboutknowingwhentolet goandwhentorespond.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Myworkismovingtowardamore expansiveandimmersivedirec�on.Iwill con�nuetoworkprimarilythroughpain�ng, butonalargerscale—allowingthepainted surfacetofunc�onasafieldratherthanan object.Iaminterestedinhowpain�ngcan shi�humanawarenessanddirectlyengage theviewer’spercep�on.
Inthefuture,Iplantointegrateinstalla�on andsoundintomyprac�cetointensifythe experienceofpain�ngitself.Bycrea�ng immersivecondi�ons,Iwantviewerstoenter aslowed,heightenedstateofawarenessthat mirrorstheperceptualshi�sfromwhichthe workoriginates.Whatexcitesmemostis pushingpain�ngtoitslimitswhileremaining
rootedinintui�on,presence,andlived experience—allowingittobecomeaspace thatisfeltratherthanseen.
Right: “Flee�ng” MixedMediaonCanvas 61inx69in
AidenLawrenceisamul�mediaar�stand photographerwhoseprac�ceiscon�nually inspiredbyworkingacrossarangeof mediums.Photography,however,remains theoutlethefindsmostversa�le— par�cularlywhenusingmul�ple-exposure techniques,wherethepossibili�esof outcomebecomericherthanthoseofa singleexposure.Thisapproachallowshimto blenddifferentsubjectsandmoments together,encouragingamorethough�uland intui�veprocess.Whendecidingwhatto photograph,heo�endrawsinspira�onfrom theimageryofthepreviousframesothatit complementsthecomposi�onofthenext.
Byblendingcandidportraiture,elementsof thenaturalworld,andvisualmo�fsthat evokefantasyandnostalgia,Aidencreates dreamlikescenesthatfeeletherealand emo�onallyresonant.
HehasexhibitedinseverallocalandnonprofitcommunitygalleriesacrossEngland andWalesandcon�nuestoexpandhis prac�ceinSaigon,Vietnam,whereheis
currentlybased.AidengrewupintheUK andstudiedFilmmakingattheUniversity oftheWestofEnglandinBristol,wherehis visualprac�cefirstbegantotakeshape.
Right: “GatheredRoundtheRig” SixframeComposite 84cmx56cm h�ps://www.instagram.com/aidenowenlawrence
MaraJacob(b.1996,Germany)isavisual ar�stworkinginpain�ngandmixedmedia, withafocusonatmosphericimage-making andinteriorpsychologicallandscapes.Her prac�ceinves�gateshowmemory accumulates,fragments,andse�lesinto visualstructures—webs,petals,silhoue�es, traces—thatoperatelikesubtleemo�onal architectures.
Jacob’sworkdrawsfromearlyanima�on aesthe�cs,botanicalillustra�on,and archivallogics,transla�ngthemintoaquiet, cinema�csurrealism.Ratherthandepic�ng narra�ves,sheconstructsenvironments:so� gradients,fragileobjects,intricateline systems,andmutedcolourfieldsthatevoke thesensa�onofrememberingratherthan thememoryitself.Hersurfacesfunc�onas spacesofpercep�on—in�mate,slow,and deliberatelyunresolved.
HerongoingseriesTheAnatomyof Melancholiaapproachesmelancholianotas sen�ment,butasanecosystem.Each pain�ngfunc�onslikeanorganwithinthis ecosystem:aweb,apetal,athreshold,a table,agarden.Together,theymapthe internalweatherofemo�onallifethrough botanicalandatmosphericmetaphors.
Acrossherwork,theinfluenceofarchival prac�cesisevident—classifica�on, annota�on,fragment,residue.Jacobtreats imagesascontainersofquietpsychological data,arrangedwiththeprecisionofbotha botanistandaneditor.Theresul�ngvisual languageisminimalyetemo�onally saturated,opera�ngatthethresholdofthe familiarandtheuncanny.
Herworkhasbeenexhibited interna�onally,includingBedsheets& PoemsatTheHolyArtGalleryinLondon (2025)andTheyAreAllOrchidsinKinda WeirdMagazine(2025).Shecurrentlylives andworksinGermany.
Right: “Annotatedblossom” AcryliconLinen 60cmx50cm h�ps://www.instagram.com/mjyesterday
NadzeyaMakeyevaisanaward-winning illustrator&graphicar�stwholivesand worksinSanFrancisco,CA.She'samember oftheSocietyofIllustratorsofLosAngeles, theBelarusianUnionofDesigners,andthe ContentAuthen�cityIni�a�ve.She specializesinlong-termintricateartworks withalargenumberoffinedetails.
Asagraphicar�st,Ispecializeinmanual graphics,bookillustra�on,andprintamking.
GraduatedfromtheAcademyofArts,where Iwaslearningforsixyears,Ipossesstheskill todrawinanytechniqueorstyle.Myworks arecharacterizedbyadis�nc�vestyle;this kindofartbelongstotheBelarusiangraphic school,whichisknownforitsstrong academicdrawingsandrealism.
Inessence,myar�s�cstyleisafusionof manualgraphicswithrefineddigital elements.Throughauniqueapproach,I seamlesslyblendthetac�lequalityofpencil onpaperwithvibrantcolorsandprecise digitalillustra�on.Myaimistocreate illustra�onsthatevokeasenseof enchantment,wonder,andsurrealism.The enchan�ngworldofnature,par�cularlyits
magicalcreatures,servesasaprofound sourceofinspira�onformyartwork. Drawingfromtherealmsofmythology, folklore,andsciencefic�on,Ibreathelife intofantas�calbeingsandcap�va�ng portraits.Intheprocessofcrea�ngthese etherealcharacters,Ifindsolaceand authen�city,reconnec�ngwiththedreams ofmychildhoodandrediscoveringwhat trulyma�ers.
Ispecializeincrea�ngintricate&unique illustra�ons&art.Theturnaround�mefor eachofthemstartsfromoneweek.Every pieceofmyworkishand-drawnmanually. Eachofthemisini�allysketchedonpaper withsimplepencilsandsubsequently,ifthe taskorconceptrequires,theyarecolored andrefinedusinggraphiceditors.
Right: “TheTreeFairy”
PencilonPaper,Scanner,AdobeColoring 21cmx29cm h�ps://www.instagram.com/nadzeya_makeyeva
LiHaograduatedfromtheCentralAcademy ofFineArtsin2008.In2016,hefounded OneTakeArchitects,aninterdisciplinary prac�cespanningarchitecture,art,and productdesign,andhassincereceived mul�pleinterna�onalawards.In2017,he ini�atedProgramSPARK,apublicart ini�a�vethatprovidesfreearteduca�onfor le�-behindchildreninChinathroughnonprofitarchitecturalandarteduca�on programs,aimingtoinspirecuriosity, crea�vity,andlong-termsocialchange.
LiHao’sprac�ceexplorestherela�onship betweenartandmemory,geometry,andthe transparencyoftheworldaroundus.He workswithlight,technology,reflec�ve surfaces,andtranslucentmaterialstobuild immersiveenvironmentsthatheightenthe authen�cityandjoyofmaterialswhile reframingeverydayexperience.Hisprojects seekharmonybetweenpeople,space,and nature—crea�ngsubtle,emo�onally resonantsitua�onsthatremainopento mul�pleinterpreta�onsandinviteviewersto reimaginetheirrela�onshipwiththeplanet.
Rootedinsocialengagement,storytelling, andcollec�veexperience,Lio�en
collaborateswithunderrepresented communi�es,usingpublicartasapla�orm forculturaldialogueandsocial transforma�on.Byblendinginterac�ve elementswitharchitecturalinterven�ons, heaimstoblurtheboundariesbetween architecture,art,andsocialresponsibility— expandingpar�cipatoryexperiences beyondgalleryse�ngsandtransforming ordinaryenvironmentsintodynamic spacesforconnec�on.
Right: “PopStar-Nexus” MixedMedia 270cmx230cmx250cm Photographedby:DanMuseum h�ps://www.instagram.com/atelier_lihao
GuangyuZhangisaLondon-basedar�st workingprimarilyinpain�ngandexpanded pain�ngprac�ces.Heiscurrentlycomple�ng anMAinPain�ngattheRoyalCollegeofArt, followingaBFAinDrawingandPain�ng fromOCADUniversityinToronto.
Zhang’sabstractpain�ngsexplorethe tensionbetweenmemory,emo�on, landscape,andthephysicalactofpain�ng. InfluencedbybothEasternaesthe�csand WesternAbstractExpressionism,Zhang’s workstracemovement,rhythm,and atmosphereacrosslayeredsurfaces.His recentpain�ngsareo�eninspiredbythe movementofwater,usingwaterasa metaphorfortransience,in�macy,and connec�on.
Zhanghaspresentedmul�plesolo exhibi�ons,andhisworksareheldin numerousprivateandins�tu�onal collec�onsinterna�onally.Zhang’sprac�ce
reflectsasearchforsinceritywithin abstrac�on.Eachcanvasbecomesasiteof nego�a�onbetweentheinnerandouter worlds,wheretracesofgesturerevealthe tensionbetweenpresenceandabsence—a personalvisuallanguagegroundedin honestyandembodiedexperience.
Right: “ThinkingofYouasIDri�ThroughTime” MixedMediaonCanvas 200cmx255cm h�ps://www.instagram.com/k_zhang18
AlvaroLunaisamul�disciplinaryvisualar�st basedinHarlem,NewYork,whoseprac�ce centersonwatercolorandmixedmedia. Workingwithwatercolor,gouache,acrylic, andlayereddrawing,heexploresiden�ty, transforma�on,andresiliencethrough expressivefigura�veimagerythatisboth in�mateandemo�onallycharged.
WaterisarecurringelementinLuna’swork— notonlyasamaterialbutasasymbol. Bleedingpigments,flowingedges,and suspendedformsevokemo�on,vulnerability, andtheshi�ingnatureofself.Figureso�en appearemergingfromordissolvinginto washesofcolor,sugges�ngmomentsof becoming,memory,andquietrebellion. Throughthesegestures,Lunauses watercolor’sunpredictabilityasa collaboratorratherthanaconstraint.
Hismixed-mediaapproachallowsfortension betweencontrolandrelease.Precisedrawing andanatomicalstructurecoexistwith expressivemarks,splashes,andlayered textures.Influencedbyqueernarra�ves, spiritualsymbolism,andglobalvisual cultures,Luna’sworkembracessensuality, so�ness,andstrengthwithouthierarchy.The bodybecomesasiteofstorytelling—charged withemo�on,desire,andresilience.
LunaholdsanMFAfromtheNewYork AcademyofArt,wherehedevelopeda strongfounda�oninform,anatomy,and observa�onaldrawing.Thisclassical traininggroundshisotherwisefluid, intui�veprocess,givinghisfiguresasense ofpresenceevenastheydissolveinto abstrac�on.Hisbackgroundinadver�sing designcontributestoarefinedsenseof composi�onandvisualrhythmacrosshis work.
Inaddi�ontohisstudioprac�ce,Lunais commi�edtocommunity,educa�on,and collabora�on.Throughexhibi�ons, commissionedportraits,andteaching,his workinvitesviewerstopause,reflect,and recognizethemselveswithinlayered narra�vesoftransforma�on.
Hispain�ngsfunc�onasvisualpoems— quietlypowerful,emo�onallyresonant, andunapologe�callyalive.
Right: “WhereRhythmLives” WatercoloronPaper 38cmx38cm h�ps://www.instagram.com/blackluna_art
Carriedbyacrea�vebreaththatfirsttook shapeinfashionandtheater,JohanneJulien hasfoundinpain�nganin�matelanguage— awaytobreathe.Oil,herpa�entally,offers asuspendedmomentinwhicheachgesture becomesaformofmedita�on.Acrossher canvases,radiantyellowsemergeand conversewithdeepblues,echoingfragments ofinfinity.Vastandvibrant,herlandscapes openinnerdoorways,celebra�ngthesimple yetprofoundjoyofexis�nginharmonywith light,withnature,andwiththeworldaround us.
Right: “Jaunejardin” OilonCanvas 46cmx61cm h�ps://www.instagram.com/ johannejulienpeintre
SydneyLemmonisarepresenta�onalpainter whoseworkblendsvibrantcolorwith whimsicalsubjectma�er.Currentlybasedin Texas,shewasbornandraisedinFort Collins,Colorado,whereshedevelopedher skillsintradi�onaldrawingandpain�ng.Her workstemsfromafascina�onwithcolor theoryandtheemo�onalimpactoflightand shadow,influencesthatshapeherapproach acrossallsubjectma�er.Whetherportraying expressiveanimalsoratmospheric landscapes,SydneyLemmoncreates cap�va�ngworksofart.
Right: “Smirnoff” MixedMediaonCanvas 50cmx60cm h�ps://www.instagram.com/syd_lemmonart
SherryKeeneisafineartphotographer basedinEurope,knownforquiet, contempla�veimagesmadeiniconic loca�onsduringmomentsofs�llness—o�en atdawnorduringbluehour,longbefore crowdsarrive.Herworkfocuseson architecture,landscape,andurbanspace, usingrestraint,nega�vespace,andsubtle lighttocreateimagesthatfeelgroundedand �melessratherthanperforma�ve.
Withabackgroundspanningmorethan25 yearsasavisualinforma�onspecialist, designer,andcrea�vedirector,Keenebrings adisciplinedandinten�onalapproachto photography.SheholdsbothaBFAandan MFA,hastaughtatthecollegelevel,and drawsheavilyonherexperienceinvisual communica�on.Composi�on,pacing,and clarityarecentraltoherprac�ce,andeach imageisconstructedwithdeliberateness ratherthanchance.
KeeneworksprimarilyacrossEurope, returningrepeatedlytothesameloca�ons un�laphotographfeelsresolvedratherthan opportunis�c.Herprocessfavorspa�ence overspectacle,withimagesthatemphasize structure,silence,andemo�onalweightover overtdrama.
Herphotographshavereceivedinterna�onal
recogni�onandhavebeenawardedand publishedinmul�plejuriedcompe��ons andexhibi�ons.Sheproducesherwork firstandforemostasphysicalobjects— large-format,archivalprintsintendedtobe livedwith—manyreleasedaslimited edi�onsaccompaniedbycer�ficatesof authen�city.
Collectorsandviewerso�endescribe Keene’sworkascalm,anchoring,and quietlyevoca�ve,frequentlyno�ngasense ofnostalgiaorfamiliarityeveninunfamiliar places.Ratherthandocumen�ng des�na�ons,herphotographsexplore whatremainswhennoiserecedes.
Keenecon�nuestodeveloplong-term bodiesofworkthatinves�gatememory, s�llness,andtheemo�onalresonanceof place.
Right: “WhereSighsS�llLingerontheBridgeofSighs inVenice”
Photograph 90cmx60cm h�ps://www.instagram.com/keenefine.art
BritniEberleisavisualar�stwhoseprac�ce isdeeplyshapedbyresilience,healing,and renewal.Shehaslivedwithasevere autoimmunediseasethatatonepointle� hersoillsherequiredawheelchairand assistancewithdailycare,includingbathing. Duringthisperiod,shewasunabletopickup hercameraforsixyears,markingalongand difficultpauseinhercrea�velife.
In2025,Britnireturnedtophotography. Thatyearbecameoneofthehappiestand mosttransforma�veofherlife,asshebegan crea�ngagainwithrenewedclarityand gra�tude.Herreturntoimage-making markednotonlyacrea�verebirth,buta personalone—filledwithjoy,produc�vity, andaprofoundsenseofapprecia�onforthe abilitytocreate.Shedescribesthischapter asa�meofmakingmagic,groundedin gra�tudeandadeepawarenessofhow precioustheactofcrea�ontrulyis.
“Shag” Portrait 5664x8192 h�ps://www.instagram.com/ the.ascending.lark.photography
DanaLoveisanar�st,storyteller,and designerwhoseprac�ceisrootedinvisual narra�veandemo�onalexpression. Crea�vityhasalwaysbeencentraltoherlife. Shegrewupsurroundedbystrongwomen whotaughtherhowtomakesomething beau�fuloutofveryli�le—fromcra�sand scrapbookingtorepurposingrecycled materialsandsewingclothesforBarbiedolls. Whileothersgravitatedtowardsports,Dana wassketchingdressesandstylingoutfits. Thatcrea�vesparkstayedwithher,even duringperiodswhenshestruggledtobelieve init.
Shestudiedphotographyincollege,drawnto themediumduringapar�cularlydifficult periodinherearlylife.Thedarkroombecame aplaceofrefugeandself-reconnec�on. Influencedbyar�stssuchasNanGoldin, CindySherman,andSarahBahbah,she begantellingstoriesthroughthelens—some personal,someimagined,alldeeply emo�onal.Despitethisconnec�ontoher work,shefacedongoingchallengeswithselfdoubt,comparison,andthebeliefthatshe wasnotenough.Fora�me,shestopped crea�ngaltogether,leavingbothhercamera andherar�s�ciden�tydormant.
Eventually,lifeledherbacktoherself.Afew yearsago,someoneremindedherofher crea�vecapacity,andshebeganrebuilding herprac�ce.Shehassincecompleteda
degreeingraphicdesignandrediscovered herpassionforbranding,marke�ng,and visualstorytelling.Oneofhermost meaningfulmilestoneswaspar�cipa�ngin MiamiArtWeek2025,wheretwoofher photographswereexhibitedinagallery— anexperiencethatreignitedher connec�ontophotographyandreaffirmed herar�s�cpath.
Dana’saspira�onsincludeworkingwith luxurybrands,crea�ngcampaignsin fashionandhospitality,andpublishingher ownphotographyandpoetrybooks.She hopestotravel,create,andinspireother ar�stswhohaveeverfeltunseenor uncertain.Atthecoreofherprac�ceisa renewedbeliefinpossibility—the understandingthatthereisnothingshe cannotlearn,become,orcreatewhenshe believesinherself.
Right: “Shadows” SelfPortrait 45.72cmx60.96cm h�ps://www.instagram.com/dana.luvly
MaximilianoRiedelisa3Ddesignerfrom Argen�na.Hisprac�ceexploresform,space, anddigitalconstruc�on,workingatthe intersec�onofdesign,technology,andvisual experimenta�on.Throughthree-dimensional processes,hecreatesimmersiveand concept-drivenworksthatreflecta contemporaryapproachtodigitaldesign.
Right: “BirdOfParadise” MixedMedia 18cmx22cm h�ps://www.instagram.com/macs.riedel
ClaudioCecche�isanItalianpainterwhose workbridgestherigoroustradi�onsofthe Floren�neRenaissancewiththeconceptual inquiriesofcontemporaryfigura�veart.Born inFlorencein1976,hisar�s�ciden�tyis definedbyaprofoundtechnicalmasteryof drawingandaphilosophicalinterestinthe humancondi�onasreflectedthrough physicalspaceandeverydayobjects.
Cecche�graduatedfromFlorence’s AccademiadiBelleAr�in2004before reloca�ngtotheUnitedStatestoa�endthe NewYorkAcademyofArt,whereheearned hisMFAandwashonoredasa2024Chubb Fellow.Hiscareerhasgarneredinterna�onal recogni�on,includinganinvita�ontothe 54thVeniceBiennalein2011.More recently,heexhibitedattheGreenFamilyArt Founda�onalongsiderenownedar�sts JennySavilleandCecilyBrown.Hisstanding withintheglobalartmarketisfurther underscoredbyappearancesatSotheby’s eventsandtheexclusiveCollectorsLounge atArtBaselMiami,aswellasfeaturesin Harper’sMagazine.
Cecche�’soeuvreischaracterizedbyan enduringfascina�onwith“whatisle� behind,”focusingondiscardedobjectsand remnantsofdailylifethatfunc�onassilent portraitsoftheirowners.Hisprac�ce employsaversa�lerangeofmedia, includingoil,ink,andgraphite,o�en appliedtounconven�onalsurfacessuchas plas�candwood.Today,Cecche� con�nuestoexplorethetensionbetween academicformandthepsychological resonanceofthemodernworld,solidifying hisposi�onasavitalvoiceincontemporary Italianart.
Right: “ClncerningEntropy” OilonPaperMountedonPanel 55cmx55cm h�ps://www.instagram.com/claudiocecche�
AndrewTraubisanar�standcheflivingand workinginLosAngeles,California.A graduateofPra�Ins�tutewithamajorin Sculpture,hegravitatedtowardpain�ngand cookinga�ercomple�nghisstudies.Food hasalwaysbeenacentralpartofAndrew’s workandlife—fromlearninghowtocook eggswithhisgrandmotheratayoungageto workingasachefinsomeofthebusiest restaurantsinNewYorkandCalifornia.
Right: “IsitTunaorisitCake” MixedMediaonCanvas 50.8cmx50.8cm h�ps://www.instagram.com/andrewtraubart
JosephAmaalisamul�disciplinarycreator workingattheintersec�onoffashion,3D, andmusic.ThroughhisprojectLesMonstres deJaldito,heexploresthehumanexperience fromanalterna�veperspec�ve,crea�ng parallelworldsinwhichmonstersbecome reflec�onsofourdeepestemo�ons. Conceivedasanimmersiveexperience,this workinvitesviewerstofeelratherthan analyze,andtoconfronttheirowninner selves.
Right: “AARONTHELOVER” MixedMedia A4
h�ps://www.instagram.com/itsjaldito
CarolHamcke-OnstwedderisaLondonbasedphotographerwhoislargelyselftaught,havinglearnedthroughthestudyof masterphotographers.Shespecializesin natureandtravelphotography,though documentaryphotographyalsoappearsin herprac�cefrom�meto�me.Shecon�nues tobeinspiredbytheworldasitpasses throughherlens,con�nuallypushingher skillsandcrea�vitytocreatefineart photographsthatreflectthebeautyofthe worldaroundher.
Image: “RedandBamboo”
Photograph 4x6
h�ps://www.instagram.com/cho_thru_the_lens
MichaelaForeman’sjourneyinto photographyisdeeplyintertwinedwithher transi�onfromurbanlifetoruralWisconsin. Formerlyacomputerprogrammer,project manager,andentrepreneur,Foreman embracedanewlifeasafarmer,andforthe pastsevenyears,herphotographyhas evolvedalongsideheragricultural experiences.Herimageschroniclethe rhythmsoffarmlife,capturingbothits beautyanditsstarkreali�es.Throughher lens,Foremanpresentsanin�mateportrait ofruralliving,par�cularlyduringtheharsh Wisconsinwinters,whenthelandscapeis strippedofcolorandwarmth.Herwork servesasanhomagetofarmerswhose resilienceanddedica�onendureevenunder themostunforgivingcondi�ons.
“Allofmyphotographyoccursonmyfarm,” Foremanshares.“Ihavefortyacresinwhich tofindsomethingIcansharewiththerestof theworld.IlovewhereIlive,andIhopeto conveythatthroughmyphotography.”Her deepconnec�ontothelandallowsherto capturethesubtle�esoflightandseason, offeringauniqueperspec�veonher surroundings.Whetheritisthegoldenlight ofsunriseorthequietshadowsinabarn’s darkcorner,Foremanfindsbeautyinthe everydaymomentsoffarmlife.
Foreman’sapproachtophotographyis rootedinaprofoundapprecia�onfordetail andanabilitytotransformtheordinaryinto somethingextraordinary.“AnInstagram
followeroncetoldmeIhaveawayof eleva�ngtheordinaryintosomething extraordinary,whichwasalovely compliment,”sherecalls.Carryingher cameraduringdailychores,sheo�entakes uptoonehundredphotographsaday, documen�ngeverythingfromthestriking beautyofherhorsesandtulipsto unexpectedmoments,suchastheplayof lightinaquietcorner.
Atitscore,Foreman’sphotographyreflects adeeploveforherfarmandherlifeinrural Wisconsin.Throughherimages,sheinvites viewerstoseethebeautyshefindsinher world—whetherinthestarkchillofawinter morningorthequiet,glowinglightofa barnatdusk.
Image: “AriainSnow” Photograph 24cmx18cm h�ps://www.instagram.com/udfarming
MichaelGraberisamul�disciplinaryar�st withoversixtyyearsofexperienceasa painterandmuralist,aswellasadesignerof jewelryandfurniture.Hiscrea�veprac�ce extendstosetdesign,wherehehasbeen involvedinboththeconceptualdesignand hands-onconstruc�onofhiswork.He studiedinEuropefortwoyears,an experiencethatdeeplyinformedhisar�s�c approach,andhasspentthepastthirtysevenyearsasaneducator,sharinghis knowledgeandpassionfortheartswithnew genera�onsofar�sts.
Right: “SpringFlowers” MixedMediaonCanvas 18cmx24cm h�ps://www.instagram.com/Ar�stgraber
NicoleSincilineisanoilpainterbornand raisedinPi�sburgh,Pennsylvania.Sheisa senioratPennWestEdinboroUniversitywith aconcentra�oninPain�ng&Drawingand willreceiveherBFAinSpring2026.Her large-scalefigura�veoilpain�ngsinterpret internalizedanxiety,emo�onalunrest,and thedisorienta�onandlackofclaritythat accompanythesestates.Theworksdepict privatespacesthatareinten�onallyskewed toinduceasenseofunease,achieved throughcroppedcomposi�ons,angled perspec�ves,andstrongvaluecontrasts.
Byexploringtheseenvironments,Nicole aimstoconveyherinnerworldinasymbolic ratherthanliteralway.Theuseofforced depthandsteep,angledperspec�vesata largescale—typicallyfivetosixfeet— immersestheviewerinanunsteady, disorien�ngatmosphere.Throughselfportraiture,herdizzyingandcontortedbody languageevokesconcernanddisquiet.
Disjointedthoughtsarereferenced throughoutherwork,o�enthrough separatebutthema�callyconnected objectspresentedonaccompanyingside panels.Displayedasdiptychsalongsidethe centralnarra�vepain�ng,thesepanels expandthecontextofthemainworkby depic�ngmalfunc�oningobjectsorscenes ofdisorder.Together,thesediptychs conveythesenseofimbalanceand disorienta�onthataccompanies psychologicaldistress.
Right: “Descending” OilonCanvas 56inX57in h�ps://www.instagram.com/nlsartwork
Alice(Jingyi)Yangisanillustratorand interdisciplinaryar�stborninChinaand currentlystudyingIllustra�onatParsons SchoolofDesigninNewYorkCity.Herwork exploresmemory,in�macy,andthequiet emo�onsembeddedineverydayspaces. Workingacrossbothtradi�onalanddigital media,shecombinesillustra�on,pain�ng, clay,andsculpturalelementstocreate narra�ve-drivenpiecesthatblurthe boundarybetweenimageandobject.
Muchofherprac�cecentersoninterior scenes,domes�cobjects,andfiguresthat feelfamiliaryetslightlysurreal.Bedrooms, tables,ands�ll-lifearrangementsfrequently appearinherworkassymbolicspaces�edto comfort,vulnerability,andcare.Sheis especiallydrawntotextureandmateriality, o�enbuildingformswithclayandlayering acrylicpaintontop,allowingsurfacesto remainvisibleandtac�le.Thisprocess emphasizespresenceandmemory,making eachpiecefeelin�mateandlived-in.
Storytellingplaysacentralroleinher approachtoillustra�on.Sheusesdrawing notonlyasarepresenta�onaltoolbutasa waytoconstructemo�onalnarra�vesand
atmosphere.Influencedbyconceptualand assemblage-basedprac�ces,sheis interestedinhowordinaryobjectscan func�onasquietwitnessestopersonal experiences.Herworko�enbalances so�nesswithstructure,blendingplayful imagerywithintrospec�vethemes.
AsastudentatParsons,Alicecon�nuesto expandherprac�cethrough experimenta�onwithmixedmediaand spa�althinking.Herbackgroundandlived experienceinformhowsheobservesspace, objects,andemo�onalnuance.Sheaimsto createworkthatfeelsgentleyet inten�onal,invi�ngviewerstoslowdown, observeclosely,andconnectemo�onally. Throughherart,shehopestocreatecalm, reflec�vespacesthatencourage remembering,care,andasenseofquiet connec�on.
Right: “PinkTrululu” AcryliconCanvas 18inx24in h�ps://www.instagram.com/Aliceyangsart
Kelley’spurposeandpassioniscapturingand interpre�ngthefrene�cenergy,emo�ons, desires,empathy,demons,infiniteideas,and feelingsthatplagueordelightus,dailyinour dailylives.
Sheobserves,explores,andpoignantly encapsulatesthediverserangeofhuman emo�ons,theenergythatexistsindailylife, andexpressionsthatsolicitpeaceordistress. Itisajourneyonbothendsofthespectrum, intendedtoallowtheviewertoexperience thepain�ngpersonally.
Theaimisfortheviewertofeelandiden�fy emo�onsandideasthatuniteusonan emo�onalplane,andtounderstandthatwe areallconnectedtoeachotheronalarger scale.Iusesymbols,brightcolors,energe�c linesandmarks,andremnantsofthe suffering,pain,andjoysIhaveexperienced throughoutmylife.
Everyoneneedstobeunderstood,seen, andliberated,knowingtheyarenotalone. Thisismyintentandaimeach�meI approachacanvas.However,immediately theytakeonalifeoftheirown,andI become,simply,thehandsdeliveringa messagethatstemsfromasourcemuch higherthanme.
Right: “FirstPick” MixedMedia 9.44inx9.44in h�ps://www.instagram.com/kdmax44
NiritZerisamul�disciplinaryvisualar�st andadoubleFirstPrizewinneroftheArte LagunaPrizeinVenice.
Herworkcentersonthemesofwomanhood, �me,beauty,andvulnerability.Througha deeplypersonal,30-yearautobiographical journey,sheexploresthespacebetweenthe innerandouterfemalegaze,aswellasthe ongoingsearchforself-loveinaworldthat glorifiesperfec�on.
Sheworksfluidlyacrossphotography, pain�ng,illustra�on,digitalworks,readymades,virtualart,sculpture,videoart,and tex�le.Transla�ngprivatemomentsintoa universalvisuallanguage,herworkgently invitesviewerstorecognizethemselves withinherimagery.
Herprac�cehasreceivedinterna�onal recogni�onthroughmajorawards,
exhibi�ons,andfeaturesinleadingart publica�onsandins�tu�onsacross Europe,NorthAmerica,andbeyond.
SheholdsaBachelorofFineArtsfromthe SchoolofVisualArtsinNewYorkCityand adiplomainfilmmakingfromtheNewYork FilmAcademy.
Right: “16.6.12”
ScanofOriginalFBICard&PassportPhotoson FineArtPaper 100cmx100cm h�ps://www.instagram.com/nirit.zer
XuanyuYeisafinear�standillustrator basedinNewYork.Sheiscurrentlypursuing aBachelorofFineArtsdegreeattheSchool ofVisualArts(SVA),wheresheexploresthe emo�onalandspiritualdimensionsof pain�ng.
Herworko�encombinesdelicatefigura�on withsymbolicimagery,usingcolorand contrasttorevealpsychologicaltension. InfluencedbybothEasternphilosophyand Westernarttradi�ons,Ye’spain�ngsconvey asenseofsolitudeandtransforma�on, bridgingrealityandimagina�on.
Shehasexhibitedherworkingroup exhibi�ons,includingYe(2021)andSpiritual World(2023).Beyondherstudioprac�ce, shehasworkedatNingboWASArtCenteras anassistanttotheArtDirector,contribu�ng toexhibi�ondesignandgallery communica�on.
Right: “Mel�ngFish” MixedMediaonCanvas 30.48cmx30.48cm h�ps://www.instagram.com/yexuanyuarts_
LilyaTaylorisanembroideryar�stfrom Portsmouth,UK,whousesauniqueblendof photography,embroidery,andmixed materialstoilluminatethelivedexperiences ofpeoplewithneurodivergentcondi�ons, chronicillness,andmentalhealthchallenges. Gay,neurodivergent,anddisabledherself, Lilyaimaginesthecameraashereyes,the threadweavingandwindinglikechao�c thoughts,andthesewingneedleasatoolof defianceandhealingagainstableismand marginalisa�on.
Throughintricates�tching,symbolism,and boldmessaging,Taylorinvitesviewersto reflectonthecomplexi�esofiden�tyand self-worth,aswellasthepowerofembracing imperfec�onandauthen�cityinasociety thatprizesperfec�onism.Herworkisdeeply informedbyherownexperiencesofgrowing upundiagnosedandmisunderstood.
Lilya’sexplora�vetex�leworksoffer comfortandstrengthtothosewalking similarpaths,carryingaclearand compassionatemessage:youarenotalone.
Right: “Hypervigilence” MixedMedia 59cmx41.5cm h�ps://www.instagram.com/lilyaart_bythesea
Meteorites,dinosaurbones,woolly mammothfur,2,000-year-oldRomancoins, andbulletsfromtheAmericanCivilWarcan allbefoundinthemixedmediasculpturesof JorgeCainas.Theserareandunusual materialsappearalongsidehouseholditems, spices,anddriedflowers.Cainasbindsthem togetherusingmaterialssuchasconcrete, ceramics,resin,electricalwire,and refrigera�ontubing.
Whenhefirstbecameinterestedin sculpture,hisfascina�onwiththenatural world,combinedwithlimitedtools,ledhim tocreatefloralarrangementsusingcopper wireandminerals.Thissculpturalapproach becamehisprimaryvehicleofexpression, withmanyworks�tledaspoems.Sincethese earlypieces,hisprac�cehascon�nuedto evolve,incorpora�ngnewtechniques,design styles,materials,andprocesses.
Recurringthemesinhisworkrelateto science,nature,andthehumanexperience. Throughthecarefuluseandplacementof materials,combinedwithpoe�c�tles, Cainascommunicateslayeredmeanings embeddedwithineachsculpture.
Right: “OdetoRaida” MixedMediaSculpture 56cmx46cmx122cm Photographer:ShawnRinehart h�ps://www.instagram.com/jorge.cainas.art
AykeemSpiveyisanar�stfromChicago currentlyworkingtowardanMFAinPain�ng andDrawingattheUniversityofIowa. Spivey’sprac�ceexploresthelimita�onsof line,color,andrhythmthroughaprocess rootedinplayandmovement.Dancingwith paint,repurposedfabric,foundephemera, andceramics,Spiveyinves�gatesis-ness—a transcendentalstateofbeingthatdissolves fixedsocialconstructsintofluid,balanced, andac�vatedcomposi�ons.
Spiveyplayswithscaleandform,assessing thepotencyofacomposi�oninrela�onto thespaceitoccupies.Spiveyalsoengages deeplywithmaterials,developingasensi�ve rela�onshiptotheirphysicaldemandsand limita�ons.Lineandcolorbecomeprac�ces ofpa�ence,movingbetweenexpressive,fullbodymark-makingandagentler,more deliberatehand.Spivey’suseofcoloris informedbyrhythmicpa�ernsofpushing andpulling—discovered,disrupted,or dis�lledtotheircore—o�eninconversa�on withmid-tolate-20th-century expressionismandminimalism.
Rhythmextendsthisdialoguefurther,as body,line,andcoloroperateastoolsfor dissolvingsocialconstructsthrough
conversa�onswithjazz,R&B,andhip-hop culture.Withinthesespaces,danceand musicfunc�onasactsofresistance, transcendence,andcelebra�on.From musictomovementtobreath,Spivey’s handmeetseachinhaleandexhalewitha stroke,echoingtherhythmofeach composi�on.Throughthisinterac�on,the workarrivesatis-ness,wherepresenceis notimposed,butfelt.
Right: “Xeno(An�-GravityIII)” OilandAcryliconPaper,MountedonWood 20.95cmx27.3cm Photographer:SammieCorrea h�ps://www.instagram.com/ayk33m22
RonnieJiangisacompellingfigurein contemporaryartwhosemul�faceted prac�cenavigatestheintricateinterplay betweenculturaliden�tyandvisual expression.BasedinParisandrootedin IndonesianandChineseheritage,herar�s�c journeyismarkedbyadeepengagement withthemesoffragmenta�onand transforma�on.
Emergingfromabackgroundinfashion design,Jiangtransi�onedintothevisualarts in2013,quicklyestablishingadis�nc�ve voice.Hersignaturestyle,whichsherefersto as“Figura�veDestructuralism,”isabold reimaginingofCubistprinciples.Throughthis approach,shedeconstructstradi�onalforms andreassemblesthemintodynamic composi�onsthatchallengepercep�onsof realitywhileinvi�ngreflec�ononthe complexi�esofiden�tyinanincreasingly globalizedworld.
Jiang’sworkischaracterizedbyastriking juxtaposi�onofrealis�cportraitureand playfulcartoonelements.Thissynthesis createsadialoguebetweentheseriousand thewhimsical,allowinghertoaddresssocial andpoli�calissueswithbothgravityand levity.Heruseofhumorasacri�caltool underscoresherunderstandingofart’spower toprovokethoughtandevokeemo�onal response.
AsthefounderoftheDéstructuralisme Figura�fArtProject,Jiangadvocatesfor
collabora�veprac�ceandcul�vatesa senseofcommunityamongar�stsfrom diversebackgrounds.Theini�a�ve amplifiesunderrepresentedvoicesand contributestoaricher,moreinclusive discoursewithincontemporaryart.
Inaddi�ontoherstudioprac�ce,Jiangis deeplycommi�edtomentorship, suppor�ngemergingar�stsastheyexplore theirnarra�vesanddevelopindividual perspec�ves.Herdedica�ontoeduca�on reflectsherbeliefinthetransforma�ve poten�alofartasavehicleforboth personalandcollec�veexpression.
Throughherinnova�veprac�ceand sustainedengagementwithcultural dialogue,RonnieJiangposi�onsherselfas asignificantcontributortothe contemporaryartlandscape,invi�ng viewerstoreconsiderno�onsofiden�ty andtheirrela�onshiptotheworldaround them.
Right: “Walkwithme” MixedMediaonSculpture 50cmx70cm h�ps://www.instagram.com/jiang_ronnie
MarijaBudimirovicPontetisavisualar�st andphotographerwhoseworkexploresthe body,memory,andresiliencethrough in�mateandsymbolicimagery.Herprac�ce centersonlong-termpersonalprojectsthat combinephotographyandtext,o�en addressingthemesofillness,care,and transforma�on.
Througharestrainedandsensi�vevisual language,sheseekstomakevisiblewhatis o�enoverlooked—silentexperiences, invisiblestruggles,andeverydayactsof resistance.Herworkisdevelopedasboth ar�stbooksandexhibi�on-basedprojects,in whichimages,words,andobjectscoexistto createimmersivenarra�ves.
BasedinFrance,herapproachisdeeply rootedinlivedexperienceandguidedbya commitmenttodignity,a�en�on,and presence.
Right: “TheToolsofSilence” Photograph 40cmx40cm h�ps://www.instagram.com/mbpontet22
SahelManochehry(b.1997)isanabstract contemporaryar�stbasedinToronto, Canada.Workingprimarilywithacrylicand mixedmedia,herprac�ceexploresemo�on, movement,andtheunpredictablenatureof crea�veexpression.
BorninTehran,Iran,andcurrentlybasedin Toronto,Sahelhaslongviewedartasa meansofprocessingexperienceand transla�ngfeelingintoform.Aself-taught ar�st,shecon�nuestodevelopherprac�ce throughexperimenta�on,mentorship,anda deepcuriosityformaterialsandtechnique. Herworkembracestrial,discovery,and imperfec�onasessen�alpartsofthe crea�veprocess.
Sahel’spain�ngsareshapedbytherhythms ofeverydaylife—thehighs,thelows,andthe quietmomentsinbetween.Herprocess mirrorsthissenseoffluidity,allowingpaint tomove,se�le,andevolveacrossthe surface.Eachlayercapturesapassing thought,mood,orstateofbeing,resul�ngin abodyofworkthatfunc�onsasavisual diarymarkedbyemo�on,memory,and transforma�on.
ForSahel,theactofmakingisasmeaningful asthefinishedwork.Shevaluesopenness, thelessonsfoundinmistakes,andthe
discoveriesthatemergethroughrepe��on andplay.Balancingspontaneitywith inten�on,herpain�ngsreflectanongoing dialoguebetweencontrolandrelease, certaintyandtheunknown.
Today,Sahelcon�nuestoexpandher ar�s�cprac�cewhilebuildingdeeper connec�onswithaudiencesandcollectors. Herworkinvitesreflec�on,curiosity,and personalemo�onalresponses,encouraging viewerstofindtheirownmeaningwithin eachpiece.
Image: “HerAura”
MixedMediaonCanvas 122cmx91cm h�ps://www.instagram.com/ar�stsmc
KseniaBonwasbornin1997inYaroslavl.From2018 to2020,shestudiedpain�ngthroughprivatecourses withAndreyEfremov,wheresheestablishedthe founda�onofherar�s�cvision.
In2023,shecon�nuedherprofessionaldevelopment attheMoscowSchoolofContemporaryArt,comple�ng theintensiveprogramArtintheField.Immersionin contemporaryartprac�cesmarkedaturningpointin hersearchforapersonalar�s�clanguage.Thatsame year,shecreatedherfirstvideoartwork,expandingher prac�cebeyondthecanvas.Shealsopar�cipatedinart residencies,wheresheac�velydevelopeda mul�disciplinaryapproach,incorpora�nginstalla�on, mixedmedia,andexperimentalvideointoherwork.
In2024,shebeganherstudiesattheJosephBakstein Ins�tuteofContemporaryArt.
Inherprac�ce,KseniaBonexploresthepercep�onof realityanditselusivenature,revealedthroughstatesof distrac�on,anxiety,andtheabsurdityofeveryday rituals.Recurringthemesincludethelossofmeaning withinone’ssurroundings,solitude,andtheunderlying instabilityoftheeveryday.
ShecurrentlylivesandworksinYaroslavlandMoscow.
Image: “AugmentedReality” MixedMedia
VariableDimensions
Photographedby:SashaDzyubchuk h�ps://www.instagram.com/paradogse
