FrontCover: TanjaRöser
“TheObserver”
GraphiteonPaper 40cmx30cm
Top: TomDay
“SummerHeat”
DigitalIllustra�on 72cmx48cm
Formoreinformationpleasevisitwww.dividemagazine.com
BackCover: TanjaRöser “NewBeginnings”
GraphiteonPaper 29.7cmx42cm
FEATURED ARTISTS
BIANCAYOUNGERS
BiancaYoungersisaPortland-based abstractpaintercrea�ngimmersive, emo�onallychargedlandscapesthatblurthe linebetweenmemory,imagina�on,and place.Herworkmovesfluidlybetween underwater,desert,andbotanicalworlds— layeredenvironmentswherecontras�ng elementscoexistintensionandharmony.
Workingprimarilyinacryliconcanvas, Youngersapproachespain�ngasanintui�ve andphysicalprocess.Eachpiecebeginswith raw,expressiveunderlayers—scribbled thoughts,names,andfragmentsof emo�on—beforeevolvingthroughrhythmic mark-makingandluminouscolor.Music playsacentralroleinherprac�ce,o�en guidingcomposi�onalshi�sandsignaling momentsofclaritywithinthework.
Shapedbyextensivetraveltoover30 countrieswithherfamily,hervisuallanguage drawsfrombothexternallandscapesand internalstatesofbeing.Herpain�ngsinvite viewersintoaspaceofduality—wheregrief
andjoy,chaosandcalmcanexist simultaneously—offeringasenseof presenceinanincreasinglyfracturedworld.
YoungershasexhibitedinPortland,Sea�le, andNewYork,withrecentandupcoming projectsincludingexhibi�onswithStefani GalleryandAntlerGallery,aswellasa residencywithJenToughGalleryinSanta Fe.Deeplyrootedinhercommunity,sheis alsoco-ownerofBinksBarinPortland, whereshesupportsandcreatesspacefor otherar�sts.
Herworkfunc�onsasbothrefugeand portal—aninvita�ontostepinside,feel deeply,andreturnchanged.
Image: “InBetween”
MixedMediaonCanvas 109.22cmx63.5cm
Photographer:JarredDecker h�ps://www.instagram.com/biancayoungersart/
Image: “JoyBeWithUs”
MixedMediaonCanvas 137.16cmx106.68cm
Photographer:JarredDecker
ORNANAOR
OrnaNaorisastreetanddocumentary photographerfromTelAviv.
Inherwork,OrnaNaorfocusesonhuman momentsandgestures—ontouch,looks,and humaninterac�ons—capturingthesubtle exchangesthatdefineeverydaylife.Her photographyisrootedinobserva�on, pa�ence,andadeepsensi�vitytothe emo�onalpresenceofhersubjects.
OrnaNaorhasphotographedaroundthe world;everywhereshehastriedtoshowthe facesofpeople,wherevertheyare.Behind differentceremonies,indifferentcultures,in everydaylifeandonholidays,humanfaces arerevealed—expressionsthattranscend language,geography,andcircumstance. Throughthisapproach,herworkseeksto emphasizethesharedhumanitythatexists acrossdiverseexperiences.
Alongsideherstreetphotography,OrnaNaor hasincreasinglyfocusedonlong-form documentaryseriesinrecentyears,using sustainedengagementwithhersubjectsto explorecomplexsocialandpoli�calreali�es.
Since2017,OrnaNaorhasbeen documen�ngprotestsagainstthe government,fromJerusalemtoTelAviv,as wellasrecentwarac�vi�es.Throughthis ongoingwork,shecapturesnotonly momentsofconflictandresistancebutalso thehumanstoriesembeddedwithinthem— individualsnaviga�nguncertainty,belief, andcollec�veac�on.
Herproject“WomenoftheSea”presentsa visionofcoexistence,documen�ngthe possibilityoflivingtogetherpeacefullyat sea.
Theproject“I’mjustachild”isdesignedto rehumanizethe“enemy,”focusingon Pales�nianchildrenandchallenging viewerstoconfrontdeeplyingrained narra�vesthroughtheinnocenceand vulnerabilityofyouth.
In“LargerThanLife,”OrnaNaordocuments eventsrelatedtochildrenwithcancer, capturingmomentsofstrength,fragility, andresiliencewithindeeplyemo�onal environments.
Image: “CubanChildren” Photograph 50/70 h�ps://www.instagram.com/orna50/
Image: “BneiBrakIsrael”
Photograph 50/70
Image: “Genera�ons”
Photograph 50/70
MICHELLERAMAND
MichelleRamandisaBrazilianvisualar�st basedinMiami.Herprac�ceexploresthe archetypalandsymbolicdimensionsofthe femininewithincontemporaryvisualculture.
Influencedbytheanaly�calpsychologyof CarlGustavJung,Ramandinves�gateshow archetypalimagescon�nuetoinhabitthe collec�veimagina�onandshapeemo�onal, cultural,andpsychologicalnarra�ves surroundingfemininity.
Workingprimarilythroughpain�ngand sculpture,sheapproachestheimageasa symbolicfieldwheremyth,memory,and innerexperienceintersect.Hercomposi�ons o�enfeaturefemalefiguresthatfunc�on lessasindividualportraitsandmoreas psychologicalpresences—embodimentsof emo�onalstates,projec�ons,andarchetypal pa�ernsthatresonateacrosspersonaland collec�veexperience.
Drawingfromtheconceptofthecollec�ve unconscious,Ramand’sworkreflectsonhow
enduringarchetypesinfluenceiden�ty, desire,andthewaysthefemininehasbeen imaginedacross�me.Hervisuallanguage seekstorevealthesubtlepsychological structuresthatshaperoman�cideals, emo�onalexpecta�ons,andsymbolic representa�onsofwomanhood.
Ratherthanillustra�ngnarra�ves, Ramand’spain�ngsoperateasspacesof symbolicinquiry,whereviewersencounter imagesthatevokeintrospec�onand recogni�onatadeeperpsychologicallevel.
Image: “TheExplorer” MixedMediaonCanvas 36inx36in
h�ps://www.instagram.com/michelleramand/
JUNTAGAI
JunTagaiphotographswhatisalready disappearing.
Forovertwodecades,JunTagai’sworkhas exploredwhatpassesratherthanwhat endures,focusingontransientmomentsand thequiettensionof�meslippingaway.Jun Tagaiisdrawntothein-between—towhatis unresolved,unpolished,andunfinished— wheremeaningexistsnotinpermanence, butintransi�on.
Mo�onblur.Grain.Passinglight.Agesture shi�ing.Aframemadebetweenseconds. Theseelementsformthevisuallanguageof JunTagai’sprac�ce,whereimperfec�on becomesamethodofseeingratherthan somethingtocorrect.
JunTagai’sphotographymovesbetween documentaryandfineart,occupyingaspace thatresistsclearcategoriza�on.Ratherthan stagingperfec�on,JunTagaiseeksto recognizewhatisalreadyunfolding— capturingfragmentsofrealityasthey naturallyoccur,withoutinterrup�onor control.
Nothinglastsforever.Withinthis understanding,JunTagai’sworkreflectsa deeperawarenessofimpermanence.When thistruthisfullyacknowledged,percep�on
beginstoshi�,andtheactoflooking becomesmorea�en�ve,morepresent.
Eachimageholdsamomentalreadygone— afragmentof�methatcannotbe repeated.Throughthisapproach,JunTagai createsphotographsthatfunc�onasboth recordandreflec�on,holdingspacefor whathasalreadypassedwhileinvi�ng contempla�oninthepresent.
Overthepast20years,JunTagai’s documentaryfineartphotographyhas beenexhibitedinterna�onally,consistently groundedinacommitmenttono�cing whatothersoverlook—thesubtle,flee�ng detailsthato�engounseen.
JunTagaiinvitesviewerstoslowdown,to lookagain,andtoengagewiththequiet, ephemeralbeautyofwhatdoesnotstay.
Image: “impermance”
Photograph 106cmx76cm h�ps://www.instagram.com/jun.tagai/
Image: “impermanence-series2/3”
Photograph 106cmx76cm
Image: “impermanence-3/3”
Photograph 106cmx76cm
MINJEE
Minjee(b.1999)isaNewYork–basedar�st workingacrosspain�ng,sculpture,and installa�on.Herprac�ceexploresmoments whenrela�onshipsbetweenpeople,spaces, andmaterialsremainpar�alormisaligned. Shecreatestemporary,foldablespacesthat foregroundinstability,shi�ingproximity,and uncertainencounters.Shereferstothis ongoingcondi�onasthe"SkewUniverse."
Image: “Threewordsfor” MixedMediaSculpture VariableDimensions h�ps://www.instagram.com/manzizix/
Image: “them#1”
MixedMediaSculpture
VariableDimensions
Image: “Youcameallthewayherea�erall,piece1”
MixedMediaPiece
25inx22inx193/4in
SHINGOOHTA
ShingoOhtaisaJapanesefineart photographerwhoseworkexploresthe transforma�onoftheseaintoabstractvisual energy.
WorkingalongtheruggedcoastoftheSeaof Japan,Ohtaphotographswavesat extremelyhighshu�erspeeds,capturing flee�ngmomentswhenwaterdissolvesinto sculpturalformsoffoam,light,andmo�on. Throughtheseimages,thephysicalpresence oftheoceanistransformedintosomething closertocosmicma�er,memory,ormyth.
Hisworko�enreflectstheancientJapanese conceptofWadatsumi,theseadeity, sugges�ngthattheoceanisnotonlya naturalforcebutalsoavoicethatconnects thevisibleworldwithdeeperlayersof existence.
Ohta’sphotographshavebeenrecognized interna�onally.Hiswork“SilverTempest” wasselectedastheFrontCoverAr�stfor Issue001ofPhotografiqueMagazine,and hisserieshasreceivedawardsandselec�ons inmul�pleinterna�onaljuriedcompe��ons, includingTeravarna’sAbstractInterna�onal
JuriedArtCompe��on,theAnnual PhotographyAwards,andexhibi�onsat PraxisGallery&PhotoArtsCenter.
Bypushingtheboundariesbetween photography,abstrac�on,andnatural phenomena,Ohtaseekstorevealthe hiddenarchitectureofthesea—moments whenchaosbecomesformandtheocean brieflyresemblesalivingsculpture.
Image: “SilverTempest” Photograph 33.87cmx25.4cm h�ps://www.instagram.com/45shenwu/
Image: “LiquidSculpture”
Photograph 33.87cmx25.4cm
Image: “ReturntoStardust”
Photograph 33.87cmx25.4cm
ADÉLAÏDEGAUDIOT
AdélaïdeGaudiotisa21-year-old photographeranddirector.Adélaïde Gaudiot’sworkexploresthehuman experienceandthegaze,expressedthrough adis�ncturbanaesthe�c.Throughthe imagery,AdélaïdeGaudiotexamineshow individualsseeandareseen,capturing momentsthatfeelbothin�mateand observa�onal.
Workingprimarilywithincityenvironments, AdélaïdeGaudiotdrawsinspira�onfrom everydaylife,usinglight,composi�on,and movementtocreatevisuallystriking narra�ves.Theprac�ceblendsraw authen�citywithaconsideredar�s�c direc�on,resul�nginimagesthatfeel immediateyetthough�ullyconstructed.
Image: “WheretheSilenceStays” Photograph 3649pxx5473px h�ps://www.instagram.com/aderaaw_/
Image:
“Beforethenighttakesus”
Photograph 5714pxx3936px
Image: “VelvetIndifference”
Photograph 15365465octets
PHILIPPBERG
Bornin1996inMunich,Germany,Philipp BergisaGermangraphicdesignerandar�st currentlystudyingAdvancedDesign Researchinamaster’sprograminMunich. Hisongoingartprac�ceinvolvesdrawings, pain�ngs,andgraphicalillustra�onsthat appearinasemi-abstractandsymbolicway.
Duetohisfascina�onwithlandscapes,he thema�seshowfic�onalornon-fic�onal livinginthoseplacescantakeplace.Healso exploresthedeepconflictthesehabitatsare facinginthecontextofourspecies.Forhis crea�ons,heisdeeplyinfluencedbyearly Surrealism,thePi�uraMetafisicamovement, aswellasthemys�candabandoned atmospherescreatedbyAmericanrealists likeEdwardHopper.Simultaneously
fascinatedbymodernabstrac�on,these elementscomeintoplayinBerg’swork throughsimplifiedlandscapes.Mostly,they emergeasstorytellingsystems.
In2023,hehadhisfirstgroupexhibi�onin Dachau,Germany,withthetheme “abstractnature.”
Image: “Reappearingcloverofthecoastalplain” ColoredPencilandInkPencilonTwo-Tiled Cardboard 34.8cmx29.8cm h�ps://www.instagram.com/philipp6164/
Image: “Thecolony'slinkingmessage”
ColoredPencilandInkPencilonTwo-TiledCardboard
29.9cmx39.2cm
Image: “Foldingsofthehillarea”
ColoredPencilandInkPencilonTwo-TiledCardboard
31cmx30cm
NAHALDOMINICÉ
NahalDominicéwasborninTehranand raisedinGeneva.Growingupbetween culturesshapedbothheriden�tyandher approachtopain�ng.
ShelivesandworksinLondon,whereshe createsabstractworksthatintegratecolour, texture,andmemory.Pain�ngisawayfor hertoexpressherselffreely,explore emo�ons,andreconnectwithhercultural roots.
Herprac�ceisbuiltaroundlayeringand experimenta�on.Workingwithoil,acrylic, andmixedmedia,shebuildsherpain�ngs gradually—adding,scrapingback,and rebuilding—allowingtheworktoevolve intui�velyratherthanfollowingafixedplan.
Inspiredbypa�erns,fabrics,and landscapeslinkedtoherheritage,herwork balancesstructureandspontaneity, tradi�onandexplora�on.
Image: “ThePersianSurfacesCollec�on-Bahar” MixedMediaonCanvas 100cmx100cm
Photographer:PaulRead h�ps://www.instagram.com/nahal.dominice/
“ThePersianSurfacesCollec�on-Sabz”
MixedMediaonCanvas
100cmx100cm
Image:
Photographer:PaulRead
Image: “ThePersianSurfacesCollec�on-Zar”
MixedMediaonCanvas
100cmx100cm
Photographer:PaulRead
FILADELFA RODRIGUEZ
FiladelfaRodriguezisaSingapore-based contemporaryabstractpainterwhosework exploresinteriorlandscapesshapedby memoryandemo�onalarchitecture. Workingprimarilyinoil,acrylic,andmixed media,herpain�ngsaredefinedby biomorphicforms,sculpturallayering,anda refinedsenseofbalance.Hercomposi�ons evokespacesthatfeelbothin�mateand expansive,whereso�nessandstrength coexist.
WithabackgroundinInteriorArchitecture andDesign,Rodriguezapproachesthe canvasasaconstructedenvironment.Her prac�cereflectsasensi�vitytoweight, propor�on,andspa�altension,transla�ng structuralthinkingintofluid,organicforms. Eachpain�ngdevelopsthroughaprocessof layeringandrefinement,allowingsubtle texturesandshi�sinformtoemerge gradually.
Rodriguez’sworkcentersontransforma�on, autonomy,andtheevolvingpresenceof women.Herformso�enexistinstatesof
transi�on,sugges�ngmovementbeyond imposedboundariesandtowardaselfdefinediden�ty.Ratherthandepic�ng literalnarra�ves,herpain�ngscreate contempla�vespacesthatinvitepersonal interpreta�onandemo�onalresonance.
Workingunderherstudioiden�ty,Art& Sundays,Rodriguezmaintainsadisciplined yetintui�veprac�ce.Hervisuallanguage reflectsacommitmenttorestraint, presence,andemo�onalclarity,resul�ngin pain�ngsthatconveyquietstrengthand las�ngdepth.
Image: “InForma�on” MixedMediaonCanvas 142cmx112cm h�ps://www.instagram.com/artandsundays/
MixedMediaonCanvas 142cmx112cm
Image: “BeneaththeOchres”
Image: “Entwine”
MixedMediaonCanvas 142cmx112cm
NOMAKIETSU
NomakiEtsuisadesignerwhoseprac�ce explorestherela�onshipbetweenform, space,andhumanexperiencethrough objects.Workingprimarilywithfurniture,he blendsindustrialdesignmethodologieswith tradi�onalcra�processestoinves�gatehow material,propor�on,andspa�alpresence shapethewayspeopleperceiveandinhabit theirenvironments.
Hisworkapproachesdesignasbotha physicalandphilosophicalinquiry.Rather thantrea�ngobjectssolelyasfunc�onal solu�ons,Nomakiconsidersthemcarriersof meaning—formsthatinfluencebehavior, percep�on,andatmosphere.Throughcareful a�en�ontogeometry,materiality,and propor�on,heseekstocreatedesignsthat possessclarity,balance,andaquietsenseof presence.
HavinglivedinJapanandChinabefore pursuinghiseduca�onintheUnitedStates, Nomaki’sperspec�veisinformedbymul�ple culturalcontextsanddesigntradi�ons.He holdsaMasterofFineArtsin3DDesign fromCranbrookAcademyofArtanda BachelorofFineArtsinProductDesignfrom ParsonsSchoolofDesign.
Hisworkhasreceivedinterna�onal recogni�onthroughawardssuchastheNY
ProductDesignAward,SITDesignAward, andInterna�onalDesignAwards.Hehas alsoreceivedhonorsincludingtheGilbert FellowshipatCranbrookAcademyofArt andtheMaterialsAwardfromthe Maxwell/HanrahanFounda�on.
Nomaki’sworkhasbeenexhibited interna�onallyatvenuesincludingICFF LaunchPadinNewYork,theDetroit WarehouseArt&DesignFair,andthe ManifestCenterfortheVisualArtsin Cincinna�,amongothers.
Throughhisstudioprac�ce,Nomaki con�nuestoinves�gatehowobjectscan embodybothtechnicalprecisionanda deepersenseofhumanity—crea�ng designsthataimtobethough�ul, enduring,andsoulful.
Image: “CoffeePodium” CoffeeTables 76cmx51cmx137cm h�ps://www.instagram.com/etsunomaki/
Image: “CreaseBench”
Sea�ngSolu�on 199cmx67cmx43cm
Image: “ThinkingChair”
OccasionalChair
66cmx56cmx99cm
ANNAJAMES
AnnaJamesisaBri�sh-bornar�stand designerbasedbetweenLondon,Berlin,and Mallorca.Herdis�nctvisionisshapedbya robustbackgroundinfineartsand decora�vepain�ng,withfounda�onal trainingatSmallboneofDevizesand significant�mespentworkingwithar�st HarlandMiller.Theseexperiencesinformher currentprac�ceatLoveAnnaJamesStudio, wherecanvasworkisnowherprimaryfocus.
Anna'sartdelvesintotheconvergenceofthe tangibleandintangible,establishingpain�ng asadeepcommunionwithnature.Her abstractlandscapesareconceivedas contempla�vesanctuaries,invi�ngviewers toengagewiththeprofoundbeautyintheir naturalenvironment.Herprocess,a medita�velayeringofpaint,isguidedby emo�onandinformedbyinsituimpressions. Theworksgrapplewithnature'sephemeral beauty,awakeningasenseoftheinfinite. Paradoxically,whileseekingsolacefromthe digitaldeluge,Annareferencesher photographstoinformherwork, acknowledgingourpersistenttechnological connec�on.
Sheinves�gatesthewonderfoundinthe naturalworld,thebeautyofcrea�on,and theenigma�cforcesthatgroundandunite us.Theseinves�ga�onsarechanneledinto
hercanvases,transla�ngnaturethrough abstrac�on.Metallicandearthpigments anchortheetherealquali�esofherwork, echoingfundamentalelements.Anna's workhasbeenfeaturedinVogue,Elle Decora�on,Frame,andArchitectural Digest,andshownatTheWallace Collec�on.Ul�mately,shecra�spain�ngs designedtoholdthegaze,offeringaretreat amidstourhyper-s�mulatedage.
Image: “Beherenow.”
MixedMediaonCanvas 160cmx120cm
Photographer:JoeClark h�ps://www.instagram.com/loveannajames/
MixedMediaonCanvas 160cmx120cm
Image: “Fallingintoyou.”
Photographer:JoeClark
Image: “SeparateWays”
MixedMediaonCanvas
80cmx100cm
Photographer:JoeClark
XINDIHU
XindiHuisaLondon-basedvisualar�stwho graduatedfromCamberwellCollegeofArts, UAL,withaBAinIllustra�onandanMAin FineArt.
Xindi’sresearch-ledprac�ceexploresthe heroine’sjourney,ecofeminism,and narra�ve,drawingonthevisualsofthe collec�veunconscioustoconstructa reflected,reimagined,andrebuiltreality. Workingacrosspain�ng,ceramics, printmaking,drawing,andfilm,Xindicreates open-endedvisualnarra�vesthatinvite viewerstoengageinconversa�on.Inher pain�ngs,sheemploysso�brushstrokesand translucentlayersofoilpainttoinves�gate theperceptualandmaterialpossibili�esthat emergethroughprocessesofoverlapping andaccumula�on,mimickingtheimageryof sedimentaryforma�ons,inwhicheach stratumpreservesatraceofexperience, sugges�nganinterconnec�onbetweenthe body,theEarth,andthepassageof�me.
Image: “TheBlueWhispers” MixedMediaonCanvas 62cmx72cm h�ps://www.instagram.com/cindywhocindywho/
Image: “ListeningUnder”
MixedMediaonCanvas 100cmx150cm
Image: “FlollowThroughaHollowingMirror”
MixedMediaonCanvas
150cmx100cm
MAYRACASTRO
MayraCastroisaChilean-Mexicanpainter. ShestudiedfilmandobtainedaMaster’s degreeindocumentaryfilm.Shebeganher pain�ngprac�cea�ermovingtoAustralia, whereshedevelopedanini�alstageof produc�onandpublicpresenta�onofher work.ShecurrentlylivesandworksinChile, con�nuingtodevelopherpain�ngprac�ce. Herworkexploresdreamlike,surreal,and abstractimagery,o�endrawingonnature andasenseofmystery.
Image: “RayodeLuna/Moonbeam” OilonCanvas 65cmx65cm h�ps://www.instagram.com/mayracastro_art/
Image: “Animalsatnight”
OilonCanvas
50cmx70cm
“OutsidetheNoice”
Image:
OilonCanvas
60cmx50cm
TIMCLARKE
TimClarkediscoveredabookonLeonardoda Vinciattheageof14andwasamazed.At thatpoint,lifehadnodirec�on;Leonardo provideddirec�onandpurpose.TimClarke begantowonderifitwaspossibletocreate thesamesenseofawethroughart.
Sincethen,lifehasbeendedicatedto answeringthatques�onthroughar�s�c prac�ce.Throughongoingexplora�onand commitmenttothecra�,TimClarke con�nuestopursuethecrea�onofworkthat evokeswonder,depth,andemo�onal impact,guidedbythesamesenseofcuriosity andinspira�onthatfirstsparkedthejourney.
Image: “CeliaPayneasthesun” OilonCanvas 35cmx30cm h�ps://www.instagram.com/6739.�m/
Image: “DrNicolaFox” OilonCanvas 35cmx30cm
Image: “Mancrying”
OilonCanvas
80cmx100cm
JUNNANHE
Bornin2007,JunnanHeiscurrentlyan undergraduatestudentmajoringin PhotographyatLondonCollegeof Communica�on(UAL),withacrea�vefocus deeplyrootedinfineartphotography.Asa youngcreator,JunnanHehasalways exploredvisualexpressionwithsincerityand unwaveringdedica�onandhasnow establishedmul�plematureand comprehensivebodiesofwork.
Centeredonthethemesof“loneliness”and “thecreepy,”thecorecrea�vethreadisboth areflec�ononJunnanHe’sowngrowth experiencesandanobserva�onof,aswellas responseto,thespiritualpredicamentof contemporaryindividuals.
Image: “HomeOfEscape”
Photograph 30cmx40cm h�ps://www.instagram.com/junnnan.he/
Image: “HomeOfEscape”
Photograph 30cmx40cm
Image: “HomeOfEscape”
Photograph 30cmx40cm
YANAMEDOW
YanaMedowisacontemporaryar�stfrom St.Petersburg,currentlybasedinAlicante.
ShegraduatedfromtheS�eglitzArt AcademyinSaintPetersburg,specializingin pain�ngrestora�on.Herprofessional backgroundincludesworkasarestorer, graphicdesigner,andillustrator.
Since2020,shehasestablishedherselfasa full-�mear�st,focusingonherindependent crea�veprac�ce.
Image: “NotListening,JustJudging” MixedMediaonCanvas 116cmx89cm h�ps://www.instagram.com/yana.medow/
Image: “BloomingDuo”
MixedMediaonCanvas 150cmx100cm
Image:
BOSTARK
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Thatisaprivatema�er,andpleaseforgive mefornotexpandingfurther.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Noone,Ididnotwanttobeinfluencedby anyone;Iwantedmymindtobecrea�veon itsown.WhenIwasachild,Iwouldgoto museumsandlookatthephotographsthere, andIdidnotlikeanyofit.SoIstartedtaking picturesthataremydefini�onofart.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: IamnotsureIcouldsayIamreturningto them;therearethings/themesthatIlike takingpicturesof,andthatisconstant. Architectureinblackandwhiteismy greatestpassion;lostplaces,anythingwith anengine,cars,planes,vessels,rockets,and Veterans.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: Thereisnofailureinart.
Q:Isthereapar�cularpieceyou’ve createdthatstandsoutasespecially meaningfultoyou?Why?
A: PicturesItakeofVeterans,especially NavySEALS,becausetheirfacesexpress theirvalues,andtheirvaluesarevery beau�ful.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: ItalldependsonwhatIamtaking picturesof.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Iwouldliketoaccomplishasmuchas possible.Route66isaprojectIamhoping todosoon.
Image: “Emerging”
Photograph 25cmx16cm h�ps://www.instagram.com/iambostark/
KURT STIMMEDER
KurtS�mmeder(b.1972,BadLeonfelden, Austria)isacontemporaryvisualar�st workinginoilpain�ngandlithography. BasedinLinzsince2008,hedevelopsa figura�veprac�cecenteredonpsychological tension,allegory,andthesubtlelanguageof thebody.Hisworksfocusonmicrogestures—especiallythehands—ascarriersof innerconflictandunspokenemo�on, crea�ngscenesthatfeelboth�melessand dis�nctlycontemporary.
Since2010,S�mmederhasexhibitedinsolo andgroupshowsacrossEurope,Asia,and theUnitedStates.Mostrecently,he presentedasoloexhibi�oninNewYorkin thefall.Selectedpresenta�onsincludethe LondonBiennale,ArtRevolu�onTaipei,and
ArtMiamiduringArtBaselMiamiWeek,as wellasexhibi�onsinParis,Tokyo,and Milan.Hisworkhasreceivedinterna�onal recogni�on.
Image: “BonAppé�t1” MixedMediaonCanvas 50cmx45cm h�ps://www.instagram.com/kurts�mmeder/
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Ididn’tchoosepain�ng—itchosemeata momentwhenlanguagefailed.Growingupin Linz,Ifoundthatoiloncanvascouldhold whatwordscouldn’t.Thejourneywasn’t linear.Itwasaslowaccumula�onofurgency.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: TheOldMasters,par�cularlyCaravaggio, FrancisBacon,andPeterPaulRubenshave beencentralreferences.Theirunflinching approachtothehumanfigure,psychological intensity,andtheuseoflightasmoralforce directlyinformshowIapproachfigura�ve pain�ng.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Anewworkcurrentlyinprogress,partof BonAppé�t,showsrawfleshalone,afish drawnintothefatasakindofsignature.No figure,nonarra�veresolu�on.It’sthemost stripped-backimageI’vea�empted,andthe onethatfeelsmosttruetowheretheworkis going.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Myworkhasmovedfrompsychologically drivenfigura�verealismtowardsomething morevisceralandconceptuallylayered.The recentshi�,visibleinBonAppé�t,isaway fromdecora�veresolu�onandtoward imagesthatresisteasyreading.Thefish inscribedonrawflesh,languagewri�enon perishablematerial,isadirec�onIcouldn’t havearrivedatearlier.
Q:Whatroledoesfailureor
experimenta�onplayinyourdevelopment asanar�st?
A: Failureisstructuraltomyprocess.I recentlyiden�fiedthatsomeworksinmy currentserieswerebecomingmarketorientedratherthangenuinely developmental,andredirec�ngawayfrom thatwasthecri�caldecisionoftheyear. Experimenta�onwithoutthewillingnessto discardisjustdecora�on.
Image: “BonAppé�t2” MixedMediaonCanvas 50cmx45cm
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Anewworkcurrentlyinprogress,partof BonAppé�t,showsrawfleshalone,afish drawnintothefatasakindofsignature.No figure,nonarra�veresolu�on.It’sthemost stripped-backimageI’vea�empted,andthe onethatfeelsmosttruetowheretheworkis going.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: I’mlookingforthe�ppingpoint,thatbrief momentwhensomethingunconscious breaksthroughagesture,anexpression,a posture.LacanandFreudwouldcallitthe Real.Itsurfacesthewayadreamdoes,ora joke:suddenly,andthenit’sgone.Myworkis ana�empttoholdthatmoments�ll.The pain�ngisprecise,deliberate.Whatremains openiswhattokeepandwhatsilence aroundtheimageneedstobepreserved.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Myinten�onistobringBonAppé�ttoa close.Whetherthat’spossibleisanother ques�on,workingwithinaLacanian frameworkmeansacknowledgingthatthe worksome�mesdecidesforitself.
Image: “BonAppé�t3” MixedMediaonCanvas 50cmx45cm
LEO MANDAL
LeoMandal(b.2004,Dublin,Ireland)lives andworksinSouthLondon.Leo’sprac�ce examinesthecontemporaryriseofan�immigra�onsen�mentinrela�ontoIrish emigra�onhistorybyoutliningconnec�ons betweenpersonalnarra�ve,collec�ve historicalmemory,andcurrentsocialand poli�calreali�es.Throughpain�ng, printmaking,drawing,sculpture,anddigital processes,LeoexploreshowIreland’s posi�onasbothhistoricallycolonisedand historicallymigratorycomplicates contemporaryan�-immigra�onrhetoric, drawinguponIrishmythologyandfolklore notasnostalgicreferencesbutascri�cal toolsthroughwhichtoframeongoingsocial andpoli�caldevelopments.
AsanIrish-Indianar�st,hisprac�ceis informedbypostcolonialanddiaspora studies,par�cularlytheira�en�onto hybridity,iden�typoli�cs,andcolonial legacy.Leo’sprac�ceisshapedbyconcern forthesocialandpoli�calfutureofIreland andisdrivenbyaresistancetoinequality andviolence.InfluencedbyAlanSekula’s wri�ngonthepoli�csofrepresenta�on,he considersimage-makingasinherently ideological,whereinformisinseparable frompoli�calideology.Inthisway, aesthe�csoperatenotasdecora�onbutas ameanstowardsethicalengagement, approachinghisprac�ceasanactof solidarity.
Image: “NíFéidiranDáThráaFhreastail,'non-places' TheRealMeasureofour�me” MixedMediaonCanvas 150cmx90cm
Photographer:CharlieHawkins h�ps://www.instagram.com/leo.mandal/
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A:Forme,IfeelIams�llatanearlystagein myar�s�cjourney.However,Ifeelthemain junc�oninmyar�s�cjourneycameabout a�eralongperiodIspentinhospitalthe summera�ergradua�ngfromschool.This experiencebuiltacommitmentwithinmeto pursuemypassionforthearts,andshortly a�erwardsImovedtoLondontobeginmy Founda�onatCentralSaintMar�ns.Itis fromthisperiodonwardsthatIfeelpain�ng andtheartsbecameintegraltomylifeand myprac�cebegantogrowanddevelopwith it.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Therehavebeenmany,butitwasmyfirst encounterwithBrianMaguire’s“LeGrande Illusion”attheHughLaneGalleryinDublin thatIbelievepushedmyar�s�cideologyand prac�cetowhereitisnow.Theexhibi�on tackledamul�tudeofMaguire’s representa�onsofthefragilityofhuman rights,exposingtheconstantcycleof corrup�on,sufferinganddeathwesee reoccurringfartooo�en.Forme,what standsoutmostaboutMaguire’sworkisnot onlyhissubjectma�erbuthisapproach, framinghisprac�ceasanactofsolidarity stemmingfromaspiritofrevenge.Tothisday Ilookbackatthisexhibi�onandMaguire’s bodyofworkasapersonalmo�vatoranda reminderofthepowerofarttostandasthe visualarminthestruggleforchange.Io�en findmyselfthinkingbackonaquoteof Maguire’s“theimagecarriesthepresent,the mediumcarriesthehope”,inmanywaysI thinkthesewordshaveinfluencedmy ra�onaleforbeinganar�st.
Q:Whatthemesormessagesdoyoufind
yourselfreturningtoinyourwork,and why?
A: Simplyput,IwouldhavetosayIreland; thereisjustsomethinginthehistoryand natureofitthatcon�nuouslydrawsme backin.InmorerecentyearsIfindmyself returningtoIrelandasasubjectnotsolely frommyposi�onalityofbeingbornand raisedthere,butfromwhatIobserveofthe currentsocialandpoli�calreali�esin Irelandandhowtheyrelateordifferfrom broadermovementsanddebatesabroad. However,regardlessofthesubjectIam depic�ngatthe�meIalwaysfindmyself returningtoherhistory,mythologyand tradi�onalcra�sastoolstoemployinmy representa�ons.Ifeelthatbydrawingon thepastwecancreatebroadersitesof representa�onforcurrentevents.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Lookingback,myearlierworkwasmuch moreintrospec�ve.IthinkIneededto paintmyselfthroughthatperiodinorderto approachthethemesItacklenow. Stylis�callymyworkhaschanged dras�callysincetheninlinewithitssubject ma�er.However,myfascina�onwith technicalandmaterialexplora�onhas remainedintegraltomyprac�ceandits visuallanguage.Lookinginwardatmy prac�cenow,Iwouldsaythatthemain changetomyapproachhasbeenarefusal toviewpain�ng,printmaking,drawingor sculptureasseparateen��esbutastools thatcaninform,disruptandinspireeach otheronthesamesurface.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: FormeIwouldhavetosaythatfailureis inevitablewhenexperimenta�onisacore methodologyofmyprac�ce.WhatIfind mostimportanttomydevelopmentasan ar�stiswhatIlearnfromthese‘failings’and howIapplythatknowledgetothe developmentofmyprac�ce.O�en,Ifind thatwhenanideaorexperiment‘fails’itcan shi�myviewandinformanewlineofinquiry Ihadn’tenvisionedbefore,itisforthisreason thatIfeelitissoimportanttoalwayspush myselfinthisregardtoevolvemyprac�ce.
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Oneofmymostrecentworks–NíFhéidir anDáThráaFhreastail,‘non-places’The RealMeasureofOurTime–standsoutas par�cularlymeaningfultome.Thepiece cameaboutasIwasworkingonaseriesin responsetothean�-immigra�onriotsthat hadbeenoccurringinIreland,exploring interiorsofbuildingsthathadbeenburntout inarsona�acksduringtheriots.The resul�ngworkadoptedadarknessbothin subjectandpale�e.Therefore,itwas par�cularlypowerfultocreatethisworkfor me,thatshi�edfromthedestruc�onand angeroftheriotstoavibrantcelebra�onof immigrantlegacyinIrelandthroughthe personallensofmygrannyJulie.Whatmade thisworkevenmoremeaningfultomewas thatshegotthechancetoseeitinpersonon showatSouthwarkParkGalleriesearlierthis year.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Structureformeplaysitsmostimportant roleintheresearchelementofmyprocess,I keepanarchiveofhistoricalandcurrent referencesthatIcanalwaysdrawuponto
inspiremycrea�veprocess.InthiswayI wouldsaythattheimportanceofstructure derivesfromapersonalneedtogrowand keepthisarchivalresourceuptodate. Spontaneitycomesintotheforeground whenIthinkofexperimenta�on’srolein myprac�ce,con�nuouslypushingto explorenewmethodsandmaterial approachesregardlessoftheirsuccessrate. Ithinkwhenthatpressureisremoved,Ican trulyactspontaneously.WhereIfeelthese twoblendisintheactofpain�ng,pulling onbothsidesinsearchofvisualcohesion thatremainstruetothesubjectma�er’s cri�calrepresenta�on.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Iamcurrentlypreparingworksformy degreeshowatCamberwellCollegeofthe Artsandammostexcitedaboutexploring moresculpturalinstalla�on-basedworks, inpar�cularregardingcartographyand Irishmigra�on.Iamexcitedtoexplorehow abstrac�ngandpullingatradi�onally2D materialsuchasamapintoa3Dformcan altertheinforma�ononshowandaffect howtheviewerwillinteractwithandtake inthisinforma�on.Iamalsolooking forwardtoexploringthecuratorial possibili�esofthisbodyofworkinamore experimentalwaythanIhavehadthe opportunitytodobefore,andwhataffect itwillhaveonhowthepiecesinteractand respondtoeachother.
SARAH VALINEZHAD
SarahValinezhadisanIranian mul�disciplinaryar�standMFAcandidatein Illustra�onbasedintheUnitedStates.Sarah Valinezhad’sprac�ceisrootedinpain�ng anddrawingandextendsintomaterial explora�on,installa�on,andresearch-driven visualnarra�ves.Throughfigura�veimagery andconstructeddomes�cinteriors,Sarah Valinezhadexamineshowmemoryinhabits spaceandhowwomen’slivedexperiences areshapedbydisplacement,inherited trauma,andpoli�calconstraint.
SarahValinezhad’sworkapproachesinterior spacesaspsychologicalarchitecturesrather thanneutralse�ngs.Theseenvironments becomesiteswherecare,in�macy,fear,and resistancecoexist.Drawingfrompersonal historyandcollec�vememory,Sarah Valinezhaduseslayeredsurfaces,distor�on, andheightenedcolortocreateemo�onally chargedatmospheresthatspeakto resilience,survival,andtheongoingfightfor freedom,par�cularlyinrela�ontoIranian women.
SarahValinezhad’sworkhasbeen exhibitedna�onallyandinterna�onallyin museumandgallerycontextsandhas receivedrecogni�onthroughjuried exhibi�onsandawards.These opportuni�eshavesupportedthe con�nueddevelopmentofSarah Valinezhad’sresearch-drivenprac�ceand itsengagementwithcontemporarysocial andpoli�caldiscourse.
Image: “TheAcheUnderMySkin” MixedMediaonCanvas 60cmx60cm h�ps://www.instagram.com/sarah.vnz.studio/
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Myar�s�cjourneybeganlongbeforeIhad thelanguagetonameit.IgrewupinIran surroundedbyinteriorsthatwerevisually richandemo�onallycharged.Persian carpets,tex�les,architecturalornament,and pa�erneddomes�cspaceswerepartof everydaylife.Theywerenotsimplybeau�ful objectstolookat.Theyheld�me,labor, memory,andpresence.Inmanycases,they alsocarriedtheworkofwomen,whoselabor hashistoricallybeencentraltoweaving tradi�onsintheregion.Iwasalwaysdrawn todrawingandimagemaking,butover�me thatins�nctbecamemoreconscious.I studiedvisualcommunica�onandbegan workingprofessionallyasanillustrator, whereIlearnedhowtoconstructanimage withclarity,rhythm,andpurpose.Later, pain�ngbecamenecessaryforme.Ineeded aslowerandmorespaciouslanguage,one thatcouldholdambiguity,emo�onal residue,andthecomplexityoflived experience.Myworknowlivesbetween thosetwofounda�ons:thenarra�ve intelligenceofillustra�onandthematerial, psychologicaldepthofpain�ng.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Thegreatestinfluenceonmylifeasan ar�sthasbeenthewomenofmycountry, Iran.Theirlives,theirpresence,andtheway theymovethroughtheworldhaveshaped howIsee,howIfeel,andhowImakework. Thereisakindofquietstrengthintheir everydayexistence,acon�nuousnego�a�on betweenrestric�onandselfexpression. Whathasstayedwithmemostisnotonly thevisiblemomentsofprotest,butthe persistenceoftheirresistanceindailylife.For decades,womeninIranhavebeen
challengingsystemsthata�emptto controltheirbodiesandtheiriden�ty.This struggleisnotnew,butithasbecomemore visibleinrecentyearsthroughmovements like“Woman,Life,Freedom,”which emergeda�erthedeathofMahsaAmini andbroughtwomentothecenterofa broaderdemandfordignityandautonomy. Whatmovesmemostisthecouragewithin thathistory,theawarenessofrisk,ands�ll thedecisiontocon�nue.Againandagain. Thereissomethingbothpainfuland profoundlybeau�fulinthatpersistence.A kindofgraceinthefaceofoppression.That presence,thatrefusaltodisappear,is somethingIcarryintomywork.Alongside thislivedinfluence,Ihavealsobeenshaped byar�stssuchasLouiseBourgeoisand HungLiu.Bourgeoistaughtmethat personalpaincanbetransformedintoa languageofformandspace,whileHungLiu showedmehowpain�ngcanhonor women’shistorieswithdignityanddepth. Butatthecoreofmywork,themost constantinfluenceremainsthewomen whoselivescon�nuetounfoldwithinthat tensionofresilience,vulnerability,and strength.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A: Ireturnagainandagaintomemory, grief,resilience,andtheemo�onallifeof domes�cspace,especiallythroughthe experiencesofwomenshapedbyIranian culturalandpoli�calreali�es.Iam interestedinwhatremainsa�eranevent. Notonlytheeventitself,butitsa�erlife. Thesilenceinarooma�erloss.Theanxiety ofwai�ngfornews.Thewayfear,love,and endurancese�leintothebodyandthe home.Mypain�ngsareo�enrootedin women’slives,butIdonotwantthem
tofunc�onassymbols.Iwantthemto remainhuman,specific,andemo�onally complex.Storytellingisalsocentraltomy work.Ithinkofmypain�ngsasvisualstories, butnotinaliteralsense.Theyarenot illustra�onsofevents.Theyarespaceswhere livedexperience,especiallywhatisdifficult tospeakdirectly,canbeheldwithcare.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Myworkhasevolvedfromamore structuredandexternallydirectedapproach inillustra�ontowardamorelayered, spacious,andemo�onallyopenlanguagein pain�ng.Inearlierdigitalwork,Iwasalready thinkingaboutmemory,women,protest,and emo�onalfragmenta�on,buttheimages carriedadifferentkindofurgency.Over�me, pain�ngallowedmetoslowdownandstay longerwithambiguity.Surfacebecamemore important.Spacebecamemore psychologicallycharged.Pa�ernstopped beingmerelyvisualandbecamestructural. Colorbecamelessdescrip�veandmore emo�onal.Atthesame�me,mybackground inillustra�onneverdisappeared.Its�ll shapesmya�en�ontocomposi�on,framing, andnarra�vetension.Theevolu�oninmy workhasnotbeenarejec�onofone languageinfavorofanother.Ithasbeena deepeningandexpansion.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: Failureandexperimenta�onareessen�al tomyprac�cebecausethekindofworkI makecannotbefullysolvedinadvance.I o�enbeginwithastructure.Istage photographs,makecollages,anddevelopa graphitedrawingonthesurface.Butthe emo�onallifeofthepain�ngrevealsitself
onlythroughprocess.Itcomesthrough revisions,hesita�on,shi�sincolor, compressionofspace,andmomentswhen theworkresistsme.Experimenta�on allowsmetolistentowhatthepain�ng needsratherthanforcingittobecome whatIimaginedtooquickly.Inthatsense, failureisnotseparatefromdevelopment.It ispartofhowtheworkbecomeshonest.I thinkthemostmeaningfulpain�ngsare o�entheonesthatarewillingtoremain vulnerableandunresolvedincertain places.
Q:Isthereapar�cularpieceyou’ve createdthatstandsoutasespecially meaningfultoyou?Why?
A: Oneoftheworksthatfeelsespecially meaningfultomeisThoseWhoRemained StandingforFreedom.Ithinkofthispiece asakindofmemorial.Itisdedicatedto everywomanwhohaseverdaredtostand upforherfreedom,o�enknowingthecost thatmightcomewiththatact.Thework comesfromalonghistoryofresistancein Iran,par�cularlytheongoingstruggleof womenagainstimposedrestric�onson theirbodiesandtheirpresence.What movedmemost,especiallyinrecentyears, isnotonlythescaleofprotest,butthe awarenesswithinit.Peoplestepping forwardknowingtherisk,ands�llchoosing tostand.Inthispain�ng,Iwantedtomove beyondasinglemomentoreventand createsomethingmorecollec�ve.The figuresarenotisolated.Theyexisttogether, almostasasharedbody,carryingboth strengthandvulnerabilityatthesame �me.Thestructureofthepiecealso becomesimportant.Itbeginstomove outsideofthetradi�onalframe,asifthe imageitselfisrefusingcontainment.This workholdsgrief,butalsoendurance.Itis notonlyaboutthosewhowerelost,but
butaboutthosewhoremain,thosewho con�nue,andthosewhorefusetodisappear. Forme,itrepresentsashi�inmyprac�ce, wheretheworkbecomesmoreoutward, morecollec�ve,andmoredirectlyengaged withtheideaofstanding,bothphysicallyand symbolically,asanactofresistance.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Myprocessdependsonboth.Ibeginwith structure.Iworkwithmodels,stage photographs,buildcomposi�onsthrough collage,anddrawtheimagecarefullyonto thesurface.Thatgivestheworkan architecture.Butoncethepain�ngbegins,I allowittoremainopen.Ishi�color, compressordistortspace,leavepartsofthe graphitevisible,andletsomeareasremain moreexposedandvulnerablethanothers.I o�enbeginwithdifferentshadesof pomegranateredbeneaththeimage,and thatredcon�nuestobreathethroughlater layers,givingtheworkbothformaltension andsymbolicpresence.Sostructuregivesme theframe,butspontaneitygivesthework life.Ineedboth.Withoutstructure,the pain�ngcancollapse.Withoutopenness,it canbecometooclosedandpredetermined.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Iseemyworkmovingtowardamore expandedphysicalandemo�onalpresence. Lately,Ihavebecomeincreasinglyinterested inshapedsupportsandformatsthatmove beyondthetradi�onalrectangle.Iwantthe emo�onalarchitectureoftheworkto becomemorebodilyandmorespa�al,not onlyrepresentedwithintheimagebutalso presentinitsphysicalstructure. Conceptually,Iremaincommi�edto
women’slives,memory,grief,resistance, andtherela�onshipbetweenpersonaland collec�vehistory.Whatexcitesmenowis pushingtheworkfurtherformallywhile remainingfaithfultoitsemo�onalcore.I wanttokeepfindingwaysforpain�ngto holdstoriesthataredifficulttocarry,and perhaps,insomesmallway,tohonorthe livesandstrugglesthatshapedthem.
Image: “ABloodyA�ernoon” MixedMediaonCanvas 60cmx60cm
LEX TAO
KurtS�mmeder(b.1972,BadLeonfelden, Austria)isacontemporaryvisualar�st workinginoilpain�ngandlithography. BasedinLinzsince2008,hedevelopsa figura�veprac�cecenteredonpsychological tension,allegory,andthesubtlelanguageof thebody.Hisworksfocusonmicrogestures—especiallythehands—ascarriersof innerconflictandunspokenemo�on, crea�ngscenesthatfeelboth�melessand dis�nctlycontemporary.
Since2010,S�mmederhasexhibitedinsolo andgroupshowsacrossEurope,Asia,and theUnitedStates.Mostrecently,he presentedasoloexhibi�oninNewYorkin thefall.Selectedpresenta�onsincludethe LondonBiennale,ArtRevolu�onTaipei,and
ArtMiamiduringArtBaselMiamiWeek,as wellasexhibi�onsinParis,Tokyo,and Milan.Hisworkhasreceivedinterna�onal recogni�on.
Image: “Observa�on” MixedMediaonCanvas 41.5cmx53cm h�ps://www.instagram.com/be_re_lex/
Q:Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: SinceIwasakid,drawinghasalwaysbeen mystrongestinterest.Itookclassesatalocal artstudiofromelementaryun�lhighschool. Itriedmanythingsgrowingup,likeplaying thepianoandwri�ngcalligraphy,but nothingexcitedmequitelikedrawing, pain�ng,orusingdifferentmaterialsto create.Iamnaturallyaquietandreserved person,butIfindthatcrea�ngartisthebest waytoexpressmyself.Thatpassionledmeto applytoartschoolsforuniversity,andI chosetostudyillustra�onattheSchoolof VisualArtsinNewYork.Ilearnedand prac�cedextensivelythroughoutmy undergraduateeduca�on,andbeinginsuch aresourcefulenvironmenthasbeen incrediblyhelpfulformycrea�veprocess.
Q:Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Iaminfluencedbymul�plestylesand ar�sts.WhenIpaintcolorfulpieces,Itendto adoptamindsetsimilartoImpressionist ar�sts,likeClaudeMonet.Iloveusingvisible brushstrokesandrichcolorpale�esto expressemo�on.Whendoingblackand whitework,IamheavilyinspiredbyJohn AustenandAubreyBeardsley,whoare mastersofintricatelinework.FranciscoGoya isanotherar�stwhoinspiresmedeeply.The dark,atmospheric,andslightlyhorror-like feelingspresentinhisworkarefounda�onal elementsinmuchofmyownart.Overall,I’m nottryingtoreplicatetheirstyles,butIo�en findmyselfthinkingthroughtheirvisual languagewhenIwork.
Q:Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Iamalwaysdrawntoworkthatcontains
elementsofhorror,fantasy,and storytelling,andthatinterestdeeply affectsmyownartwork.Iamabigfanof horrorfilmsandconstantlyfindinspira�on fromwatchingthem.Forme,itisnotjust aboutthedarknessonthesurface;deeply exploringthecomplexi�esandeventhe uglinessinsidehumanityisoneofmy biggestmo�va�onswhencrea�ng.I’m especiallyinterestedinmomentswhere peoplearenotattheirbest,likewhen somethingcracks,andwhat’sunderneath quietlyrevealsitself.
Q:Howhasyourstyleorapproachevolved overtheyears?
A: Overthepastfewyears,Ihavetruly discoveredwhatmakesmyworkunique andhowtoapplyitconsistently.Inthe past,Iworkedexclusivelywithtradi�onal media,butinthelasttwoyears,Istepped outofmycomfortzonetotrydigitalart. Addingdigitalso�wareasanothertoolhas madememuchbolderinmycrea�ons.I nowhaveabe�erunderstandingofcolor andcomposi�on,largelybecausedigital toolssavesomuch�mewhenadjus�ng, experimen�ng,andredoingsec�ons comparedtoworkingsolelyonpaper.
Q:Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: Forme,failureisanessen�alpartof success.Likemostar�sts,Iwantmyartto begood,beau�ful,smart,andclever.I wantittobesomethingthatmakespeople pause,nod,orstareali�lelonger. Some�mesIworkincrediblyhardtryingto figureoutwhatworksandwhatdoesnot, overthinkingeverymarkandevery decision.Thatfearofmakingamistakecan beexhaus�ng.ButasIcreatemorework,
haverealizeditisokayandactually importanttoacceptfailure.Ifyoutakeabold riskandfail,thatistotallyfine,aslongasyou learnsomethingfromit.Now,ifIruina drawingbytryingacompletelynew technique,Iseeitasavaluableexperience andanecessaryexperimentformy developmentasanar�st.Some�mesthe mostusefulthingapiececandoisfailina veryclearway.
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Ihavecreatedalotofworkbasedonmy experiencelivinginNewYorkCity,butone pieceinpar�cularstandsout:asceneofNew Yorkerssi�ngtogetheronthetrainona rainyday.Thispieceisespeciallyimportant tomyar�s�cjourney.Itwasthefirst�meI tookaverycommon,real-lifesliceofmydaily lifeandsuccessfullyfiltereditthroughmy personalstyle.Itwasalsothefirst�meIfelt Icapturedatrulystrongpersonalityinmy work.AndIbelieveitisapiecethatdirectly representsmyvoiceinillustra�on.
Q:Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Myprocessusuallybeginswithins�nct. Mostofthe�me,whenIgetanideaIwantto execute,theveryfirstroughthumbnailspills directlyoutofmybrainwithoutany structuralconsidera�on.Itispureins�nct. Then,asIcreatesubsequentthumbnailsfor thatidea,Igraduallydevelopaclearplanand concreteconceptofhowthefinalworkwill cometogether.So,Iwouldsaymycrea�ve processalwaysstartswithaspontaneous heartandendswithanorganizedstructure.
Q:Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto
explorenext?
A: Afewcleardirec�onsIwanttotakemy artintoarebookillustra�on,posterart, andpoten�allyproduc�ondesignforfilms orbrands.Iamexcitedtocon�nue developingandenhancingmypersonal style.Mymaingoalistobuildsucha strong,recognizablevisualvoicethat wheneverpeopleseemyartwork,they instantlyknowitwascreatedbyme.The ul�mategoalofmyartistomakepeople feelsomethingspecificbeforetheyeven understandwhatthey’relookingat.
TOMDAY
TomDayisanar�stwhoseworkdelvesinto thecomplexi�esofsocietalissuesthrougha uniqueperspec�ve.Withafocuson examiningracismfromaprivileged standpointandcri�quingtoxicChris�anity andconsumerism,Dayusesbothdigitaland tradi�onalmediatocreatepain�ngsthat blendrealismwithexpressiveelements, invi�ngviewerstoconfrontuncomfortable truthswithinourcontemporaryworld.
Image: “BeRealpt6” MixedMediaonCanvas 48cmx36cm h�ps://www.instagram.com/tomday_art/
Image: “Content”
MixedMediaonCanvas 80cmx60cm
TANJARÖSER
TanjaRöser(b.1994,Germany)isanar�st basedinDorfennearMunich.Shegraduated in2025withadegreeingraphicdesignand illustra�onfromTechnischeHochschule NürnberginNürnbergandworksexclusively withanaloguetechniques,primarilygraphite onpaperwithoccasionalcoloredpencil.Her prac�ceisinformedbyafeminist perspec�ve,exploringthemesofstrength, agency,andrepresenta�on.
Röser’sdrawingsdepictwomenintrance-like states,animals,andrecurringdoll-likefigures insuspended,s�llcomposi�ons.These constella�onsexplorepowerrela�ons, interdependence,andshi�inghierarchies.A subtleero�cchargeandanuncanny atmosphererunthroughherimagery,
emphasizingfragilityandtheprovisional natureofthestructuresshedepictsand invi�ngviewerstoques�onauthority, dependency,andtheboundariesbetween in�macyandunease.
Image: “TheObserver” GraphiteonPaper 40cmx30cm h�ps://www.instagram.com/tanjaroeser.art/
Image: “NewBeginnings”
GraphiteonPaper 29.7cmx42cm
Image: “TheDesire”
GraphiteonPaper 59.4cmx42cm
ILYASHCHYRYI
IlyaShchyryi(Щирий)isaUkrainianar�st basedinLondon.
Workingacrosspain�ng,drawing,andfilm, hisprac�ceexploresdecay,memory,and solitude.Hisrecentworkfocuseson impermanenceandtheques�onofwhat surviveswhenmeaningcollapses.
Notesoninfluences,observa�ons,and cri�queappearintheJournal.
Image: “Redbook” OilonCanvas 120cmx120cm h�ps://www.instagram.com/Ilya.sincere/
ULLAKUTTER
BasedinHamburg,Germany,UllaKu�er makesatmospheric,realis�coilpain�ngs.
A�ertwosemestersstudyingatartcollege, shechangedhereduca�onandhassince beenworkinginthesocialfield.Today,she workspartlyasapainterandpartlyasa socialworker.
Shehaspaintedherwholelifeusingvarious remedies,andsince2004shehaspainted withoilpaintoncanvasesandwood.
Thepercep�onofUllaKu�er’senvironment isshapedbythefocusondisharmonic composi�onsandtheiraesthe�cs.She
portraysthebroken,chao�c,andshining aspectsofeverydaylifeinthecity.Through herimages,shecreatespossibili�esfor differentlevelsofpercep�on.Shepaints usingthetradi�onaltechniquesofold Dutchmasterstopaintmodernmo�fs.
Image: “RainyDay7” MixedMediaonCanvas 50cmx50cm h�ps://www.instagram.com/ulla.ku�er/
GABRIELLEKBROWN
GabrielleKBrownisamul�facetedar�st whoeagerlyandenerge�callyseeksnew waystotellstoriesthroughherpain�ngs, sculptures,andpublicmurals.Herwork retainsanobject-likequality,u�lizingmany folkartmaterials,includingwoodand variouspaints,retaininganaturaland intui�ve,seeminglynaiveyetextremely complexaesthe�c.
Theworksdissecttherela�onshipwehave withourselves,ourcompanions,oursociety, andourpastwithanaweandcelebra�onof natureandthedivine,sheddinglightonhow wegrowandhowwesufferashumanbeings. Confronta�onalimageryiso�encontrasted withupli�ingsymbols,ac�ons,andwords— emphasizingtheextremesofthehuman condi�onandexperience.
Bornin1994ontheeastcoastofCanadain NewBrunswick,Browngrewupalongthe riversideandmountains,whichiswhereshe connectedtoartandbeganpain�ngand sculp�ng.Shehasspentmuchofherlife
travelingtheworldandmovingthroughout Canada,whichhasalwaysbeenreflected inherwork,buthasrecentlymovedback hometoStJohn,theoldestcityinCanada.
WorkhasbeenexhibitedatArtBasel Miami,aswellasMontreal,NewYork,and LAintheUnitedStates.
Image: “Agoodhardlookatyourself” AcryliconCanvas,MixedMediaFrame 121cmx91cm h�ps://www.instagram.com/gabrielle.k.brown/
Image: “Aswealwaysare”
121cmx91cm
AcryliconCanvas,MixedMediaFrame
Image: “OdetoCheen”
AcryliconCanvas 284cmx213cm
OLGABUNEVICH
OlgaBunevich’scurrentbodyofwork exploresmigra�on,con�nuity,andbelonging withinCanadianlandscapes.Workingina representa�onallanguage,OlgaBunevich focusesonquietencountersbetweennature andhumanpresence—momentsthatresist spectacleandinsteadinvitesustained a�en�on.
TherecurringfigureoftheCanadiangoose hasbecomecentraltothisinves�ga�on. Geesemoveseasonallyacrossborders withoutpossessionorconflict;theyreturn, adapt,andcoexist.InOlgaBunevich’s pain�ngs,theyfunc�onnotassymbolsina literalsense,butaswitnesses—steady presencesthatconnectwater,forest,and city.Theirrepe��onacrossworksestablishes con�nuityratherthannarra�veclosure.
LivingandworkinginCanadahasdeepened OlgaBunevich’sawarenessoflandas somethinglivedwithratherthanclaimed.As partofthisproject,OlgaBunevichhasbeen researchingFirstNa�onsperspec�veson landstewardshipandrela�onalcoexistence. OlgaBunevichapproachesthisresearchwith respectandhumility,nottoillustratecultural iden�ty,buttobe�erunderstandhowplace shapesresponsibilityandcon�nuity.The influenceappearssubtly—inrestraint,in atmosphere,andintherefusalofdrama�c gesture.
OlgaBunevich’sprocessisslowandlayered. OlgaBunevichbuildssurfacesthrough
controlledcolourshi�sandso�ened transi�ons,allowingformstoemerge gradually.Theaimisnottodrama�ze migra�on,buttopresentitasorganized movement—cyclical,necessary,andlifesustaining.Books,fruit,boats,forestedges, anddistantskylinesappearthroughoutthe series,sugges�ngintersec�onsbetween knowledge,sustenance,andadapta�on.
Thisprojectisongoing.OlgaBunevichis currentlyseekinggrantsupporttocon�nue developingtheseries,expandingitsscale anddeepeningtheresearchcomponent �edtoCanadianlandscapesand environmentaldialogue.OlgaBunevich’s inten�onistocreateacohesive,long-form bodyofworkthatreflectsoncoexistence— notasanabstractidea,butasadaily prac�ceshapedbya�en�onandcare.
Image: “WhereMovementBegins” MixedMediaonCanvas 51cmx51cmx1cm
AVAREYNOLDS
AvaReynoldsisa19-year-oldsurrealistportraitpainterand mul�mediaar�stbasedinPortland,Oregon.Having experiencedanNDEin2022,theirlifehasneverbeenthe same.Theydrawfromtheextremesoflifetomakeart,from theirchronicillnesstonear-deathexperiences.Althoughthese aspectsmayseembadatfirst,theyfindbeautyinthebizarre andfearfulaspectsoflife,sharingastoryofunbreakable resiliencewitheachstroke,crea�nganewimageandfaceof theworldwithineveryartpiecethatmanyhaveyettocross pathswith.
Image: “Encroaching”
MixedMediaonCanvas 30inx40in
h�ps://www.instagram.com/ava_r_art/
YITITSAI
YiTiTsaiisaTaiwanesephotographer basedinLosAngeles.
Herworkexploresobject-based symbolism,reshapingeveryday materialsintoimagesthatcarrythe quietweightofgenderedexpecta�ons, desire,andemo�onallabor.
Livingfarfromhomeinformsher sensi�vitytovisibilityandinvisibility, distance,andthepressuretoperform iden�ty.Throughrestrained,in�mate imagery,Tsaicreatesspacesthatinvite viewerstopause,reflect,andrecognize vulnerabilitynotasweaknessbutasa sharedandconnec�veforce.
Image: “welcome,welcome”
Photograph 60cmx40cm h�ps://www.instagram.com/yi�.photos/
VICTORIAIMOGEN BIFFEN
VictoriaImogenBiffenspecialisesinacrylic andoilpain�ngoncanvas.VictoriaImogen Biffen’scurrentprac�cedrawsonthe rela�onshipbetweenartandobjects. Inves�ga�ngdetachedandblurredwaysof pain�ngandmergingitwithVictoriaImogen Biffen’sownfilmphotographs,Victoria ImogenBiffencreatesworkswhichare reflec�veofVictoriaImogenBiffen’sown memories,stories,andexperiences. Incorpora�ngVictoriaImogenBiffen’sown techniquesintothemakingprocess,Victoria ImogenBiffenenjoysdiscoveringand experimen�ngwithnewtechniquesof crea�ng,usingthebrushinadifferentway thanintended.Uncoveringandcovering throughoutthecomposi�ons,Victoria ImogenBiffenembedsvarioussubtle�es,
withhiddenmetaphors,symbols,and silhoue�esinthebackground.Victoria ImogenBiffeno�enfindsthemselves thinkingaboutthedifferencebetweenan objectandathing,aswellasthehuman valueembeddedintoordinaryitems.
Image: “14.02.05”
MixedMediaonCanvas 23cmx29cm h�ps://www.instagram.com/imogen_biffen/
Image: “Onlooker”
MixedMediaonCanvas 23cmx29cm
CHINGKELIN
ChingKeLin(b.1982,Taiwan)isa contemporarybambooar�stwhoseprac�ce explorestheintersec�onsofnature, spirituality,andmaterialculture.Drawing fromthestructuralintelligenceoftradi�onal Taiwanesebamboocra�smanship,he examineshowmaterialitycarries�me,belief, andmemorywhilereflec�ngontheshi�ing rela�onshipbetweenhumansandtheir environmentincontemporarylife.Through large-scalesculpturalandspa�al installa�ons,Lintransformsu�litariancra� languagesintoperceptualandcontempla�ve environments,challengingthesta�cnature offormandconven�onalmodesofviewing.
Image: “10101”
MixedMediaSculpture 1100cmx320cmx320cm h�ps://www.instagram.com/grid.atelier/
Image: “TheGarmentoftheForest” Bamboostrips,MixedMedia 400cmx2000cmx2000cm
AMYGAME
AmyGameisaPerth-bornar�stworking acrossoilpain�ngandceramics.Herprac�ce exploreswomanhoodandiden�tythrough herownlens,emo�onallydrivenbypersonal experience,culturaliden�ty,andtheworld aroundher.
Amy’sworksexaminethetensionbetween innerfeelingandreality,o�enexis�ngina liminalspace,exploringvulnerabilityand discomfort.Whilerootedinlivedexperience, theworksasktobefeltbeforebeing understood,invi�ngtheviewertoproject theirownmeaning.
Image: “FemmeMaison” OilonCanvas 60cmx40cm
Photographer:JamieBorough h�ps://www.instagram.com/amytheflower/
VERONIKALESLIE
VeronikaisaSingapore-basedar�stwhose crea�vejourneytookanewdirec�ona�er movingtoanewcityin2015.Withformal traininginartschool,shespentyears exploringavarietyofmediumsand techniquesbeforediscoveringherauthen�c ar�s�cvoicein2019,shortlya�erthebirth ofhersecondchild.
Today,sheisbestknownforherexpressive charcoaldrawings—worksthatcapture emo�on,depth,andthequietbeautyof humanpresence.Throughboldcontrast, delicatetextures,andconfidentmarkmaking,Veronikabringslifeandsensi�vityto everyportraitandfigurestudy.
Herartreflectsbothpersonalgrowthanda deepapprecia�onforstorytellingthrough
formandshadow.Asshecon�nuesto evolveherprac�ceinhernewartseries, WhispersofLife,Veronikaremains commi�edtocrea�ngmeaningfulpieces thatstop�meandhelpviewersreflecton thepresentmoment.
Image: “Unwri�enStory” MixedMedia 55cmx39cm h�ps://www.instagram.com/veraanika_art/
MAYANEILL
MayaNeill’sworkexploreshowwomenhave beenvisuallyrepresentedandhowthisis mirroredbysocietalexpecta�ons.
Byworkingwithdomes�cmaterials alongsidesurrealistphotography,MayaNeill explorestheconceptofthesuburbangothic, examininghowwomenarebothliterallyand figura�velycontained.
Image: “FemmeMaison”
Photograph
VariousDimensions h�ps://www.instagram.com/mayaka�eart/
ROBERTSINGER
RobertSinger(b.1964)isfromOmaha, Nebraska,anda�endedtheUniversityof Iowa,wherehestudiedhistoryandstudio art.HehasaMaster’sdegreeinModernArt History,Theory,andCri�cismfromAzusa PacificUniversity.Heisac�veinthe Hamptonsartcommunity,havingworkedat theDanFlavinArtIns�tute,GuildHall,and thePollock-KrasnerHouseandStudyCenter, andisamemberoftheEastHamptonAr�sts AllianceandtheSouthamptonAr�sts Associa�on.
Singergrewuparoundmodernand contemporaryartofthe1960sand1970s, whichprovidedanalterna�veto conven�onalcrea�veprocessesandblended withaninterestinjazzandtheprogressive musicofthatperiod.Whenpunkemerged, hissonicinterestsshi�eddrama�cally, furtheremboldeninghisinves�ga�onsinto contemporarypain�ngandsculpture.Of
par�cularinterestisimagelessabstrac�on andhowthenaturalenvironmentinforms somethingheconsidersbothbeau�fuland necessary.
Singer’sapproachtopain�ngisgrounded informalismandinestablishingwhatis possiblewithwhatisavailable,usingthe limita�onsofresourcesasinspira�onfor self-explora�onandcrea�on.
Image: “Ondine” MixedMedia 73cmx50cm h�ps://www.instagram.com/robertsingerart/
YUEMINGLI
YuemingLiisavisualar�stwhoseprac�ce focusesonthenarra�vityofimagesandthe visualiza�onoftheinnerworldthrough metaphorsandsymbols.Drawinginspira�on fromflee�ngmomentsineverydaylife,she createsvisualnarra�vesthatinvitea momentofpause,feeling,andreflec�on.
Yueming’sworkhasbeenexhibited interna�onally,includingatArtonLoopsin LondonandAthensandtheGuangzhou Illustra�onArtFes�val.Shehasalsoreceived mul�pleinterna�onalrecogni�ons,including theWinner�tlefromtheAppliedArts Awards;SilverMedalsfromtheJapan Illustrators’Associa�onIllustra�onAwards andtheGuangzhouIllustra�onArtFes�val; andMeritAwardsfromtheThreexThree Illustra�onAwardsandtheiJungle Illustra�onAwards.
Image: “AshesoftheIllusion” Illustra�on 26cmx19.4cm h�ps://www.instagram.com/yueming.art/
Image: “BuryMe”
Illustra�on 29.7cmx21cm
NIAMHBARRY
NiamhBarryisaCanadianpainterbasedin London,UK.Workingprimarilyinoilon canvas,herfigura�vepain�ngsexplore themesofanonymity,isola�on,and lonelinesswithincontemporaryprofessional life.
Drawingfromsevenyearsofworkinginthe financeindustry,Barrydepictsanonymous figuresinmomentsofprofoundsolitude.She paintsobjectswithme�culousdetailwhile deliberatelyerasingiden�ty,crea�ngscenes thatfeelsimultaneouslyin�mateand detached.
BarrystudiedattheUniversityofWestern Ontarioandrecentlycompleted courseworkattheUniversityoftheArts London.
Image: “Bartender”
MixedMediaonCanvas 76cmx102cm
Photographer:VarvaraIvanova h�ps://www.instagram.com/niamh__barry/
Image: “TheSameandtheDifferent” MixedMediaonCanvas 122cmx122cm
Photographer:VarvaraIvanova
JINGYIYANG
JingyiYangisatex�lear�standdesigner whoseprac�ceexplorestheintersec�onsof sustainability,culturalmemory,andmaterial innova�on.SherecentlyreceivedherMFAin Tex�lesfromParsonsSchoolofDesign.Her workinves�gateshowtex�lescanfunc�on asresponsivematerialsthatholdstories, environments,andculturalhistories.
Combiningtradi�onalMongoliansymbolism withadvancedtex�letechnologies,Yang worksacrossTC2Jacquardweaving,Shima Seikidigitalkni�ng,andbiomaterial experimenta�onusingalgae,kombucha,and recycledorganicma�er.Herresearch focusesonbiofabrica�onandliving materials,developedinpartthroughher workatGenspace,aBrooklyn-based communitybiotechlab.
Throughimmersiveinstalla�onsand experimentaltex�lestructures,Yang exploresthemesofmigra�on,spa�al rela�onships,andculturaltransforma�on. Drawingonproxemicstheoryandher experiencebetweennomadicandurban cultures,shecreatestex�leenvironments thatinviteviewerstoreflectondistance, memory,andbelonging.
Image: “SuturedCon�nuum”
MixedMediaKni�edSculpture 250cmx130cm
Photographer:ZiranZhou h�ps://www.instagram.com/jingyiii_y/
Image: “ScriptedMo�f” MetalWire,Algae-basedMaterials
130cmx130cm
Photographer:ZiranZhou
Image: “WhereRiverBreathe”
WovenMixedMedia
120cmx30cm
Photographer:ZiranZhou
EYANAHCHOLERTON
EyanahisaBri�shpainterbasedinExeter, Devon,workingprimarilyinacrylic.Her prac�cecentresonsurreal,human-like figuresdis�nguishedbyelongatednecks, dispropor�onatelimbs,andvintage lampshadesinplaceofheads—amo�fthat hasquicklybecomethesignatureofher emergingbodyofwork.
Theseriesdevelopedfollowingapivotal realisa�on:thatdefiningar�s�csuccess throughstrictrealismhadbeenlimi�ngher crea�vely.Inresponse,sheturnedtodrawing frommemory,allowingins�nctand imagina�ontoguidetheprocess.Thatshi� markedadecisiveturningpoint.The resul�ngfiguresfeltexpressive,characterful, anduniquelyherown,openingamore liberateddirec�oninherprac�ce.
Drawingfrommemoryremainscentralto Eyanah’sapproach.Byembracing imperfec�on,sheinvitesindividualityand narra�veambiguityintoeachpain�ng. Whilehercomposi�onsleantoward surrealism,herfounda�oninrealismiss�ll evidentthroughcarefullymodelledskin tones,consideredshadows,andsubtle reflec�onsinfabric.Thisbalancebetween technicalcontrolandimagina�vedistor�on createsadis�nc�vevisualtensionacrossher work.
Astrongaffec�onforvintagedesigninforms herrecurringlampshadeimagery,whileher
loveofjazzsubtlyshapestheatmosphere ofherpain�ngs.Warmredsandmoody undertonesfrequentlysurfacewithinher pale�e,givingtheworkanostalgicyet contemporaryquality.
Havingrecentlysoldseveralpiecesfrom thisevolvingseries,Eyanahisatanexci�ng earlystageinhercareer.Withmanyideas s�llunfolding,shecon�nuestoexpandthe “lamphead”narra�ve,embracingcrea�ve freedomanddevelopingaconfidentvoice withincontemporarysurrealistpain�ng.
Image: “Lounger”
MixedMediaonCanvas 41.2cmx28.8cm
Photographer:RobSpooner h�ps://www.instagram.com/eyanahcholerton/
“LadiesNight”
MixedMediaonCanvas 41.2cmx28.8cm
Image:
Photographer:RobSpooner
Image: “AToasttoTheHost”
MixedMediaonCanvas 41.2cmx28.8cm
Photographer:RobSpooner
PERRYHAMBRIGHT
WhilestudyingforhisBFAinPhotographyas aFineArtatRochesterIns�tuteof Technology,PerryHambrightstartedadding addi�onalimagerytophotographs.These addedcomponentswouldalwaysneed(and s�llneed)tomaketheoriginalscenemore provoca�veandmeaningfultothear�st, whetherthatmeaningisdeliberateand obvious.O�en,thereisnoexplicitintentfor anaddedelementtoimpartneworaltered ideas.
AlwaysdrawntothesurrealismofMagri�e, Dali,Escher,Uelsmann,thoseclassicalbum coversbyHipgnosis,andmanyothers, Hambrightbegantoshapehisaesthe�c alongthoselines.Hehasbuiltalargebodyof contemporaryphotographyprimarily featuringmarriagesbetweensharp, uncomplicated,pleasinglycomposedscenes andstrikingsurrealis�caddi�ons.
Thear�st’sprocessgoeswhereverhis subconscioustakeshim,fromthe�mehe photographsasceneun�lcarefully composi�ngandmanipula�ngitdigitally. Oncehefeelsapar�cularcombina�on beginstosa�sfyaninnervision,hecon�nues torefinetheamalgamatedworkun�lthe blendmeshesseamlesslysoastobestconvey thear�st’svisionwhilealsosuspending disbelief.ForHambright,themake-or-break testistheimpactandfeelingthefinalresult communicateswhenviewedasaquality print.
Unlikedreamlikefantasyorotherworldly sci-filooks,hisstyleispar�cularlyhonest andstraigh�orward,whichhecallssimply surreal.Hisworks,whicho�enshow gigan�clifeforms,strangeobjects,orother unexpectedelements,aremeanttodelight, surprise,orcauseonetothinkorfeeljusta bitdeeper.Hambright’sconceptual photographsgenerallyjuxtaposethe beautyofnature’sbountywithfun, interes�ng,orevenbizarreaddi�onal componentsheeitherspecificallycreated fororjustcameupon.
Theaimisforhisarttobringabout inquisi�vethoughtsandsparkviewers’ imagina�ons…aswellaspleasetheeye.
Image: “AlternateReef” MixedMedia 36.5cmx53.34cm h�ps://www.instagram.com/surrealsantabarbara/
Image:
Image:
“WhereDidThisComeFrom?”
MixedMedia 35.6cmx53.35cm
ARIELMURPHY
ArielMurphyisaSouthCarolina-basedar�st whospecializesinpain�ng,drawing,and photography.ShehasearnedanAssociate degreeinArtfromSpartanburgCommunity Collegeandiscurrentlyworkingtoward obtainingherBachelorofFineArts,witha concentra�oninpain�ng,fromConverse University,expectedinfall2026.
Herworkisinspiredbyanimalsinnatureand thedynamicsbetweenpredatorandprey— howtheirrela�onshipsareshapedby ins�nct,survival,andpower.Shetakesnote ofhowthisleadstoaggressionandhowitis formedasaresponse,protec�on,ordefense. Animalsinherworkhelpshowthe progressionofaggression.
Image: “Contri�on” OilonCanvas 152cmx123cmx5.08cm h�ps://www.instagram.com/ar�st_ariel14/
TAYLORMCMAHAN
TaylorMcMahanisaportraitar�stbasedin NorthCarolina,u�lizingprimarilygraphite andcharcoaltoexplorethemesof motherhoodandtheo�encomplicated rela�onshipsbetweenmothersand daughters.Shereceivedhertrainingatthe UniversityofNorthCarolinaSchoolofthe Arts,aswellasins�tutessuchasPenland SchoolofCra�s.Herworkaimstomakeless hushedthelesspre�ybutmorehuman aspectsofwhatitistobeawomaninaworld thatadmiresourdocility.
Image: “TheMotherWoundandFailedFer�lity” Self-Potrait 83.82cmx57.15cm h�ps://www.instagram.com/taylorleigh.studios/
VALERIA OVCHINNIKOVA
ValeriaOvchinnikovahasworkedformany yearsinthefashion,theatre,and photographyindustries—insidetheprocess wherevisualcodesarecarefullyconstructed andrefineddowntothesmallestdetail.This experiencerevealedhowcomplexandlaborintensivetheimagesweseetrulyare.Atthe same�me,shebegantofeelagrowing fa�guewiththevisualuniformityofthese codes.Theterm“photocontent”itself startedtofeellifeless—endlessimages withoutclearauthorship,whethercreatedby ar�ficialintelligenceorbyhumans.
Collagebecameawayforhertomove beyondtheseflatsurfacesandrestore curiositytotheactoflooking.Inspiredbythe composi�onandrhythmoffashion photography,sheworkswithfragments,
texture,andchance.Bytearingand recomposingglossymagazinepages,she transformsthepolishedlanguageof fashionimageryintosomethingmore tac�leandopen—imagesthatinvite viewerstolooklonger,reinterpret,and imaginebeyondtheframe.
Image: “FluidFeminity”
MixedMediaCollage 28cmx30cm h�ps://www.instagram.com/thepaper.face/
CAROLHAMCKEONSTWEDDER
CarolisaLondon-basedphotographer, havingjustreturnedfromfiveyearsin SoutheastAsia.Shehasabackgroundin publicpolicyanddevelopmentstudies,which bringsauniqueperspec�vetoher photography.Withherpassionforthe naturalenvironmentandhercuriosityabout differentculturesglobally,shetriestotease outavisual/emo�onalstoryinwhatever photographicgenressheisworkingin.She con�nuestosparkcrea�vitythroughusing mul�plephotographictechniquesand disciplines.Whilehernatureandlandscape photographyfocusesontextures,shapes, andcolor,herpeoplephotographyfocuseson theconnec�vitybetweenherandhersubject orcapturingthemomentonthestreet.She alwaystriestosparkemo�onandcuriosity abouttheworldaroundherthroughher photography.
Portrait 60cmx60cm h�ps://www.instagram.com/cho_thru_the_lens/
Image: “WeddingPortrait”
CAMILANOGUEZ
CamilaNoguezisarecentfilmmaking graduatewhohasalwaysbeena�ractedto anyartformpossible.Fromayoungage,she developedaloveforillustra�onandthe crea�onofworlds,leadinghertopursueart inherfuture.Camila’sfavoritethingisto implementsurrealistcreaturesintodaily momentsinlife,addingthistoherdrawings andfilmmakingjourney.Camilahasfounda passionforanima�onandmixedmediathat shehopestosharewithfellowcrea�vesand con�nuelearningfromprofessionalsinthis artform.
Image: “Cigare�ebreak” DigitalIllustra�on 1668pxx2388px h�ps://www.instagram.com/madebynoguez/
TEDCHIN
TedChin,knownasTedsLi�leDream,isaSan Francisco–basedsurrealistar�stand photographerwhocreatesdreamlikedigital collagesblendingfantasyandnature.With nineyearsofexperienceinthecrea�ve industry,hehasworkedasanar�st,speaker, educator,andmore.Hisclientsincludethe GrammyAwards,Apple,WarnerBros.,Meta, andAdobe,andhewasthePhotoshop2021 coverar�st.
Image: “brokenmemories” Photograph 16inx20in h�ps://www.instagram.com/tedsli�ledream/
LEELESSEM
BornandraisedonafarminAfrica,Lessemis currentlybasedinToronto,Canada.She earnedherBAFAfromtheUniversityofthe Witwatersrandandhasbeenpain�ngfor over60years.Sheisaninterna�onally acclaimed,publishedar�stwithworkin privatecollec�onsacrossNorthandSouth America,Australia,Europe,andtheUnited Kingdom.
Image: “COSMOS2.o” MixedMedia 48cmx40cm h�ps://www.instagram.com/leelessemart/
LAIDRICSTEVENSON
LaidricStevensonwasborninWisconsinbut le�beforehecouldwalkandtalk,sohe doesn’tconsiderhimselfaMidwesterner. Spendinghischildhoodandteenageyears betweentheborderingstatesofOklahoma andTexas,hefirstbecameinterestedin photographyaroundthereleaseof NevermindbyNirvana.
Duetothesomewhattransientnatureofhis childhood,hisphotographyisrootedin discoveringasenseofplace.Hebelievesin thepowerofphotographyinbookformat andisanenthusias�cself-publisherofzines andsmallphotobooks.
Hespendshisdaysinanofficeenvironment andphotographsinhisfree�me.Heisbased inDallas,Texas.
Image: “1amparkinglot” Photograph 40.64cmx50.8cm h�ps://www.instagram.com/ photographyisadeadmedium/
ERIKAGUADAGNIN
ErikaGuadagninisanItalianvisualar�stand curatorwhoseprac�cemovesfluidly betweenpain�ng,collage,andinstalla�on. Asamotherofthree,herperspec�veis rootedinlivedexperience—a�en�veto memory,care,transmission,andthesubtle waysiden�tyisshapedover�me.Herwork growsfromobserva�onandresearch,yetit remainsdeeplypersonal,guidedbyintui�on asmuchasbystructure.
Atthecoreofherar�s�cinquiryliesthe condi�onofmigra�on,par�cularlythe storiesofItaliancommuni�eslivingabroad. Erikaapproachesdisplacementnotonlyasa geographicalshi�,butasanemo�onaland culturalnego�a�on.Throughconversa�ons, archives,andfragmentsofcollec�ve memory,shereflectsonadapta�on, nostalgia,hybridity,andthequiet reinven�onofbelongingacrossgenera�ons.
Hervisuallanguageislayeredandtac�le. Expressivepainterlymarksintertwinewith collageelements(photographs,textures, tracesoftext),crea�ngstra�fiedsurfaces thatechothecomplexityoflivedhistories.In herworks,thein�matemeetsthehistorical: privatememoriesresonatewithinbroader culturalnarra�ves.Theresultisanimmersive visualfieldwhere�mefeelssuspendedand iden��esremainopen,intransi�on.
Alongsideherar�s�cproduc�on,Erika’s curatorialprac�cereflectsacommitment todialogueandcollabora�on.Sheis interestedinbuildingpla�ormsthat supportemergingar�stsandfoster meaningfulcross-culturalexchange.Her projectso�enemphasizeprocess,research, andconversa�onasessen�alcomponents ofar�s�ccrea�on.
Throughexhibi�onsandbiennalesacross Europe,Erikahasdevelopedaprac�cethat isbothreflec�veandsociallyaware.Her workinvitesviewerstoreconsiderno�ons ofhome,memory,andbelonging,notas fixedcategories,butasevolvinglandscapes shapedbymovement,experience,and sharedhistories.
Image: “ThreadsofBelonging” MixedMediaCollage 30cmx21cm h�ps://www.instagram.com/erika_guadagnin/
JENNIFERVERHOEF
Americancontemporarysculptorandmixed mediaar�stJenniferVerhoefcreateswork groundedintac�leexplora�onandmaterial storytelling.Drawingonherbackgroundin graphicdesignandillustra�on,sheinfuses hersculpturewithapreciseandthough�ul visuallanguage.Shebalancesstudio�me withherprofessionalroleasagraphicsart directorandstaffsupervisorforaMaryland researchorganiza�on.Jenniferlivesin Pennsylvania,on57acreswithherhusband, wherethelandscapeprovidesongoing inspira�onandadeepsenseoftranquility.
Jennifercreatessculpturesusingfiberand mixedmedia,allowingeachpieceto determinethematerialsitrequires.Sheo�en workswithneedle-feltedandwrappedwool orsilkoverarmaturestoestablishstructure, whilehand-cutandprintedpaperaddsboth materialcontrastandconceptualdepth.
Jennifer’svisualinspira�ondrawsfrom natureandthehumanform,whileher conceptualfocuscentersonhuman developmentandexpansion.Her23-year medita�onprac�cecon�nuallysparks inquiriesintopersonalgrowthanduniversal aspectsofthehumanexperience,an influencethathasshapedano�ceableshi� inherrecentwork.Herlatestsculptures emphasizethemesofloveandconnec�on,in
contrasttoearlierpiecesthatprovoked strongresponsesthroughmoreforceful psychologicalmetaphors.
Thisevolu�onaccompaniesJennifer’s recentreturntoartmakinga�er21years, promptedbyaninvita�ontopar�cipatein ajointexhibi�onattheNomaGalleryin Frederick,Maryland,inDecember2025. Theresul�ngseriesunitesearlierandnew worksintoacohesivecollec�onshapedby arevitalizedvision,markingarefreshed ar�s�cdirec�onasJennifermovesforward withrenewedpurpose.
Image: “LifeSeed”
MixedMediaInstalla�on 142.24cmx30.48cm
Photographer:MichaelMasonStudios h�ps://www.instagram.com/ni�_design/
