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DivideMagazineisaglobalcentric,bimonthlycontemporaryartpublicationfocusedonshowcasingworksfrom emergingvisualartistsandinterviewingestablishedcreators.DivideMagazineisoneoftheonlypublications committedtorepresentingalldisciplinesinvisualartsincludingMixedMedia,Illustration,Photography,andStreet Art.Westrivetoconstantlypushandprovoketheboundariesofart.DivideMagazineandourteamdoesnotjudge artistsbytheireducation,race,preferences,orbackgrounds,simplytheartist’stalent.

Formoreinformationpleasevisitwww.dividemagazine.com

CURATEDARTISTS

WIND,WATER,ANDTHEWORLD

Self-taughtpainter,Kayan Hamadeh,portraysdreamy,scenic landscapesofprivatemoments.

COPY,CUT,ANDPASTE

Photographsofpeopleandthe tensionbetweenthembecome digitalart,and,onoccasion,astep furtherintocollageinthehandsof TamaraZibners.

PHOTO,VIDEO,SCULPTURE...

Thenameofthegameis “interdisciplinary”forLidĳaRistic, whousesabi-culturalpastto expressthehumanexperience.

90 BITS,BYTES,ANDBEAUTY

TheproceduralartofRyanBell bringsorganiclifeintothechaotic functionsanddigitalworld surroundingtheriseofNFTs.

HEARTSANDHAPPINESS

Beautifulglimmers-littlemoments ofpositive,calmingenergy-arethe focusofIngridV.Wells’whimsical, mood-changingpaintings.

101 110 116

SMALLVISIONSANDMASSIVE STYLE

ThePopovySisterscreatecustom dollsthatminiaturizehumanbeauty.

BRONZEANDSLIVERSOFGOLD

Momentsofhumanity,frozenand castwithbronze,bringlifeintothe studioofSpanishsculptorsJoan CoderchandJavierMalavia.

SUN,SEA,ANDSAND

SallyWestisdrawntotheocean andcapturingitsbeauty,amongst otherbeautifulsightsseenonmany travels,inpaint.

122 128

EMOTIONSANDFEELINGHUE

ColordrivestheworldofErik Minter’sartandistheessenceof portrayingmemoriesandinpaintfor otherstounderstand.

BLACKANDBLUEALLOVER

Blackidentityandstoriesaretold throughthedistinctblueskinand hauntingred-eyedportraitureof AnnanAffotey.

Letterfromtheeditor

Artisforever,andit’sephemeral.Itispushedbyimaginationbutbasedinreality.It’sfor everyone,andit’spersonal.There’salottosayaboutit,anditdoesalotofthetalkingonits own.

Thewholeworldhasbeenonpausethispastyearwithpeoplestayingsafeinsidetheir homesaseverystepoutsideisanuncertainadventure.Theneedforabreakfromthemundaneisatitshighest.Somefindthatallthistimeinsolitudeisthebreaktheyneeded,butfor others,thelackofdailyactioniscompletelydull.Whenpeoplegettogether,theygenerate stories.Thosestoriescreatelastingmemories,theydriveconversation,andasawhole,they makelifewhatitis.Weneedthesestoriestothrive,andwithpeoplekeptapart,themaking ofthesestoriesisatanall-timelow.Thatiswhereartcomesin.

Artissuchakeyvehicleforstories.Art,in manydifferentways,isatransitivemedium,in thatittakesstoriesinoneformandturnsthem intoanother.Artiststakeexperiencesthey’ve had,they’veheard,orthey’vefashionedfrom theirimagination,andrepresenttheminpaint andsoundandpixelsonascreen(amongst otherthings).Wegettoseeandheartheirstoriesandencounterthemonourown.Itisa considerablydifferentwaytobeexposedto thesestorieswhencomparedtoactuallyliving them,butgreatartistscanusetheircraftto makeyou,theviewer,feellikepartofthestory aswell.

Theartinthisissueisacollectionofalotof differentstoriestoldinalotofdifferentways. Theuntoldstoriesofunheardvoices,intimate momentsfrozenintime,andthecolorofexperiencespopulatethepagesofDivide.Inthe digitalage,itissomucheasierforartiststo sharetheirstories,andweatDividearevery happytobeapartofthatprocess.Iamso thankfultohavegottentospeaktosomeof theseartists,andevenmorethankfultobe abletopresenttheirarttoyouinthismagazine.

From DanieldaSilva AssistantEditor

ZACCHEOZHANG

ZiquitaRiberdy:Whendidyoufirst becomeinterestedinart?

ZaccheoZhang:Learninghowto playthedrumswhenIwasthree yearsoldwasmyfirstcontactwith art.Duringmyteenageperiod,my parentsletmetrydifferentartcategories,includingpainting,music, andsculpture.ItwasnotuntilI wenttohighschoolthatIfinally foundmyinterestinphotography.

ZR:Youmentionedyoumoved fromChinatostudyintheUnited States,whatledyoutomakethat decision?

ZZ:Duringmyundergraduate study,IwasassignedtotheUKby myUniversityforanexchange program.Atthattime,Ifeltdifferentaboutthelearningatmospheresandteachingmethods, whichmademereallyinterestedin foreigneducation.Aftergraduation,Ihadtwoyearsofworkexperience.AlthoughIhadmadesome achievements,IstillbelievedthatI hadalongwaytogo.Atthattime, Idecidedtocontinuemystudies andcometotheUnitedStates.

LEFT:ZACCHEOZHANG ‘TombstoneofHeaven’Series FineArtPhotograph www.zaccheophoto.com

LEFT:ZACCHEOZHANG ‘TombstoneofHeaven’Series FineArtPhotograph

ZR:Canyouexplainyourinspirationforyourpieces?

ZZ:Asearlyas2015,Ihadagroup ofworkstodiscusslifeanddeath. TheprojectHeavenTombstoneis morelikeanin-depthdiscussion ofthetopic.It'snotanewexploration,butmorelikeaquestion aboutlifeanddeath.IfIwasdiscussing"howtodefineaperson's death"inmyearlyworksThe DeathofLuZhishen(2015),then thatprojectismorelikeasking "howwedefineaproperdeath"?I thinkmyinspirationcomesfrom life.Fromthebeginningofcollege, Ihavebeenforcedtoacceptthe departureofmyrelatives,and therearetoomanyregrets,reluctance,andhelplessness.Aftera seemingly"optimisticgoodbye"to them,Ialwaysflashbacksomeremorseinsomesegmentsofmy life.Theemotionremindsmethat everythinghasnotpassed.SoI puttheseemotionsintomyworks. IhavetosaythatpartofChinese traditionalculturenourishesmy works.Forexample,"shadow", "ZhuangzhouDreamingButterfly" andsooncanfindrelevantelementsinmyworks.Ididn'tmean todoit,butafterthecompletionof thework,orevenafterother artistspointeditout,Ifoundthese facts.ThecultureIgrewupinsubtlystimulatedmycreativity.

ZR:Whatinspiredyoutocreate artworkfocusedondeath?

ZZ:Myfather'smotherdiedin 2013whenIwasinEngland.When Igotofftheplane,mymothertook metothefuneral.Iwascaughtoff guardbythesuddenloss.Althoughmyreactionseemedvery calm,Ihadtheillusionthatmy grandmotherwasstilltheretwo yearsafterIlosther.Mymother's motherdiedin2018,justone monthbeforeIwentabroad.At thattime,IwasworkinginParis. ShejustgotbetterbeforeIwentto Paris,andshewasgonewhenI cameback.Ididn'tseeherandsay goodbye.It'shardformetodescribethebondbetweenmy grandmotherandme.Sheisanold countrywomanlivinginarural area,Igrewupinthecity,so sometimeswehavealanguage barrier.However,sheplayssuch animportantroleinmymemory.It isstillverypainfultothinkoflosingher.SometimesIknowthatI wouldmakethesamechoiceifI wentbacktothepast,butIcan't giveupthiskindofpainbecauseit remindsmehowirreplaceable thesepeoplewholeftaretome.

ZR:Canyouexplainyourprocessforcreatingartwork?

ZZ:It'snotmystyletosetaframeworkfor myself.Iwillnotprepareatemplateto completemyworks.SometimesIusehistoricprocesses,sometimesIusecameralessphotography,sometimesIusedigital cameras,evenmore,Ihaveworkscreated withmaterialsfoundontheinternet. WhenIcreatedthisproject,Ifirstdeterminedthethemeandthendesignedmy pictures.Alltheprops,lighting,and shootingtechniquesareusedtoachieve anaccurateandeffectiveexpressionof thetheme.

ZR:Whichartistsarecurrentlyinspiring you?

LEFT:ZACCHEOZHANG

‘TombstoneofHeaven’Series FineArtPhotograph

ZZ:I'maverydedicatedperson,Hiroshi SugimotoandSebastiãoSalgadoarethe twoIadmire!Mynewproject'Onekindof Touch'isinspiredbySugimoto,'Lighting Fileds'istheworkthatIreferredto.Other greatartistssuchasAdamFuss,Chris Bucklow,MatthewBrandt,ClaireA.Warden,andMeghannRiepenhoffaresosupportive.Ishouldrecommendthewriter LyleRexer'sbook'TheEdgeofVision: TheRiseofAbstractioninPhotography', and'Lights,Paper,Process:Reinventing Photography'byVirginiaHeckert,these twobooksgivemetonsofreferences.

LISAMcCLEARY

ZiquitaRiberdy:Whendidyour artisticjourneybegin?

LisaMcCleary:Ihavealwaysbeen consumedbyart.MyartisticjourneybeganwhenIwasachild.AllI wantedwastoplaywithanyartset Icouldgetmyhandsonandto spendmytimecreating.Ihadalittletableinthekitchen,andIwould sitthereforhoursdrawing,paintingandexploringdifferentmediums.IwatchedartshowsonTV andtriedtofollowalongwithmy favoritepainters’instructional DVDs.

Ilovedstudyingartinhighschool andwouldtakeanyoutofschool SummercoursesIcouldtolearn more.Iwasveryfortunatetobe encouragedtofollowmypassion anddowhatIlovebymyparents. Afterfinishinghighschool,IcontinuedtopursueartatSallynoggin College’syearlongportfolio courseinDublin,Ireland.Ithen movedtoSydneytoundertakea BachelorofFineArtsatUNSWArt andDesign.

LEFT:LISAMcCLEARY

‘Untitled’ OilonPanel 36”x24” www.lisamccleary.com

OilonPanel 36”x24”

ZR:HowdoesyourIrish-Australianbackgroundtranslateinto yourartwork?

LM:Ifeelthatmycross-cultural backgroundhashelpedmeto broadenmyunderstandingofthe artworldatlarge.Bothcultures areveryopensoIhavebeenfortunateenoughtoengagewithand learnfrommanyartistsduringmy travelsbetweenbothhomes.My piecesareofteninspiredbyconversationsandengagementswith peoplefromallwalksoflife.As artists,Ibelievethateverythingwe do,thewaywemovethroughthe world,thepeoplewemeet,theway wespendourdays,allfeedsback intoourwork.

ZR:HowdidyourstudiesatParsonshelpshapetheartworkyou producetoday?

LM:DuringmystudiesatParsons, Iwasintroducedtonewwaysof makingandthinking.Iwasableto selectelectivesfromanyofthe schoolsunderTheNewSchool umbrellatopushmyworkboth conceptuallyandformally.Iundertookcoursesongender,sexuality andthebodyasthosethemes drivemypractice.

Iwasalsointroducedtothemetal shopandwoodshopwhichhelped metoexplore3-dimensionality withinmywork.Iaminterestedin themeaningsweassigntomaterialsandourexperientialrelationshiptodifferentmediums.Class tripstomajorexhibitionsandmuseumsintroducedmetoworkthat Ihadonlyseenthroughimages online.Itwasagreatexperience.

ZR:Whatwasyourinspirationbehindyour mostrecentpiecesfrom2020?

LM:MycurrentseriesisinspiredbythestruggleofEssentialWorkersduringtheCOVID-19 Pandemic.OurimageryoftheeverydayinNew YorkCitytransformedintoadystopianreality. COVID-19broughtaboutaheightenedawarenessofthesocial,politicalandeconomicdisparitiesbetweentheracesandclassesworldwide.

ThePandemicchangedthewaywerecognizeandcategorize privilege.Thesepaintingscapturesilentmomentssharedbetweenmyselfandridesharedrivers.Duringtheheightofthe PandemicinNYC,theseEssentialWorkershadcreated make-shiftscreensandinstalledthemasaprotectivebarrier intheircars.Forme,thescreenfunctionsasasurfaceofmediation,protection,isolation,safetyandfear.Itactsasabarricadeandchargedindexthatbothseparatesandunitesus. Thesepaintingsareaboutsocioeconomiccognizance,selfindictment,communityandlonging.

ZR:HowhasCOVID-19affected yourworkasanartist?

LM:Theoverwhelmingnatureof thepastyearmademypractice shiftfromabstractrealismandanthropomorphicsculpturestoafocusonthepressingissuesofthe time,thatwerebeingexperienced globally.Ipaintedthesecurrent worksphoto-realisticallyasIfelt thattheimagerycapturedofeverydaylifeinNYCin2020wassurrealenough.Ithinkaftertheworld experiencedsuchacommunal trauma,therehasbeenarealreturntocareandcommunity.I wantedtoacknowledgethe courageofourEssentialWorkers duringtheseunprecedented times,andtheirprotectionofand servicetothecommunityatlarge.

Ibelievethatalothaschangedfor artistsoverthepastyearanda half.Thewayweshareandexperiencearthasbeenconfinedtothe screen.Ifeelthatthisoftenflattensartworksormeansthatthey areconsumedatamuchfaster rate.Peoplecannowconflateart sharedonlinewithsocialmedia “content”whichIthinkputsmore pressureonartiststoproduce.On theothersidewitheveryoneonline,itmeansthatpeopleareconsumingmoreartandengaging withmoreartists.Iamexcitedthat wecanvisitartinreallifeagain,I havemissedgoingtoexhibitions inperson.

ZR:Whatwasyourinspirationbehindyour piecescreatedin2015/2016?

LM:Thatseriesofworkexaminedsextingnavigatedthroughephemeralcommunicationtechnologyandevaluatedtheactofsubvertingprivatesexualtransmissions.Itexploredthe developmentintemporalcommunicationtechnologyduringthattime,placingfocusontheapplicationSnapchatandhowithadaffectedcyber-sexculture.Theworkinterrogateswhether alteringtheoutlookoftheviewerfromintimate andisolatedtooneofmassconsumptioncan affectourresponsetoandunderstandingofthe image.

Elementsofthisseriescontrastandcomplies withcharacteristicsoftheapplication,engaging withthemesofprivacy,anonymity,constructed identity,temporalityandthemanipulatedimage. Iemployedlaborioustraditionalmethodsincludingcollage,embroidery,tapestryandphotorealistpaintingtorendertheseprivateephemeral communicationspublicandpermanentandto highlightthetemporalnatureofthisonlinediscourse.

LEFT:LISAMcCLEARY ‘Kissing’ OilonPanel 18”x24” 2016

ZR:Intheageofdigitalart,doyou feelpressuretotransitionfromoil paintingstosomeformofdigital medium?

LM:Ifeellikethemovetowards thedigitalandtheimpositionof screensonoureverydayliveshas madeuslongforthetactileand thephysical.Afterayearanda halfofconsumingeverything throughflatscreens,thereisadesireforthetangibleandexperiencingthepresenceofartinperson.Ihaveworkedinvideobefore andbelieveithasalottoofferso itdependsontheconceptofthe piece.Butformethereisnothing likestandinginfrontofapainting, lookingatthewaythelighthits eachbrushstrokeandtryingtounderstandhowsomeonepaintedit.

ZR:Whatthreeartistsarecurrentlyinspiringyou?

LM:IappreciateRichardEsteshyper-realpaintingsthatcapturethe everydayinAmericawithincredibledetail.MarilynMinter’s grotesqueandseductiverealism hasalwaysbeenaninspirationto mywork.Iamalsocurrently drawntothetensioninJeffMuh’s concretesculpturalpieces.

JOHNTAYLORWAGNER

ZiquitaRiberdy:Whatinspires yourwork?

JohnTaylorWagner:Witnessing subtlemomentsinbothhumannatureandthenaturalworldbirths allofmywork.Inmostcases, ideasaresparkedfrommoments oftendernessanddeeplistening. It'sspaciousmomentslikethat whereIfeelmostalive.Ourbodies andgesturescommunicateso muchineachfleetingmomentif wearepayingattention.Somemomentsareuncomfortable,awkward,andpainful,othersare sweet,joyful,nostalgic,playful, andfamiliar.Iusecolorandcompositionastoolstoemphasizethe gesturalcommunicationofmy work.ThesubjectsofmypaintingsarepeopleIknowandwith whomIhaveconnecteddeeply, whichinspiresuchmoments.Duringmyprocess,Ihavebegunaskingmyself,"whatcanIaddtothis paintingthatisanedgeformeand thatIneverwouldhavethought of."Thatquestionislivingwithme inallaspectsofmylifethesedays.

LEFT:JOHNTAYLORWAGNER ‘RegentsPark,London’ OilPainting 24”x36” www.johntaylorwagner.com

ZR:Whatmadeyoudecidetosimplifyyourstyleafterhavingtrained inclassicalrealism?

JTW:After3yearsofstudying classicalrealism,ItraveledtoFlorence,Italytolookatawell-respectedartschoolthatIhadenvisionedmyselfattending.Itoured thegroundsandthestudiospaces andIwasoverwhelmedbyhow perfectandsteriletheatmosphere was.Don'tgetmewrong,this placewasadreamformostartists. Isawrowsofstudents'worksthat alllookedverysimilar.Eachone wasimpressiveandpowerful,yet againlookedsimilar.Theywereall incredible,really.Thisisn'tadig onclassicalrealism.Ihave tremendousrespectfortheartists andIactuallyteachrealism.Irealizeditbroughtoutaqualityinme thatIcouldnotallowinfluencing myowncreativenature.Itinvoked adesiretocontroltheoutcomeof myworkandabandoncuriosity.I actuallyhadtoquitpaintingfora littlewhiletorediscoverajoyful connectiontomywork.WhenI pickedupmybrushesagain,Ibecamelessinterestedintechnique andmoreinterestedinexpressing thatfreedomandcuriosityIwas beginningtofeelagain.Iwas trainedtoapproachfigurative workwithprecisionandstrong

technique.Whatinterestsmemorethesedaysisapproachingmysubjectswithaplayfulcuriosity.It’senchantingtowitnesswhatcanbeconveyedwithless.I experienceitasanopportunitytolisteninadifferent waywithoutgettingpreoccupiedwithperfectionand technique.Ihavenoideawhat'sgoingtocomeoutof mypaintings.Idon'tusuallyhaveaplan,otherthanan occasionalreferencephotothatIlooselyfollowand typicallyonlyusetohelpmeoutlinemysubjects.

LEFT:JOHNTAYLOR WAGNER ‘IStandTallAndFeelNatureQuietly

BELOW:JOHNTAYLORWAGNER

ZR:HowdoesbeingAmericanandtheAmericanexperience translateintoyourart?

JTW:Whatcomestomindimmediatelyishowwehavereplaced ceremonyandritualwithconsumerism.Idon'texperienceitas onlylimitedtoconsumingresources,goods,andservices.It's ubiquitousandfeedsghostsofinequality,power,anddomination(tonamejustafew).Overtime,Ihadsufferedalossofrelatingtotheland,water,andasenseofmyself.Ithasbeenajourneytorediscovertheserelationshipsandgothroughvarious initiationstofindmyroleinourculture.Artcanbetheantithesis ofconsumerismasitisaninvitationbacktothepresentmoment andthemosthonestversionsofourselves.Timeseemsto freezeandtransformmefromaconsumertoawitness.The moreItakeontheroleofawitnessthemorespaceIhavetoheal andconnectwithmycommunityandthenaturalworldina healthyway.

WhenIampaintingIseeka tenderbalanceofaconscious andabstractexperiencetoremaininaliminalspacewhere invitingsuchaplaceofwitnessingcanexist.Amajorpart oftheAmericanexperience thatI'mtremendouslygrateful forisbeingexposedtoNative Americanculture.Ihavehad profoundopportunitiestoexposemyselftoindigenous ritesofpassagework,council circles,andlivinginaself-generatedceremonywhichbrings medeeperconnection,awareness,andexpression.

LEFT:JOHNTAYLOR WAGNER

ZR:Isthereatoolorobjectyoucan'tlivewithout?

JTW:There'snotmuchIcan'tlivewithout.Attheriskofobjectifyingtheintangibleandgoingyawn-inducingesotericonyou,I can'tlivewithoutlove.Idon'tmeanloveinthesenseofhowthe wordhasappropriateditasindividualistic,Imeanloveinthe formoffreedom,autonomy,nurturingintegrity,connectedness, andinterdependence.ThemoreIlearnaboutlovethemoreit continuestodefinitivelyexplainlife.

ZR:DescribetheartsceneinBoulder,CO.DoeslivinginBoulder helporhinderyourartcareer?

JTW:Thereareheapsofartistshere.Imeetanartistonmy walksaroundtownalmosteveryotherday.MostoftenIseelandscapepaintingsandphotography,abstract,andcraftwork.We alsohaveagrowingpopulationofmuralists.Thefrontrangeof theRockyMountainsdefinesthelandscapehereandinspiresa lotofourlocalartists.Idon'tknowifithelpsorhindersmycareerbecauseit'sallIknowatthispoint.IamseriouslyconsideringtheideaofmovingtotheLosAngelesarea,orevenAustralia astheartcommunities,diversity,andculturethereinterestme quiteabit.

ZR:Anyupcomingprojectsyoucantellmeabout?Whatinspiredthoseprojects?

JTW:Iamworkingonafewcommissionsatthemomentaswell asdevelopingacohesiveseriesofworksinspiredbythecrosssectionsofconnectedness,ournaturalworld,andmodernity. ThosepaintingswillcontinuetorolloutonmyInstagramfeed andwebsite.

ROBYNJADE

You’reatattooartist,howdoesthattranslateinto yourdigitalart?

Tattooingtomeislargelyabouttheconnectionthe artisthaswiththeclientandbeingabletocreate clearandconciseimagesbasedonemotionsand ideas.Similarlywithart,beitdigitalortraditional, thefinalpieceisabouttheconnectionbetweenthe artandtheviewer.Beingabletounderstandaconnectiontoapersonthroughthelensoftattooing allowsmetoconnectthroughapiecetoaviewer. Tattooinghashelpedmetodevelopcertainstyle traitsaswhatshouldworkonskinshouldworkon paperandviceversa.

Whatmadeyoudecidetobecomeatattooartist?

Ihavealwayshadafascinationwithtattooingas anartform.Iwasinitiallydrawntotheuniqueconceptofworkingonthehumancanvasasyouare creatingsomethingthatbecomesalivingpartofa person.Ialwaysadmiredtherelationshipandlevel oftrustthatmustbeformedcollectivelytocreate ameaningfulpiece.Historicallytattooinghasrepresentedariteofpassageandanexpressionof whoweareasindividuals.Beingabletobeapart ofthissortoftraditionwasandalwaysisanhonor.

LEFT:ROBYNJADE ‘DigitalHydra’ DigitalIllustration www.tokentattoo.ca

ZR:Whatwasyourinspiration forthispiece?

RJ:Thispiecewasborn throughobservingtheswiftly evolvinglandscapeofthedigitalworldandourconnection toit.Despiteourownabilityto changeandevolveIwonderat whatpointdowerealizehow muchcontrolwehaveover thedigitalworldversushow muchcontrolithasoverour lives.Itisthebeastwedonot know.

ZR:Howdoessocialmediaplayaroleingrowing yourcareer?

RJ:Duetothenatureofsocialmediabeingan openplatform/freeforall,itallowsyoutobecome moreaccessibleasanindividualandtobeableto beseenwithouthavingtoinvestwhenyoumay nothavethemeanstodoso.Theotherpositive partofsocialmediaistheconnectionsyoucan makethroughdifferentplatformsandthecommunitythatcomefromthoseconnections.

ZR:HowhasCOVID-19affectedyourworkasan artist?

RJ:Forthepast10+years,Ihavebeenprimarily drivenbytattooingandgrowingwithinthatasthe mainmediumIworkin.WithCOVID-19shuttering thebusinessformonthsonend,itallowedmeuninterruptedtimetofocusondigitalaswellastraditionalartformsagain.

ZR:Anyprojectsyou’reworkingonatthemoment?

RJ:Iamcurrentlyworkingonfurtherexploringthe conceptsandthemespresentedinthedigitalhydrapieceandhopetopresentaseriesatsome point.Ihavealsobeenworkingonanotherseries ofpencilsketchescenteredaroundtheexplorationofouremotionsthroughlightanddarkaspectsofnature.

ZiquitaRiberdy:Whendidyougaininterestinart?

AbdoHassan:Istarteddoingdigitalcollages7yearsago.Iloveddoingthembecause therewerenorules.Iwouldjustcollageimageswithartisticvision,makingartworkswith wildcolorsandsurrealconcepts,Ifeelfreedoingthis,andIguessthiskindofarthasno boundaries,that'swhatIloveaboutsurrealandcollageart.

ZR:YoumentionedyouliveinCairo,can youdescribetheartscenethere?Are thereanybenefitsordisadvantagesto livinginCairowhenitcomestoyourart career?

AH:TheArtsceneinEgyptisnotonthe mapyet,still,therearealotofyoung artistslikemyselfwhoarecreatingthe newwaveandformingtheshapeofthe artsceneinEgypt.Findingourselvesand provingourtalents.Aftertherevolution 10yearsago,itcreatedanewgeneration ofpeoplethatdonotfearfailing,abrave newformofartist.

LivinginCairoisfullofdisadvantages actually,butItrytoturnitintoanadvantage.IliveinafolkdistrictinEgypt,fullof cultureandpeople,Iguessthatiswhat builtmyvision.EverydayIseedifferent people,alotofthem,Iseecrowds,but feelcomfortable,likemyartworks.

AsIsaid,theartsceneinEgyptisnotyet thatpowerful,itmeansthatIcan'tliveas anartist,Ican'tmakemoneyoutofmy artworks,soI'mworkingasanartdirectorinadvertising,doingcommercial projects.Besidesthat,I'mdoingwhatI love,theartworkandprojectsthatrepresentmythoughtsandfeelings.

ZR:Youdescribedyourartas“areflectionofwhat’sgoingoninsideyourhead”, canyouelaboratemoreonthat?

AH:EverydayItakethesamerouteto gettomywork,ittakes2hours,thesame crowdedstreets,buttherearenewdetailsIlookat.Iseenewpeople,Iseethis asmeditationforme,daydreamingand visualizinginmyminddetailsandapplyingthemtomyartwork.

TOP:ABDOHASSAN ‘Rules’ DigitalCollage

LEFT:ABDOHASSAN ‘Fate’ DigitalCollage

ZR:Canyouexplainyourartisticprocessfor completingapiece?

AH:Itrytovisualizemydreamsandmy thoughts,Iimaginethevisualsinmymind,then Icollecttheimagesand3Dobjectstomakethe compositionthatIdreamtofinmymind.

APRILWINTER

ZiquitaRiberdy:Whatistheinspiration behindyourproject“Chromatopia”?

AprilWinter:Lookingintomyold sketchbooks,IwasinterestedinanythingthatseemedperfectorUtopianat firstbutwithcloserinspectionseemed off.Myinspirationboardincludedpettingzoos,lawnculture,gatedcommunities,WillyWonkaandtheChocolate Factory,WonderBread,andthosefake grassgarnishintakeoutsushi.Iwas alsodrawntoaphotographfromthe televisionshowTeletubbies,oneofthe characterswasphotographedwithout theirhead.It'sequallyUtopianasitis unsettling.

ZR:Isthereoneofthesepersonasthat youidentifywith?

AW:Idon'tspecificallyidentifywithany ofthepersonasexcepthowthecollectiveconscienceofourculturessortof acceptscertaincolorswithcertainactivities,professionsorlifestyles.That beingsaid,Iverymuchenjoyedplaying thepurplecharacterbecauseitwas thrillingtoweartheplatformheelsand pasties,thatIhadneverwornbefore.

LEFT:APRILWINTER

‘AprilShowersBringMayFlowers’ Photograph www.aprilwinter.com

ZR:Doyoufaceanystereotypesasa femaleartist?

AW:Anytimeafemaleusesherbodyin herworkIfindstereotypesandjudgementsfollowalongthelinesof“you’re usingyourbodyforsexappealtogain attention”or“you’reusingyourbody andnudityfortheshockvalue”butreally,IamcomfortableinmybodyandI feelthemostcomfortablewhenIam alone.Intheend,Iwanttomakethe workthatIwanttoseeandifnudity capturesthatthenI’llusewhatisatmy disposal.Idon’tseeitaspornographic assomepeoplemayseeit.

ZR:Youhaveaverydistinctivestyle whenitcomestoyourphotography, howdidyoufindyourstyle?Andhow hasitevolved?

AW:I’vealwaysbeenaverysolitary creator.Ifeelrechargedfrombeing alone,especiallywhenI'mcreatingor experimenting.BecauseIwasalways there,self-portraiturewasanaturaldirectionforme.Withit,Icandirectly processthethingsinmylifeintomy work.AnythingfromacoolcolorpaletteIsaw,learninganewskill,hearing anentertainingfactorfindingoutabout newmaterial.Ijustsortofletmy sensesabsorbtheworldaroundme andsomethingsstick.Overtheyears mymindhasgottenexcitedabout differentthings.Ipiecetheseideasand objectstogetheruntilmymindissatisfied.Puzzlecomplete.

LEFT:APRILWINTER

‘TheTortoiseandTheHair’ Photograph

ZR:Anyupcomingprojectsyou’reexcitedabout?

AW:TheprojectIamcurrentlyworking onistentativelycalled“Rituals”.It's anotherfilmphotographyself-portraitureprojectbuthereIamfocusingon costumedesign.I’mmixinghistorically significantclothingwithpotentialfuturisticclothing.I'mimaginingifhumans colonizedanasteroidwhatculturalartifactsandideologieswouldtheybring withthemandhowwouldtheybe changedbytheenvironment.Climate changeandairpollutionaremajorinspirationsforthisseries.

ZR:HowhasCOVID-19affectedtheway youworkasanartist?

AW:Havingmoretimetospendonmy workbecauseIhaven’tbeenwasting timeoverlysocializing.In2020Ialso usedmaterialsthatweremorereadily available.Iwasworkingatahardware storeatthetime,Iusedpaints,plumbingparts,piecesfromheatingsystems, wood,cardboardandsomebroken thingsoutofthetrash.Itcertainlyfocusedmyviewpointonmyimmediate surroundings.

LEFT:APRILWINTER

‘YouAreWhatYouEat’ Photograph

Seitaroyamazaki

ZiquitaRiberdy:Wheredoyoufindinspirationforyourwork?

SeitaroYamazaki:Icampinthesummerandsnowboardinthewinter,spendingmostofmyfreetimeinnature.Ialsoenjoyreadingliterature.Natureandliteraturearemytwoinspirationalsources.

ZR:HowdoeslivinginJapanimpactyourwork?

SY:IspentafewyearsstudyinginNewYorkbutmostofmylifehas beeninJapanwithfamily.Japanisgiftedwithnatureandisbelieved tohaveinfinitygods.Beingthatmyworkacceptsdiversity,thisidea verymuchalignswithmyphilosophy.

ZR:TellmemoreaboutyourpositionasCreativeAdviserforthe Tokyo2020Olympics.Howdidthispositionhelpyourcareer?

SY:Iamgratefultohavebeengiventhisimportantandhonorable positionatthisyoungage.Ittaughtmethecomplexityofoursociety andsystemandhowtheyintertwinewhilebothhavingtheirjustice. Tocreativelyproblem-solvetheseissues,Ifinditkeytolookatthe rootmatter.Asanartist,Iliketohaveaclearapproachassuch.My experiencewithTokyo2020pushedmetopursuemycareerasan artist.

ZR:TellmeaboutyoursoloexhibitionatJ-CollaboinNewYork. Whatworkwasfeatured?

SY:IshowcasedaseriescalledUNITFORY-AXIS.Thisworkexperimentstherelationshipofthethreeaxes,X,YandZwhentheYis releasedfromgravity.ItwasamemorableexperiencebeingthatIt wasmyveryfirstsoloexhibitioninNewYorkandIreceivedmany greatcomments.

LEFT:SEITAROYAMAZAKI ‘NamelessPortrait’ Installation

ZR:Youhaveanextensiveeducationalbackground.Whywasitimportantforyoutoexperiencedifferent teachingsandhowhavetheyimpactedyourartcareer?

SY:IguessI’mjustfullofcuriosities. IhavethedesiretoexpresseverythingwithmyownhandsandI'malwayshungrytoelevatemyknowledge.That’swheremyreadinghabits comefrom.WhatIlearnedafter studyingdifferentsubjectsisthatall academicsprogresstowardshumans.Ittaughtmethatthesubjects areonlyasegmentofoursocietyand what’smostimportantistoexpress yourtruedesires.

ZR:Whatartistsareinspiringyouat themomentandwhy?

SY:LeonardodaVinci.Frommyunderstanding,hisfoundationswere drivenbycuriositiesandthesegmentsarewhatgavehimthevarious titlesasanarchitect,artist,designer, anddoctor.Hisabilitytocontinuouslycreatevalueforsocietywhile progressingasahumanbeingistruly inspirationaltome.

LEFT:SEITAROYAMAZAKI ‘MusicForTheMargin’ Installation

ZiquitaRiberdy:Howdidyou startcreatingartusing sugar?

ChristinaLeslie:Thispast year,Ihavebeeninterestedin thegeopoliticsoffoodand thehistoryofthesugarindustrywithintheCaribbean diaspora.Generally,themiddle-passageisassociated withAfrican-Americanslaveryandhistory.Buttherewas awholeothergroupofcapturedandenslavedAfricans usedfor“free”laborbrought totheWestIndiesthatwere brutalizedforcapitalgainby WhiteEuropeans.Beingof Jamaicanheritage,Ithought itwasimportanttospeak aboutthisastheWestIndies wasdevelopedtoexpandour colonizersreach.Sugarand rumweretwoofthemost popularexportsduringthis timeandJamaicawasconsideredGreatBritain’s “crownjewel”inthesugarindustry.Yetsoimportantand integraltotheWestIndian BlackDiaspora,thisisa chroniclethatisrarelyacknowledgedasithasbeen lumpedintothelargertaleof theenslavedAfricansinthe Americas.

ZR:DoyoufaceanystereotypesorboundariesasaCanadianartistcompetingonaglobalscale?

CL:IhavenotfacedanyspecificstereotypesasaCanadianartistonaglobalscale,butinretrospect,Idothink thatearlyoninmycareeropportunitieswerelimitedwhen tryingtogetmyphotographsexhibitedinmyowncountry asIhadmanygalleriesturnmyworkawayforbeing“Too Black”.However,withtherightmentors,curators,and supporters,Iovercamemanyofthosesameinitialobstacles.

SinceIamcurrentlypursuingmyMastersintheStates,I dobelievetherecanbeadisconnectinhowtheviewers understandmyphotographsthatsurroundideasofthe Caribbean.Butotherthanthat,I’vebeenfortunateforincludingthemesthatmostpeopleresonatewith.

BELOW:CHRISTINALESLIE ‘Sugar-Free’

PortraitProducedwithSugar

ZR:Tellmemoreaboutyourexperiencewiththe“ScotiabankContactPhotographyFestival”.

CL:HeldeachyearinTorontoON,duringthewhole monthofMay,theScotiabankContactPhotography Festivalfeaturesasizablenumberofphoto-basedexhibitionsandoutdoorinstallationsbybothinternational andCanadianartists.Itgenerateslotsofinterestfrom thepublicandphotographersoftengainmoreexposureforparticipating.Throughoutmyphotographiccareer,Ihavehadafewexhibitsaspartofthefestival. However,in2020,my“MorantBay”photoserieswas highlightedasoneoftheprimaryexhibitionstoseeand wasincludedasafour-pagespreadinthecatalog.

ZR:Howdidthatexperienceimpactyouandyourcareer?

CL:Asaresultofbeinginthefestival,theserieswas featuredinotherartinstitutionslikePAMAinToronto.I havebeeninvitedtogiveseveralartiststalksaboutthe seriesthepastyear,whichhasfurtherspreadmyreach toalargeraudience.Itisslatedtopossiblytournext yearinternationally.Lastly,anumberoftheeditions (prints)havesold,whichhasgeneratedmorerevenue forme.

ZR:Walkmethroughcreatinganartpieceoutofsugar.

CL:WhileIdonotwanttogiveawaymymethods,Iwill providethefollowing:Ihavealwaysbeeninterestedin “process”andexperimentationinmakingphoto-based work.Iamnowexploringthematerialismofsugarinits bleachedgranularformtospeakaboutthisconcept. UsingmypersonalarchivesofJamaicaandintermixing themwithnewimages,Iamproducingphotographs thatareacombinationofspecializedphotopaperand sugar.Theprocessispainstakingandspeaksabout the“hands”behindthehistoryofthistrade.Fascinated bythetactilityofsugar,theviewercanimaginethetexturewithoutevertouchingit.Sugarissosweetbutthe talebehinditissosour.

ZR:Whyareyouinspiredbythemessuchasimmigration,identity,marginalization,memoryand,race?

CL:Itisessentialformeto makeworkthatreflectsmy lifeexperiencesandothers thatareclosetome.Allour collectivenarrativesareinspiring,andIbelieveitis importanttodisplaythem visuallyasrepresentation mattersandthesehistories areimportanttoacknowledgesincetheyhavebeen absentthroughoutmuchof arthistory.

ZR:Whichthreeartistsare inspiringyouatthemoment?Why?

CL:Ihavealonglistof artiststhatinspire. PresentlyIamfindinginspirationinfilmsandtheir makers.Oneisdirector BarryJenkins,whocreated thisamazingvideotitled “Thegaze”.JoeTalbot’s “TheLastBlackManinSan Francisco”isanother piece.Bothfilmsarecinematicallygorgeous,and eachframeremindsmeofa photograph.Andofcourse, ImustincludeMickalene Thomas,KaraWalkerand CarrieMaeWeemsallof whoareamazingfemale artistswhoseworkaddressessimilarthemesas mine.

LEFT:CHRISTINALESLIE ‘SugarStrapped’ PortraitProducedwithSugar

NIGELFOLLETT

BELOW:NIGELFOLLETT

‘Rainbow'sEnd’ DigitalPainting

www.nigelfollett.art

ZiquitaRiberdy:Whendidyoufirstgaininterestinart?

NigelFollett:Atsecondaryschool.Itwasalldowntoaninspirationalteacher,VincentWilson,whoisanextremelytalented painterinhisownright.However,itwashisabilitytoconnect withanunmotivatedschoolboythatmademerememberhim fortherestofmylife.‘Ican’tpaint,sir,I’mrubbish',weren’t wordsheunderstoodoraccepted,soheputagreatbigpaintbrushinmyhand,pointedatasheep’sskullandtoldmeto paintitasIsawitthroughsquintedeyes,andonlywiththat brush.Thatsingleactignitedapassionforartthathasnever goneaway.

ZR:Whydoyouchoosetocreatedigitalfreehandpaintingsinsteadoftraditionaloiloracrylicpaintings?

NF:It’sarathersad,neverthelessupliftingreasonastowhyI setoffonadigitalpath.

I’dpaintedinoilsandwatercolorsonandoffforyearsafter leavingfull-timeeducationbutlapsedbecauseoffamilyand careerdemands.Astheyearspassed,mybrushesandpaints deterioratedfrombeingleftstoredingaragesandattics,from housemovetohousemove.

Thecatalysttostartagaincameeightyearsagowhenavery closefriendlosthergrown-upsontoabraintumor.Ifoundit difficulttocomprehendjusthowmuchemotionalsuffering thiscausedherandherfamily,andIwantedtodosomething positivethatshe’dneverforget–todosomethingmorethan offerkindwords.

Idecidedtopainthiminhappiertimes,andsofromareally poorphotoIdownloadedfromherFacebookpage,Isetoutto doafree-handportrait;theproblemwasthatIdidn’thavethe meanstodoitanymore.ItwasthenthatInoticedthatthere wasapaintingprograminAdobePhotoshopandalthoughI didn’thaveagraphicstabletatthetime,Idecidedtotryand painttheportraitusingamouse.

Ithurtmywristagreatdealandtookover70hours,butitaccomplishedtwothings–thefirstwasthatIsuccessfullymanagedtopaintherboy,andthesecondwasthatIwashooked onthecapabilitiesofadigitalmedium.IrealizedthatIcould paintanythingIcouldimagineorseeandthathasbeenthe casesincethen.

ZR:Whatwasyourinspirationfor“Rainbow’sEnd”?

NF:TheCOVID-19pandemicwastheinspirationforthispiece.Iwantedtouseaniconicfigure todrawtheviewerinandtheydon’tcomeanymorememorablethanJudyGarland’s‘Dorothy’ fromthe‘WizardofOz’.Whathelpedwasthatthetransitionfromonerealitytoanother–black andwhitetocolorhelpstotellthestoryofthebeforeandaftertheimpactofadeadlyvirus. Thefactsheisalsoonapath;theyellowbrickroadisametaphorformankind’sjourney.To connectthedots,IpaintedaPangolininherbasket(whosemercilessexploitationiswidely connectedbyscientiststothesourceofthevirus)tosuggestthatsheistryingtoprotectitbut istoolateandinsteadofapotofgoldatthebottomoftherainbow,ashowerofvirusparticles raindownonher.Finally,therewasnosinglesourceimageofJudywiththerightfacialexpression,soIpaintedherbodyfromapublicityphotoandherheadfromamoviestill.

BELOW:NIGELFOLLETT

‘Oblivious’

DigitalPainting

ZR:Whatwasyourinspirationfor“Oblivious”?

NF:Thisisinspiredbythefactthatinaworldwhereweare connectedtoeverybody,allthetime,wehaveneverbeen moreisolated,introspectiveorinsular.Thespecificincident thatgavemetheideawasseeingmytwenty-year-oldstepdaughterforthefirsttimeinaroundayear.Midconversation(s),shewouldjustslideawayintoasortofmobilephoneinducedtranceanditwasasifshe’ddisappeared,completely oblivioustowhereshewas,thepersonshewaswith,orthat herbehaviorwassomewhatinsulting.Iwonderedifshe’dnoticeanearthquakeoranalieninvasionwhilstinthatstateof ‘mobilerapture’.ItcrystallizedwhatIseesooftenanditisn’t onlyyoungpeoplewhoareaffected:We’resleep-walkinginto catastropheasaspeciesandthemobilephoneandsocialmediahavemuchtodowiththis,inmyopinion.Happily,thereis aremedyforthis,butitdoesn’tapplytothemasses,unfortunately.Iworkasavolunteerinacharityforyoungpeople:it teachesthemmusicskills;rockinstrumentsandvocalsand everythingin-between.Ijustneverseeanyofthemwithamobileintheirhands–theyarefartooabsorbedinlearning somethinglife-affirmingandtheywillreadilyconversewith anyone,withoutdivingintotheirpocketsfortheirmobiles.

ZR:Hasyoursmartphonehadanynegativeimpactonyou?

NF:Happily,notmuch.Irecognizewhenit’sdoingtomewhat I’vecriticizedinothers,soImakeaconsciousefforttolimit whatIdowithitandIneverignoresomeoneI’mwithinfavor ofsomeonewhoisn’tphysicallythere.It’sbeenaboonin thesetimesofisolationandIalwaysneedtoknowifthere’sa clientwantingtotalkbutneverhasitbecomeanaddiction andneverhaveanyofthesocialmediaappssucceededin disablingmycritical-thinkingability:Icheckanythingthat lookspopulist,racist,orsoundslikehatespeech.Isuppose thenegativeithasdeliveredtomeisthatIseethatmanyofus areswitchingofftoanythingthatcontradictsourbeliefs; thereislittletonobalanceddebateonthingsthatarehurting allofus(climatechange,intoleranceinitsvariousforms,etc.) andreasonjustdoesn’tprevail.Ontheupside,it’sfertile groundforanartistwholikespaintingstatementartworks!

ZR:Whydoyouchoosetoaddresspolitical,environmental, and,socialissuesinyourart?

NF:ApicturespeaksathousandwordsandI’vedeliberately setouttocreatealotofprovocativepieces.IrealizedthatI

couldmakeadifferenceand causedebatewhenearlyonin mydigitalartjourney,IdonatedapaintingtoactivistorganizationsRainforestAction NetworkandOrangutanOutreach.Theyusedmyartworkin acampaignagainstPepsiCo, oneoftheworstoffendersfor rainforestdestructioninIndonesia:Itreachedmillionsof people.Otherworksrelatingto theenvironmentwereshown atahugetradefairinBeĳing andmadeitintoamagazine there–reaching30million people.ThereasonIcreate theseartworksisn’tforthe benefitofmyego,it’stomake adifferenceindrawingattentiontosomeoftheexistential threatswefaceandwhichwe areinflictingonotherspecies.

ZR:Name3artiststhatinspire you.Whydotheyinspireyou?

NF:Waterhouse;Ilovehisromanticismandoftenpaintnonprovocativeworksthatreflect this.

ChrisJordan;becausehe’sa photographergettingtothe heartoftheenvironmental damagewe’recausing. SalvadorDali;whenIpaintfantasy,there’softenanodtothis genius.Ifanyoneeversays, ‘Thatpaintingremindsmeof Dali’(orRogerDean),I’min seventhheaven.Lookingatthe worlddifferently;deconstructingit,seeingbeyondthephysicalworld;wonderful!

AshleyCheatham

TOP:ASHLEYCHEATHAM

‘EnvironmentallyFriendly’ FineArtPhotograph www.ashmargaret.com

LEFT:ASHLEYCHEATHAM

‘GaslightWhisper’ FineArtPhotograph

ZiquitaRiberdy:Whatcompelsyoutodepict“thingsthat arehiddenaway”suchasuncomfortableemotionsand conflictswithinourselves?

AshleyCheatham:Ihavealwaysbeenfascinatedwith howwepresentourselvesandwhatwechoosetosuppressorshowtoothers.Ifeelpeoplearesomuchmore complexthantheyarecomfortableadmitting.Ineveryone'slifetime,factschange,opinionschange,wegrow physicallyandemotionally.Thedepthofwhatmakesus “whoweare”scaresalotofpeopleasweliketosee thingsasrightandwrong,blackandwhite.Inreality,we aremadeupofalotof“grey”thatwedon’twantothersto seeandareunawareofwithinourselves.

ZR:Theprojectseemstobeinspiredbythe‘50s,whydid youchoosethatperiodinsteadofthepresent?

AC:Iwantedtogivethisseriesatimelessandindistinct feeling.Iwasinspiredby‘50scostumingandpropsbecauseIfeelthe‘50sasaneraforwomenwasentirelycontradictory.Womenwereaskedto“stepup,”helpwiththe war,andworkwhilethemenweregone,butassoonas thewarwasdone,womenwereexpectedtogobacktothe housedutiesandplayperfecthousewifeagain.Ithought itwastheperfectmatchtomixvintagewithamodernaesthetic,combiningforanalmostpost-apocalypticfeelwith across-processedquality.

TOP:ASHLEYCHEATHAM

‘GMOPicnic’

FineArtPhotograph

ZR:Wheredidyougettheidea tocreateyourproject“Gently Seeping”?

AC:Myprojectdepictsdelusionsofthingswedototake careofourselves&yetsimultaneouslydestroy.Weoftendo somethingthatmakesusfeel goodaboutourselvesandinthe samemotioncontradictwithout evenrealizingit.Inoticeexamplesofthisinlotsofeveryday interactions:takinggreatcarein howwelookandgettingnails done,thenhavingacigarette. OrderingaBigMacatMcDonald’swithadietcoke.Getbehindthewheeldrunkwhile bucklingtheseatbelt. Thesecontradictionsstartedto gnawatme.Iwaspacking boxesatmycostumestorein 2019andIsawthegasmask. Theideasstartedflowingwith themaskbeingthecenterofit all.IknewIneededtouseitto depictthisseries.

Ipurposefullychosethegas maskwithoutitsbigfiltertoportraytherelentlessbareminimummindsetsocietycontinues todisplay.Themaskillustrates apositiveactionsomeonedoes tobetterthemselvesortheirlife butisthenoftenrendereduselessamidsttheotherchoices

BELOW:ASHLEYCHEATHAM

LEFT:ASHLEYCHEATHAM

theycontinuetomake.Thesmokeinsomeoftheimagesrepresentsthedangerweallowtoseepintoour liveswhilefeelingprotectedwithourfaultygasmask. Somescenesarefocusedonaspecificcontradictory concept.Severalrepresentthosecontentwithanout ofsight,outofmindmentality,willfullyignoringthe sufferingofothersorourplanet.

Thepandemichasonlyexacerbatedthedelusions evenmore.COVIDhasdisplayedadramaticdividebetweenthosewholivecompletelyunchangedandthose whohavelockedthemselvesaway.WhenCOVID-19 ambushedourlives,Isawfirst-handthe"saveyourself"mentalitythathasleftusatwaragainsteach other.Whereisthelinedrawnbetweenpleasureand risk?Iwantedtopressintothoseinvisibleboundaries thatweplaceonourselvesdeepinoursubconscious.

PAGE62:ASHLEYCHEATHAM

‘WhatToExpect’

FineArtPhotograph

PAGE63:ASHLEYCHEATHAM

‘PrettyBoy’

FineArtPhotograph

BELOW:ASHLEYCHEATHAM

‘Woman’sWork’

FineArtPhotograph

ZR:Howwasyourexperienceat OaklandCommunityCollege, howdidithelpshapeyourstyle today?

AC:IlovedattendingOakland CommunityCollege.Ihadaccesstoallkindsoffilmandprint processing,ahugestudio,and largeformatcameras.Mystudieswereprimarilyanalogwith onlyacoupleofdigitalclasses. IwastolditwasoneofthebiggestdarkroomsinMI,withboth blackandwhiteandcolorenlarging/printingareas.Youdon’t havetheinstantgratification whentakingtheshottoknow exactlyhowitturnedout.When thefinalimageappearsitfeels likesuchatriumphwhenyou gotitright.Wewereencouraged toexperimentwithdeveloping techniqueslikeusingcolorinfraredfilm,pushing,pulling,and crossprocessingslides.The colorshiftsandtonesfromalternativefilmprocessingheavilyinfluencemydigitalworktoday.Learningwithfilmona manualcamerataughtmetobe abetterphotographer.Youhave toreallythinkaboutyourshot andknowwhatyouaredoingto getitright.Fromexposure,to thetypeoffilm,toaperture,itall hastobespoton.Istillusethat foundationtodaywithmydigital work,andIdon’thavetodoalot ofpost-processingonmycomputer.Ihearalotofphotographerssay,“I’llfixitlaterinPhotoshop,”whenit’snot necessary.Istilltakethesame amountofcareandtimewith eachshotasifIonlyhave36in thecamera.

ZR:Duringyourstudies,youpracticedfilm anddigitalphotography,whichonedidyou likemoreandwhy?

AC:Thereissomethingmagicalaboutmanuallyprocessingyourownfilmandpaper.Takingitfromstarttofinishandwatchingthe chemistrydevelopthepaperisalwaysexhilarating.Practicingfilmandprintingyourselfis awhole-bodyexperience.Ittakesalotmore time,effort,andcare.IfeelmoreaccomplishedwheneverIusefilm.Iamcurrently buildingadarkroominthehomewejustpurchasedamonthago,andIamveryexcitedto getbacktoitforafewprojectsIhavelinedup. Theeaseofdigitalisquiteaddictingthough! Thequalityofdigitalhascomesuchalong way,andnothavinganydarkroomaccessfor quitesometime,Iamverygratefulformydigitalcameraandcomputer.Thereisfreedomin shootingdigitalwithouthavingtoplan whetherit’sblackandwhiteorcolor,adding filtersaftertheshot,andcorrectingexposure hasbeenreallyawesome.Ilikeeachfordifferentreasonsandfordifferentapplications. Don’tmakemechoose!

ZR:Whataresomeofthechallengesyouface asafineartphotographer?

AC:Ihavefounddetermininghowtogetmy workoutintothefineartworldchallenging. Theeasypartsformearetheideasandexecution,butgettinginfrontoftherightpeople ortherightcontestshasbeenhitormiss.No oneteachesyouhowtosubmityourworkor artetiquettewhendealingwithgalleries.AnotherchallengeI’vefaced,withmyGently Seepingseriesspecifically,issomeofthe criticalfeedbackhasbeenparadoxical.Inmy lastportfolioreview,afewincrediblywell-respectedreviewershadopposingopinionsin regardstosomeaspectsoftheseries.One

wouldabsolutelylove somethingandthe nextpersonsaidthat theverysamething neededtobeomitted orchangeddrastically. Whilesomemightfind thatfrustrating,Ilove thatmyworkisinvokingpowerfulemotions. Iwantthisseriesto speaktoothers.MyimagesaredoingwhatI wantedandcausing peopletoreactwhich isahugesuccessin mybook.

RIGHT:ASHLEY CHEATHAM

‘AcidRain’ FineArtPhotograph

Kayanhamadeh

ZiquitaRiberdy:Youmentionedyou wereself-taught,isthereabookorresourceyoureliedonduringyourjourney?

KayanHamadeh:Arthasbeenahuge passionofminesincechildhoodand I'vealwaysbeenaveryartisticallyinclinedperson,soIhavealwaysfound pleasureinlearningtipsandtechniques onmyown.MymainresourceshavealwaysbeenYoutubeandGoogle.Ispend alotoftimewatchingpaintingprocess videosonYoutube,andpickuptipsasI watchandobserveartistspainttheir pieces.WheneverIhaveaquestionor amhavingtroublefiguringsomething out,IGoogleitandfindanabundanceof informationandhelp!Istronglybelieve thatifyoulovesomethingenough,it's 100%possibletoteachyourselfandfigureitout.

ZR:Whatlocationwas“Afternoon BreaksontheCoast”inspiredby?

KH:"AfternoonBreakontheCoast"was inspiredbyanimageofthecoastalcliffs inMalibu,whichremindedmesomuch oftheMediterraneancoastinLebanon, wheremyfamilyisfrom.BothCalifornia andLebanonaretwoofmyfavorite placesonearthandIfindsomanysimilaritiesintheircoastallandscapes, whichiswhyIliketothinkofthispiece asacombinationofbothplaces.

LEFT:KAYANHAMADEH ‘WarmStillness’ OilOnCanvas 18”x24” www.kayanhamadeh.com

ZR:Doyoufindthatbeingaself-taughtartistisanadvantage ordisadvantage?

KH:Ifindthatbeingself-taughtoffersbothadvantagesand disadvantages.TheadvantagesbeingthatIhavebeenable tolearnatmyownpace,divedeepintotheelementsofart thatIadorethemostand,feelpridefulthatIhavebeenable toaccomplishsomuchonmyown.Thedisadvantagesinvolvelackofopportunity--goingtoartschoolpractically guaranteesconnectionsforthefuturebecauseyougettoattendwithotherfellowartists,makefriendsalongtheway andmeetpeopleinthefield.Ofcourse,thereareopportunitiesforthosewhoareself-taught,butIhavefoundthatit takesalotmoreworktomakethoseconnectionsandopen doors.

ZR:Whydidyoudecidetopursueaself-taughtjourney?

KH:Ineverimaginedmyselfpursuingartasmycareer;IalwayskeptitasahobbybecauseIneverimagineditpossible formetobuildasuccessfulcareerasanartist.WhenIbegan learninghowtoworkwithoilpaintsforpleasure,things startedhappeningnaturally.Istartedcasuallysellingapiece hereandthere,andthenextthingIknewpeoplewereinquiringaboutcommissions,soIjustwentwithit.IfIknewthat thiswouldendupbeingthepathItakeinlife,Iwouldhave definitelyconsideredgoingtoartschool!

Doyoutraveloftenandhowhastravelimpactedyourart practice?

BeforeCOVID,Iwouldtrytotravelatleastonceayear,even ifitwasjustashorttriptoCaliforniaorMontreal.Travelhas hadthebiggestinfluenceandimpactonmyartworkbyprovidingmewithmoreculture,inspiration,beautyandchange ofscenery.EverytimeIcomebackhomefrommytravelsI feellikeacompletelydifferent,morecompleteperson,andI thinkthisisconsistentlyshownthroughmyartwork.Fun fact:IstartedpaintinglandscapesaftermyfirstvisittoPalm Desert!

LEFT:KAYAN HAMADEH

‘AfternoonBreaksonthe Coast’ OilOnCanvas 18”x24”

ZR:Wheredoyouplan ontravelingwhenthe COVID-19restrictions lift?

KH:Thisismyfavorite question!Iwouldloveto kickoffmytravelsin Paris,it'sadreamof mineistocreateanentirecollectioninspired byParis,paintedPleinaironthecutestreetsof thecityand,visitthe quaintcafesthatthe Mastersusedtofrequent.Anotherlocation thatIwouldlovetovisit isPhoenix,Arizona.Althoughverydifferent fromParis,apieceofmy heartbelongsinthe desertandfromwhatit seems,Phoenixhasgorgeousdesert-scapes thatwouldserveasa tremendousinspiration formywork.

ZiquitaRiberdy:Whatisyourprocessforcreatinganart piece?

TamaraZibners:Istarteverypiecewithasimplephotograph,usuallytakenwithmyphone.I’llselectaphotograph becauseofthetensionbetweenthecharacters-myselfand myson-orbecauseofthecomposition.Ithenmakea loosecontourdrawingofthephotographinPhotoshop, whichbecomesalinedrawing.Ifillthislinedrawinginwith color,usingtheoriginalcolorsfromthephotographasa source,andthencrankupthesaturation.Theresultisan imagethatisrecognizableasadomesticsnapshot,butis degraded,cartoonishandabstract.Somedrawingsarefinishedworks,andothersIreworkintocollagepiecesofvarioussizes,eachanamalgamationofthemyriadofcolors andmoodsthatarepresentinthedigitaldrawings. Isliceupmydrawingsbyfollowingthepositiveornegative spacesfoundwithintheimages,orIcutthemupbasedon color.Iassemblethecutpieceswithmattemedium,which functionsasaglueandasurfaceprotectant,andasI’m shapingandwettingtheselargepiecesIdofeeltransportedasanartist-suddenlyIamaquilterorabaker,-itis nolonger"just"paperandglue.Thesematerialsnowmove andfoldandultimatelygetcaressedintotheirfinalposition.

ZR:Whatinspiredyoutocreatethepiecesin“HoldYou”?

TZ:WhenmysonwasthreemonthsoldIbadlybrokemy shoulder,landingmyselfintheemergencyroomfortwo days.Icouldn’tnursemybabybecauseIwasonnarcotics. Icouldn’tholdmybabybecauseIwasintoomuchpain. Aboutaweekintothishorrificdebacle,Itookapictureof myselfandmychild…himsleepingonme,mewithmybandagesandscar.Irealizedlaterthatthisphotographwasa differentconversationIwashavingwithmycameraandmy child.Itreflectedonourrelationship.Italsoshowedmydistantvanity,crushedbynurture.Sincethen,Ihaveturned mycameraonusalot,focusingonthemomentsthatIcan touch,hold,andcareformychildthroughphysicalcontact.

Iwantedtobuildabodyofworkaboutthisfleetingperiod duringearlymotherhoodwhenmysonandIarephysically connected.Ialsowantedallofthesentimentalityattached

tomothering,butalsothe honestyoftheday-to-day grind-myrelationshiptomy bodybeingavesselofmilk, orhowtheconstanttouching gavemewoundsonmybody. Mostofmyworkoverthe yearshasbeenlooselyautobiographical.IbelieveIcan makethestrongestwork whenitisbornfromsomethingIknowpersonally.This said,Ireallywantmyworkto beuniversallyread.I’mnot interestedinspecifically tellingthestoryaboutmeand myson,rather,Iwanttoexploreconceptsthatmanyparentsexperience.Additionally, Ialsodon’tmindiftheconceptswithinthisworkultimatelydisintegrateinfrontof theviewer,allowingthe viewertobeviscerally affectedbythecolorsandthe scaleofthework.

ZR:Explainhowbecomingamotherchangedhowyouworkasanartistandyourcareer.

TZ:IwantedtohaveachildeventhoughIknewitwouldmakemylifemoredifficult.I,like mostfemaleartists,thoughtalotaboutthedoombestoweduponthewomanartistwho becomesamother,butsofarthismajorlifeshifthascausedmetobemoreproductivein thestudiothaninrecentyearspast.Forone,uponhavingachild,myhusbandandImade changessoIdidn’tendupreturningtoworkasafull-timehighschoolartteacher.Asastayat-homemom,whenmyworkdayisdone,Ihavehardlyusedanyofmyadultbrainandabsolutelycravegettingintothestudio.

AlthoughIstrugglewithchildcarehelpandoften havenochoicebuttohangwithmykidandnotbe productive,thedesiretoproduceworkhasonlyintensifiedsincehavingmyson.

BeforeIwasaparentIcontinuouslyhadthisexistentialcrisisabout“whatmattered”and“whyIwas doingthethingIwasdoing”,butnowthatI'ma mommyultimateconcerninlifeismychild, andthatpriorexistentialsufferinghasdissipated. Ironicallymaybe,becausesomanyartisttropesinvolvethestrugglingartistlaboringwiththeirmental healthtoproducethebestworkoftheirlife.And thoughIcertainlystrugglewithmentalhealth,Ialso feelfree,thedraggingweightof“whyshouldIbe doingthis”isgone.Mynew“why”isultimatelyto bethebestversionofmyselfsoIcanmodelthatfor mychild.IamatmybestwhenIamcreatingwork, andsoifIcankeepatit,Iknowmysonwillseeme asahappy,productivepersonandhopefullyhecan translatethisguidanceintobeinghisownawesome personinthefuture.

ZR:Howhasthepandemicchangedhowyouwork asanartist?

TZ:Thepandemichaschangedallofus,inwaysI stilldon’tthinkwefullyunderstand.Ikeepwonderingwhatculturalshiftwillhappenpost-pandemic amongallcreatives,butwearestillinsideofit,and Ithinkitistoosoontoreflectonwhatthiscultural traumahasdonetous.

Mypracticedidn’thavetochangemuch-mystudio isathome,IcontinuedtohaveaccesstoallthefacilitiesIneeded,andIcontinuedbuyingmaterials onlinewhichIhadbeenusedtosincemovingtoa ruralAmericantown.

Probablythemostpoinginetchangecamewithin meandisfoundinthework.Idrewpicturesandcut andreassembledpaperwhilelisteningtohours uponhoursofnews,takingmyanxietyoutwithan X-actoblade,andgainingsomesemblanceofcontrolofthechaosaroundmebymanipulatingmyartwork.

ZR:Tellmemoreabout the“RoswellArtistin ResidenceCompound”. Whatimpacthasithadon yourcareer?

TZ:TheRoswellArtistin Residencyisaresidency programbasedin Roswell,NewMexico.The artistswhoareselected fortheresidency-sixa year-haveathree-bedroomhouse,astipend,a largestudio,andaccess tofacilities(awoodshop, metalshop,ceramicstudio,printmakingstudio andadigitallab)fora wholeyear.Thisisaseriousartistresidency,itis verycompetitive,anditis awesome.

LEFT:TAMARA ZIBNERS

‘CreamsicleGonnaGetYou’ InkjetCollage 9’x9’

Iamnotactuallyontheresidencygrant.My husband,artistLarryBobPhillips,washired astheresidencydirectorthreeyearsago,and forthistimewe’velivedontheresidencycompoundasafamily.Ihavebeenabletostayat homewithoursonandessentiallyhaveallof thebenefitsoftheotherartistsinresidence-a largestudio,ahousetolivein,andaccessto facilities.Ihavebeenabletocreatealotof worksincewe’vebeenhere,becauseoftheincredibleresourcesavailabletomeatthisresidency.Italsohelpsthatmyneighborsareexcellentinternationalartistswhoinspiremeand helpme.

ZR:Whatartistsareinspiringyouatthemoment?

TZ:LouiseBourgeoisisaguidinglightforme rightnow.Herthemesconnectedtolife’smost fundamentalstruggles-birth,death,mothering,ourrelationshipswithourparents,our sexuality,ourmind,areexploredthroughout herworkinwhatfeelslikeeverymedium,hundredsoftimes.Iloveherrepetition,humor, andconfidenceasanartist.

ThetapestryworkbyErinM.Riley(showswith PPOWGallery,NYC)isabsolutelyincredible. Thevulnerabilitythatsheshowsinherphotographicdepictionsofherself,dealingwithsexualityandself-destruction,allintheintricate processofawoventextile,simplyblowsmy mind.Theprolificamountofworkshemakes alwaysvergesintothepolitical,makingclear whatshestandsfor,butisalsoentrenchedin herownstoryandstrugglesasahuman.

NatashaBowdoinisaformerRoswellArtistin Residence(representedbyTalleyDunn Gallery,Dallas,TX),whoIwasabletomeet whenshecametogiveaworkshopatthelocal museuminRoswell.Sheinvigoratedmeto takeriskswithinmypracticewhichhasultimatelyledtomycurrentbodyofwork.

Natasha’sabsolutelyamazinglarge-scaleinstallationsofcutoutgardensareimmersive-

inthesamewaythat LouiseBourgeois’spidersenvelopthe viewer.Allofhercut paperworkinthepast givesmethechillswith theirintricacyandattentiontodetail,but hernewerworkiscompletelyimmersivein termsofscale,whichI absolutelylove.Her workisalsohappy,at timescreepy,but mostlyhappy,whichI wantmoreof,Ineed moreof!

Lastly,I’mreallyexcitedaboutbeingapart ofanartistcommunity ortribeoflike-minded people.Inmydailylife, Iaminspiredbymy friendswhoareartists, andfromthesefriends, Iperipherallylearn aboutartistswhoinspireme.Iyearntobe solidlypartofatribe, nottolookatandadmireotherartists,but ultimately,toshareand learnfromeachother.

RIGHT:TAMARA ZIBNERS

‘SuckitMountain’ InkjetCollage 9’x9’

LIDĲARISTIC

ZiquitaRiberdy:Tellmemore aboutyourartisticbackground andyourgrowthasanartist.

LidĳaRistic:Thetrajectoryof myworkrevolvesaroundplayingwithdimensionsandexperimentingwithmaterialsandapproaches.Asanundergraduate, Istudiedbothpaintingand sculpture.Thosetwodisciplinesinfluencedeachotherin mypractice,andIfoundthat kindofcrossoveraveryfertile creativeground.Thisledmeto keeplookingfornewdimensionstoexploreandkeptme askinghownewandoldknowledgewould/couldinformone another.Asaresult,Inowfluidlyworkbetween/bycombining 2,3and4dimensions.Iutilizea kindof“in-out”workflowwhere, forinstance,Imakeanobject, shoot,orphotographit.That materialthenbecomespartof videoworkor,adigitalcollage andthenthosephotographsor stillsgetappliedtofuturesculpturesthatthen,inturn,become subjectsoffurthershoots.And so,theprocesskeepsgoingand layeringonitselfmuchlikewith theendlessmirroreffect.Most oftentheseelementscometogetheraspartofaninstallation.

Whatprocessesdoyougothroughtocreateadigitalpiece?

Mydigitalpiecesareverylayeredworks.Eveniftheyseemtobefairlyunifiedoncecompleted,IoftengothroughmanystepsofdigitizationandthenbringmultipleelementstogetherinPhotoshop.InthecaseofRedBloodedandSugarCoatedandLettheBloodless, theywerecomposedof3Dscanningfiles,stillfromvideopiecesanddigitalphotographs. Thesecompletedworksalsowentontobereferencedinotherpiecesthroughfurtherforms ofdigitizationlikescreengrabsthatwereusedasfootageforcollagevideopieces.

LEFT:LIDĲARISTIC ‘MirrorBox’Series DigitalImage PAGE82-83:LIDĲARISTIC

ZR:Howdoeslivingintwocities influenceyourartpractice?

LR:Bi-culturalismhasalways beenapartofmylife.Even whenIlivedfulltimeintheUSA, IfeltlikeIlivedbetweenworlds. Thisexperienceiscommonfor manyimmigrantsandchildren whoseparentsarefromdifferentcultures.Asaresult,Ihave foundthatIhaveauniquevantagepointfromwhichtounderstandbothcultures.Thereisalwaysacounterpointthatgivesa broadercontexttowhichever placeIhappentobe.Muchlike multilingualism,bi-ormulticulturalismbroadensone’sscope andunderstandingoftheworld. Thisisinvaluableforanartist becauseourprofessionisthe pursuitofexpandedinterpretationsofthehumanexperience. NowthatIamactivelyworking betweenthetwocities,New YorkandBelgrade,thisdual perspectivehasbecomeallthe moredeeper.

ZR:Whatotherdisciplines,besidesdigitalart,doyoupractice?

LR:Mypracticeisinterdisciplinary,whichatitscoremeansthatIpracticeeverythingandanythingthatbestfitstheprojectathand.Myprimaryformsof expressionaresculptureandvideo,butIalsoutilizephotography,performance,sound,andsometraditionalcraftskillslikesewing/fabricconstruction. Butexperimentationisthedrivingforcebehindmywork,soIamalwaystrying newtechniquesandmediumsandnewwaysofmixingandblendingthem.

ZR:Howdoesyourcolorchoicesinspirethedirectionofabodyofwork?

LR:Ilearnedearlyonthatnoelementpresentintheworkshouldbearesultof arbitrarychoiceandthathasinfluencedmymethodofcolorselection.Thisis thecaseforthisseriesinparticular,whichishighlytiedtoitscolorpalate.

Therearetwoelementsthatallthepiecesaremadefrom.Digitalphotographsofslimedyedwithredfoodcoloringanda3D-scannedlollipop.By choosingthesetwostartingpoints,Iwaspreselectingnotonlythedirectionthebodyofworkbutalsothenarrativesembeddedinit.Twoofthe majorthemesareprocessedfoodsandourrelationshiptothebodyand bodilyfunctions.Thecolorpaletteisdirectlyderivedfromthematerials thatrepresentthosethemes.Nevertheless,itisstillverysaturated/aesthetics-focused.Thistooispartofthenarrativeofthework.Istronglybelieve that“beautiful”workisnotjustsimplydecorativebutcancarryverycompellingmeaning(s).Furthermore,Iliketousethesocialconstructsinherent inourrelationshipstocolortoconveyideas.Forthisreason,Iliketonot justincorporatevividcolorsbuttoactuallybuildtheworkaroundthem.

ZR:TellmemoreaboutyourcollaborationwithParadice Palase.

LR:ParadicePalaseisawonderfulartist/member-runspace inBrooklyn,NY.LaurenEliseandKatRyalsarecommitted tosupportingcommunitybuildingandaccessiblecollecting. Itooamverypassionateaboutthosemissions,andIamvery gratefultobeabletoworkwithaspacethatlooksforways tobreakdownthebarriersthatoftenmakeartmakingandappreciationchallenging.OurfirstcollaborationwasinJanuaryof2020whentheyhostedtheshow,Mess/MESS,whichI organizedwithfoodartistSalimatuAmabebe.Afterthat,I participatedintheir“wearableart”collectioninwhichartists producedoriginalworkthatwasprintedont-shirtsandsold throughthegallery.InMayofthisyear,theyhostedavirtual walk-throughofmyinstallationTheSpaceThatWe[Keep] BetweenOurselvesat80WSEGallery,NewYork,NY.Oneof mypiecesfromthatshowwillsoonbeavailableattheir spaceaspartoftheiraffordableartinitiative/collection.

BELOW:LIDĲARISTIC ‘MirrorBox’Series DigitalImage

Whatwasyourinspirationfor"RedBloodedandSugar Coated"?

Boththesepieceswerepartofmyinstallation,TheSpace ThatWe[Keep]BetweenOurselves,thatwasexhibitedat 80WSEGalleryinNewYork,NewYork.RedBloodedand SugarCoated:Thispieceiscomposedofthreeelements:a digitalphotographItookofslimewhichImadeanddyed withredfoodcoloring,ascreenshotItookwhileusinga3DmodelingsoftwaretoaugmentalollipopIscanned,andthe jpegfileofthecolortexturetakenfromtheoutsideofthe originallollipopthroughthe3D-scanningprocess.Although, strictlyspeaking,thisisa(digital)collage,Ihavechosento callitapainting.BydoingsoIamhighlightingthefactthat thisisanexampleofpuredigitalexpression.Thedigitalaspectoftheworkisavitalcomponentofthepieceandisin andofitselfanimportantlayerinthedialogofthecomposition.Thedigitalmediahereisintentionallyusedasaformof processing.Througheachstageofdigitization,theoriginal objectsgetfurthertranslatedandtransmuted.Similarly,the lollipopIusedwentthroughextensivephasesofindustrial processingbeforearrivingatitsfinalform.However,thisfinalformittookwasanintegratedwhole.Suchisthecase with"RedBloodedandSugarCoated".Unlikeclassicpaper collages,whichstillretaintracesoftheindividualityofthe componentsthatcompriseit,herethelinesbetweentheelementsaresignificantlymoreblurred.

AnotherreasonIwishtocallthisapaintingisthatitisinformedbytraditionalapproachestopainting.Mostnotably beingthecentralizedvanishingpoint.Aprimeexampleof thistraditioncanbefoundinPietroPerugino's"Christgives theKeystoSt.Peter",1482.Inthisfresco,theartistquiteliterallyutilizesagridstructure(theplaza'spavingstones)to accentuatethevanishingpointatthecenteroftheimage. Theadventofperspectivedrawing/paintingwasahugetechnicalleap,and,inhisdepiction,Peruginocelebratesnotonly hismasterybutthenewtechniqueitself.In"RedBlooded andSugarCoated"Iamalsousingaveryintenselinearperspectivetocreatetheillusionofdepthinamediumeven moreinherentlyflatthanthatwhichmypredecessorsused. Moreover,Itooamcelebratingthepossibilitiesbornfromthe advancesindigitalinnovationandindeedcarryingonthe

traditionofincorporatingnew techniquesintoafinearts practice.

Theconnectiontothe3d-print istwofold.Firstly,theoriginal photographusedhereasthe backgroundwasincorporated in“Red40BloodLetting”as itssurfacelayer.Secondly,the objectsintheforegroundof thisimagearescreenshotsof “Red40BloodLetting”taken whileitwasbeinggenerated ina3D-modelingsoftwareitor. “LettheBloodless”again achievessomethingIhave beencontinuouslystrivingtowards:givingweightandsubstancetodigitalexpression.

PAGE88:LIDĲARISTIC ‘RedBloodedandSugar Coated’ DigitalImage

PAGE89:LIDĲARISTIC ‘LettheBloodless’ DigitalImage

RYANBELL

BELOW:RYANBELL

‘AerialMachina’Series DigitalImage www.instagram.com/iryanbell

ZiquitaRiberdy:NFTsarearelativelynewthing,howdid youhearaboutthemandwhydidyoudecidetostart makingthem?

RyanBell:Ibecameinterestedinblockchainapplications whenIunderstoodtheleapinpotentialfromBitcointo EthereumandwasabletodiveintotheWeb3stackthat's beingbuiltontopoftheEthereumnetwork.Thesetools makeiteasyforanyonewithsomefamiliarityinwebdesigntointegratefinanciallogic,ownership,andunique decentralizedmechanismsintotheirprojects.Alongthe way,ERC-721sandERC-1155s(NFTtokenstandards)becameapartofthedevelopervernacular.Oncemarketplacesbegantospringup,thevalueandutilityofNFTs blossomed,thoughwe'restillearlyinouradventure.

TheNFT/DeFispacefeelslikeanewfrontiertome,still wideopenforustodefineasartistsandengineers.Fintechisbecomingmorecyberpunkeachday,andbringing withitanundergroundsortofmagicthat'sreminiscentof anearlierinternet,backwhensiteslikeGeoCities&Angelfirekeptitwonderfullyweird.Therewasalotlesspolishthenbecausethesystems,norms,andrestrictions hadyettobeestablished.We'rebackinthisrenaissance periodofcollaborationandexpressionwithoutrules, buildingfast,andmakingthings.

ZR:Whataresomeofthechallengesandadvantagesyou faceasanartistthatcreatesandsellsNFTs?

RB:Iworkmoreintheareaofplatformdesignthan graphicdesign,asI'vefoundgreaterresonanceinwhat I'mabletobuildthroughthatmedium.Myprintsandportfolioisalargelyunsoldcollection,withsingledigital copiesauctionedoffmoreforexperimentationthan bread.Nonetheless,thereareweekendnightswhenIenjoynothingmorethanstayinghomeandwritingGoLang code,renderingabstractcomputationasathingofsymmetry,chaos,andbeauty.Astheysay,thejourneyisthe destination.

ZR:Wheredoyoufindinspirationforyourwork?

RB:Inasense,proceduralartfeelslikeamicroscopeintothecomputational fabricoftheuniverse.There'salevelofirreducibility,wheretheoutcomeofa recursiveoriterativefunctionisunknowableinadvance.Inthischaos,you discoveranorganiclifewithinit.Onethatcanbeinfinitelydeep.It'sthedifferencebetweencreatingasingleworkanddefiningtheboundsforallpossible worksandsamplingpointsalongthecurve.

ZR:What’sonetoolyoucan’tlivewithout?Why?

RB:MyfavoritetoolismyMac.Atruebicycleforthemind.Throughthat screen,I'mabletoreachinandcreatewildgraphics,soundtracks,andinteractwithaglobalcommunityoffellowmakers.

TOP:RYANBELL ‘AerialMachina’Series DigitalImage

ZR:Arethereanyothertrendsthatyou’veseenpopup,in theartsphere,thatyoumaytryinthefuture?

RB:I'mbullishonAR/VR.We'restillyearsoutfromthehardwarebeingcomfortableandaccessibleatscale,buttheexperienceissoimmersiveandunique,thatit'sboundtocatch oninsomeform.Iplantoinvestsometimeintolearningthe toolsneededtocreatesomethingofvaluewithanaugmentedrealitycomponent.

ZR:Wheredoyouseeartheadinginthenext10years?

RB:We'regoingtoseemassivecreativityunlockedoverthe comingdecadeassocietybecomesusedtotheideaofrespectingartisticIPagain.We'reexitingfromthispost-Napsterdarkperiodwheredigitalhasbecomesynonymouswith free.

Decentralizedautonomousorganizations(DAOs)feellike thenextbigthingtotakethestageafterNFTs.WhereNFTs canbeusedtorepresenttheownershipofanyresource, DAOscanbeusedtoorganizecollectivestowardcommon goalsandallocateresources.IcanenvisionDAOsthatincubate&fundnewprojectsatgreaterefficiencythanwe've seenwithtypicalgrassrootsorcorporatestructures.QuadraticfundingissomethingthatIhopetoseetakeoff,asa waytotipfinancialincentivestowardprioritizingpublic goods.Seeingmoreartistsabletoutilizethepowerofthis newfinancialwebwe'rebuildinganddirectittowardphilanthropiceffortsisgoingtobeathingofbeauty.

INGRIDV.WELLS

ZiquitaRiberdy:Howdidyou findyourstyle/voiceasan artist?

IngridV.Wells:Incollege, maybeyounger,Ibegantoactivelypondermyownvisualdelight,bynoticingandcollecting myfavoriteitems/visualreferences.Throughwritingandresearch,Iwouldmakeconnectionsaboutwhythiscollection ofimagery/objects/music/theater/etc.resonatedwithmeand howitmightresonatewithothers.Iactivelytrytoindulgemyselfinthestudio,whichrecently ledtoa60”paintingofnothing butgiantpinksprinkles(partof myupcomingsoloexhibition).I methodicallypursuehavingfun.

LEFT:INGRIDV.WELLS ‘PrettyExpectations’ OilOnCanvas 36”x48” www.ingridvwells.com

ZR:Whatinspiresyoutocreate suchwhimsicalpieces?

IVW:IncomingacrossIngrid FetellLee’sandGretchenRubin’s researchonhappiness/joy, specificallyhowdesignandvisual elements(likecolor)canaffectthe moodoftheviewer,Ibecameinterestedinutilizingthesetoolsinmy paintingstopositivelyadjustthe moodofmyaudience.NowwhenI beginapaintingIthinkaboutpleasure,bothmyowndelightinthe paintingprocessandthepleasure oftheviewer.Ienjoymakingartworkthatattractsattentiontoa concept/ideathatI’mworkingwith andIusebrightcolorsandshiny objectstoreelinmyaudience.

ZR:You’veexhibitedalloverthe globe,isthereagalleryyou’dlike toexhibitat?Why?

IVW:I’mcuriousaboutexhibiting workatanartfair.Thatwouldbea newexperienceformeandI’ve hearditcanbeagreatwaytoconnectwithartlovers.

ZR:Whatledyoutodecidetostart teachingapaintingcourse?

IVW:Teachingissuchafunwayto helpothersalongtheirartistic journey,sharemyknowledgeand engagewithstudents.IwasadoublemajorinArtEducationand PaintingasaBFA,soafterearning myMFAteachingwasalogical nextstep.

ZR:TellmeaboutyourexperiencewithTeenVogueandhowitimpactedyourcareer.

IVW:MyworkwasfeaturedinTeenVoguein2017asapartofagroupexhibitionthatwascuratedbyTheUntitledSpaceinNewYork.Therewerequiteafewpressmentionsaboutthatexhibition,whichincludedworkfromRoseMcGowenandhadtodowiththeMeToomovement. ThoughIdon’tknowforsure,Ibelieveitledtomypaintingbeingprintedasafullpageinthe newspaperElPaísalongwithanarticleontheSpanishpoliticalmovement“Hermana,yosíte creo”or“Sister,Idobelieveyou.”ThiswasasimilarmovementtoMeToo,centeredinSpain. Itwasadreamcometruetohavemyworkgivepowertoaninternationalfeministmovement andI’mgratefulfortheexperience.

LEFT:INGRIDV.WELLS ‘PerkyPetals’ OilOnLinen 24”x36”

ZR:Whatgoalsdoyouhopetoaccomplishoverthenextfewmonths?

IVW:Currently,I’mworkingtowardsmy upcomingsoloexhibitionwithVoss GalleryinSanFrancisco.I’mexcitedto present20newoilpaintingsinFall2021 withthisexhibition.ConceptuallyI'm workingwiththepsychologicalideaof "glimmers."Glimmersaremicro-momentsthatemitpositiveandcalmingenergy.Theymoveusintoaventralvagal stateofsafetyandconnection.

Glimmersaretheoppositeofsympathetic ordorsalstatesofresponse(triggers)accordingtoDebDana,LCSWandRuth Buczynski,PhD.

Fromanaestheticstandpoint,I'minvestigatingmonochromaticandanalogous colorschemesandtheircalmingeffects onmood.Repeatedsimpleshapescreate visualrhythmsthatdisruptwhatmightbe thebeginningsofapatterninasurprising andintriguingway.Imageryincludesrainbows,lollipopsandshinystars,asresearchshowsthatthesetypesofshapes, texturesandimagesinducehappinessin viewers(Joyful:TheSurprisingPowerof OrdinaryThingstoCreateExtraordinary Happiness,FetellLee).

Popovysisters 101 101

Wehavebeenmakingfineartdolls since2004.Andforus,thisactivity hastransformedintoaspecialthematickindofart.Togetherwithfashion,ithasgivenusthefreedomto expressourcontemporaryandcosmopolitanvisionofbeauty.Webelievethatourmissionistotellthe viewerastoryandeachtimeit shouldbeanewone,allowingthem todreamandescapeintoaworldof unfetteredimagination.Inspiredby historyandnaturewealwaystryto transcendthehumdrumandcommonplace.

Weinvestalottogetanauthentic lookwithourdolls.In2012we startedourBJDlinecalled“SISTERS”.Beginningwithsketcheswe createdeverythingbyourselves: moldprototypes,makeup,body blushing,wigs,wholeoutfitsand shoes.Withinmanyyearswehad developedourwell-knowntechniqueusingawire-framedesignfor wigsandclothes.Nowwe'veaccumulatedarichexperienceinworkingwithdifferentmaterials.Toreflecttheongoingdialoguebetween pastandpresentweusenatural, high-qualitytraditionalandmodern materials.Youcanfindfur,antique silkoftheEdoperiodormicainour collections.Allourdollsarelimited editionandunique. 103

LEFT:POPOVYSISTERS DollsUsed:TawnyOwlAlbino andLittleOwl FineArtDollsandPhoto www.popovy-dolls.com

103

DollUsed:TawnyOwlAlbino

LEFT:POPOVYSISTERS

DollUsed:TawnyOwlAlbino

TOP:POPOVYSISTERS

DollUsed:Quetzal FineArtDollandPhoto

ImagesCourtesyofThePopovy Sisters

TOP:POPOVYSISTERS

DollUsed:TawnyOwl

FineArtDollandPhoto

ImagesCourtesyofThePopovy Sisters

TOP:POPOVYSISTERS

DollUsed:TawnyOwl

FineArtDollandPhoto

ImagesCourtesyofThePopovy Sisters

CODERCH&MALaVIA SCULPTORS

BELOW:CODERCH&MALAVIA SCULPTORS

‘GiganteDeSal’ ClaySculpture

ImagesCourtesyofCoderch&MalaviaSculptors www.coderchmalavia.es

DanieldaSilva:Whatisanimportant thingpeopleshouldknowabouteachof you?

JoanCoderch:IwasborninCastellardel Vallés(Barcelona)in1959andstudiedat theDepartmentofFineArtsofBarcelona. WhenIwasveryyoungIwaslucky enoughtofindateacherofPlasticArts whosawinmetheloveandsensitivityI hadforvolume.Hesupportedmeand helpedmebyteachingmethebasicsof modeling.Hetookmetothehouseof ManuelHugué,afamousCatalonian sculptoroftheearlytwentiethcentury. Thiswasaturningpointforme.IdiscoveredawholenewworldandIrealized sculpture,andartingeneral,wastheperfectwaytoexpressmyideasandfeelings.

JavierMalavia:IwasborninOñati,a smalltownintheBasqueCountry,in 1970.WhenIwasalittlechildImovedto Valenciawithmyfamily,thereIgraduated fromtheDepartmentofFineArtsofSan Carlos.

I'vealwayslikedtodrawandI'vealways lovednature,thehumanbody,chemistry andphysiology.BeforeIstartedmyuniversitystudiesIdidn'treallyknow whetherIwantedtofollowoneoranother.Suddenlysomethingclickedinmy mind,justlikewheninspirationcomesto you,andIrealizedthatIwantedtostudy finearts.Onceinclass,thefirstcontactI hadwithsculpture,especiallythemodeling,waslikeacrush...itwasloveatfirst sight.

RIGHT:CODERCH&MALAVIA

SCULPTORS’

‘TheLittleTinMan’ BronzeSculpture

ImagesCourtesyofCoderch&Malavia Sculptors

DS:Wheredoyougotofindinspiration foryoursculptures?

JC&JM:Literature,poetry,theater,photography,cinemaandballet,allserveas inspiration.Wearealwaysworkingfrom livemodels.Fromthefirstsketcheson papertothefinalpieces,teamworkisessential;Fromthefirstmodelinginclayto thefinalbronze´spatina,wecontrolthe wholeprocessofourpieces.Everything isrelevantbecauseinthefinalpiecethe emotionsexperiencedduringthecreative processarecondensed.

DS:Whatisyourfavoritepartofthe sculptingprocess?

JC&JM:Startingaprojectfromadual dynamicrequiresalotofpreviouswork. Westartfromseveralbrainstormingsessionsinwhichweputallthecardsdown onthetable.Duringthisprocesswe shareourideas,nomatteriftheyare goodorbad,togetapointwhereweunderstandwhatisimportanttousand whatitisthatwewanttodevelop.Thisis ourfavoriteandthemorecomplicated partoftheprocess.

DS:Whatmotivatesyoutofreezethese actionmomentsintimewithinyour sculptures?

JC&JM:Thehumanbeingisthree-dimensional.Thisisprobablythemainreasonwhyweareattractedtosculpture,it istheclosestartisticrepresentationof ourselves.Sharingthecreationofawork ofartiscomplicated,theremustbeapredispositiontofittogetherartistically.

TOP:CODERCH&MALAVIA SCULPTORS

ImagesCourtesyofCoderch&MalaviaSculptors

‘Clio’sDream’ BronzeSculpture

Thefactthataworkofartcanemergefromthecollaborationoftwodifferentsensibilitiesandour motivationtodoitcatchespeople'sattention. Ourobsessionistotransmitthebestofourselves throughourwork. Wetrytoachieveexcellenceinwhatwedo.

DS:Howdoyoudecidewhentoutilizecolorina newsculpture?

JC&JM:Asinacontinuousthread,thepieces themselvesrevealthedifferentlayersinwhichto delveintotheshadow,thebalancesandthetexturesofthemattertomovethesensitiveviewer. Thesculpturesrespondtolightandcolorbyinvokingthegazethatistrappedinthem.

TOP:CODERCH&MALAVIA SCULPTORS

‘Ashia’ BronzeSculpture

ImagesCourtesyofCoderch&MalaviaSculptors

DS:Whatareyoumost excitedaboutmoving forwardintonew projects?

JC&JM:Theworldisa workofart,weshould notbecomemerespectatorsofwhathappens.We shouldgetexcitedand reflectonwhatsurroundsusjustaswedo withapieceofart.This processofreflectionis, withoutadoubt,thebasisforchangingthings andthatiswhywearefocusednowongettingour sculpturesnearpeople, showingtheminpublic areaswithoutbarriers. Peoplehavetotouchand enjoythemfreely.

Sallywest

BELOW:SALLYWEST

DanieldaSilva:Howhavethemany placesyouhavetraveledtohadanimpactonyourwork?

SallyWest:Duringmuchofmy20swhich wasbackinthe90s,ItraveledasabackpackerthroughEurope,AsiaandIndia.It wasincrediblyeye-openingandshaped measapersonandpainter.Forawhile,I alsolivedinItalyandFlorence.Such wonderfulexperiencesandcreativecultures.BecauseIwastravelingIdidalot ofdrawingasitwaseasytocarryjustpaperandinkorcharcoal.WhenIsettledin placesforlongerIwouldthenworkwith paint.Ialsodidalotofportraitureandlife drawinginmysketchbookduringthose travelingyearsasIwasmeetingsomany interestingpeopleandfaces.

DS:Whatdrawsyoutowardsthe beachesandwaterscapesyouhave paintedsooften?

Ihavealwaysfeltdrawntotheocean.As achild,Igrewupintheoutback.I couldn’tunderstandwhywedidn’thave abeachonourfarm.Wewouldholiday afterharvesteveryyearbytheoceanand Ineverwantedtoleaveit.Afterleaving schoolIhaveprettymuchstayedclose byit.Itjustcalmsmeandinspiresme. Forwellover20yearsIhavewalked alongthebeacheveryday.IfI’mnot paintingitI’mwalkingit,sittingonit,lyingonit.It’spartofalmosteverythingI donow.

TOP:SALLYWEST

‘BeachBondiStudy(18.7.21)’

OilonCanvas 24”x24”

ImagesCourtesyofSallyWest

DS:Howhasyourpaintingstyleevolvedovertime?

SW:ThatfirstshowasImentionedwasmostlypastelonpaper,whichallowedmetoworkwithcolor andexperimentwithform.Movingintooilswasterrifyingandincrediblydifficult.Somethingthat drovemecrazyforyears.IstuckwithitbecauseI justloveachallenge.Nowitfeelslikepartofme.I loveoilsandworkwiththemeveryday.Ialso movedfromusingapaintbrushtoapaletteknife about20yearsagobecauseIwaslivingonafarm andmybrushesworeout.Ijusthappenedtofinda paletteknifeandithasevolvedfromthere.Especiallythetexture.

DS:Whatisthetypicalprocessofapaintingfrom starttofinishforyou?

SW:WhenIampaintingPleinair,Iarriveatthestudio,packallmygearintomycar,includingcanvases.Ofcourse,thedaysandlocationaredecided uponafterwatchingtheweatherandwaitingforthe righttimes.Idrivetomylocation.Unloadallmy gear.Setuptheeaseletc.Layoutpaintonmypalette,paint,thenloadthewetpaintingsintomy racksinthebackofmycar.Drivebacktothestudio. Unloadagain!Thenit'satrickyprocessoffindinga dryingspotforeachwork.Lotsofshufflingworks around-that’sadailyritual!

DS:Howhavethemanyplacesyouhave traveledtohadanimpactonyourwork?

SW:Duringmuchofmy20swhichwas backinthe90s,ItraveledasabackpackerthroughEurope,AsiaandIndia.It wasincrediblyeye-openingandshaped measapersonandpainter.Forawhile,I alsolivedinItalyandFlorence.Such wonderfulexperiencesandcreativecultures.BecauseIwastravelingIdidalot ofdrawingasitwaseasytocarryjustpaperandinkorcharcoal.WhenIsettledin placesforlongerIwouldthenworkwith paint.Ialsodidalotofportraitureandlife drawinginmysketchbookduringthose travelingyearsasIwasmeetingsomany interestingpeopleandfaces.

DS:Whatdrawsyoutowardsthe beachesandwaterscapesyouhave paintedsooften?

TOP:SALLYWEST

‘BeachBondiStudy(18.1.21)’

OilonCanvas 36”x48”

ImagesCourtesyofSallyWest

DS:Whatisamomentinyourcareeryouareexceptionallyproudof?

SW:Havingmyfirstshowwasahugeachievement.It wasinBondianditwasmostlyartworksonpaper(pastels).Ihadajobataframer'satthetimesoIframedthe wholeshowmyself.Therewereabout45worksintotal. Upuntilthatpoint,Ihadbeenproducingworkconsistentlyforseveralyearsbuthadn’tbelievedtheywere anygood.Mostoftheworkshadbeenstoredundermy bed.ButIhadfriendsandflatmateswhoencouraged meandIamsogratefulforthat.

DS:Whataresomechallengesyouhavefacedbuilding yourcareerinart?

SW:DuringthatfirstshowatBondiPaviliononBondi Beach,wewerehitwithamassivestormthatlastedwell overaweek.Ikeptthegalleryopeneverydayeven thoughtherewasnotasoulonthebeachoranywhere, theswellwashuge,itwassowindythattreeswerebeingpushedover.Itwashardsittingthereinthatgallery withallthebeautifullighting.Mydreamshowwithno onethere.Justme.Somanymemoriesofpacing aroundthatspace.

DS:Whatisanimportantthingpeopleshouldknow aboutyou?

SW:I’maveryshyperson.Quitereclusive.Ifinditvery challengingtogotomyownshowsandspeakaboutmy art.It’ssomethingIamconstantlyworkingontoimprovemyself.

DS:Whatareyoumostexcitedaboutmovingforward intonewprojects?

SW:Inevergetboredofpainting.Everydayisanew opportunitytoexplorethepracticefurther.Iamexcited bytravelingmoreasaPleinairpainter.Ithinktheonly waytoevolveasapainterisbydoingit.Theevolution ofyourstylecomesnaturallyifyouareconsistentI think.Iamexcitedaboutseeingwherethepainttakes me.

TOP:ERIKMINTER

‘GotAnyDeepFakeLeft’

Acrylic&SprayonCanvas

ImagesCourtesyofErikMinter

DanieldaSilva:Howdoyoutranslateemotionsintocolor andwhatdotheymeantoyou?

ErikMinter:Asyoumightnoticeinmywork,colorisvery importanttome.Itispartoftheessenceofhowweperceiveafeelingandcaptureafeelingfromamemory.Color formeislikealanguage,everycolorisdependentonits relationshiptoitsneighboringcolor.WhenIstarttothink aboutourownhumanexpressions,Iliketothinkincolor, maybeIhavechromesthesiabecauseIspendagoodperiodoftimetinkeringwithhowcolorstalktoeachotheron swatches.Morerecently,I’vebeenlooseningupintheway Ipaint,andI'veallowedmoreintuitiveimpulsestobreak someofthosecolornormsthatIfindinsketchesandI thinkthat'swherechancebecomesintegralandallowsfor newmeaningstocomeoutofthework.

DS:Howdoyoufeelyourstyle hasdevelopedovertime?

EM:I'mconstantlyevolving somehow,breakingmyown rulesifIevenhaveany,and reusingtendenciesthatworkfor now.So,I’mnotabigproponent oftheideaofstyle,it'skindof thisfleetingconcepttome,todayImightlikethisartistand thisapproachinmywork,tomorrowit'scompletelysomething differentthatImightbeinto.But thethingthattieswhateverI’m doingtogether,ismyattitudetowardshowI’mdoingit.Maybe styleisjusttheoverallattitude theworkconveys,it'sthatpersonallanguagewithin,that'sreflectedintheoutcomeofthe piece.Perhaps,subconsciously mymindworkslikeafiltration system,theenergyofmysurroundingsmayormaynotaffect theoutcomeofwhatgetspoured ontoacanvas.

DS:Whatdoesyourtypicalcreativeprocesslooklike?

EM:Itdoesn’talwaysstartout thesameway.Itendtogetinspiredbyimagesandeventsthat offerupsomethinginrelationto howIfeelabouttheworld aroundmeatthatmoment.I’lldo sketches,digitaloranalogue,to figureoutacompositionthat helpsmesetthetoneforthe gesturalstatementI’dliketo make.Sometimesthisprocess ismorethoughtoutandintrospective,it'swhenIstartpaintingontothesurface -Continuedonpage125

andIletchanceandthemoment dictatethecolorandexpressive outcomeofapiece,Ileteverythinglearnedsubside,andjust paint,Ithinkthat'swhenthe workgetsignited.

DS:Whatisanotableexperience youhaverepresentedina piece?

EM:Idon'tnecessarilyknowifI cansaythatI'mreflectingonone experienceinmypiece(s).When Iwasdoingmyabstractsbefore Ipivotedintothemorerecentabstractfigurations,Iwouldoften useamemory,apalettethatreflectedanexperienceoncehad, andIwouldusecolorandgestureasawayinmymindtoget thatmemoryout.Ithinkwiththe recentworksasImentioned,the charactersinthemarestrangers thatexistamongstus.Basedon theirexpressions,I'mhopingthe viewerwantsto understandthemmore,where theycomefrom,whattheyare thinkingabout.It'sthatcuriosity throughone'sexpressionsthatI feeltellsusalotmoreabouta personthanwhatissaidby them.

LEFT:ERIKMINTER

DS:Whatisyourmostimportanttool? Howdoesithelpshapeyourart?

EM:Therearetwotypesoftools,thereare thephysicaltoolsusedandthenthereis thepsychologicaltoolthatimaginesit allup.Myworkisdoneflatonthefloor, whenI’mworkinglargerIliketothinkthat mybodyisatool.It'sthemovementsin mywristfrommyelbow,everywherein between,anddowntothetoesthat groundmetotheearth.SometimesIusea custombridgethatallowsmetofloat acrosslargersurfacestohelpmegetinto areasformorerefinement.

DS:Whatareyoumostexcitedabout movingforwardintonewprojects?Currently,I'mreallyexcitedtobeworkingon piecesforanupcomingsoloshow.Typically,however,onaday-to-daybasis,I don’tliketoplantoomuchahead.WitheverythinginmypersonallifethatI’vebeen through,I’velearnednottoputhighpromisesonexpectations.Iworkbestinthe momentandhavefoundthateverything fromthatpointusuallyfallsintoplace.

DS:Whatisanimportantthingpeople shouldknowaboutyou?

EM:I’vebeentoldbyafewclosetome thatI'manoldsoul.I’mnotaverycomplacentperson,butsometimesIwonderwhat ifIwas.

LEFT:ERIKMINTER

Erikworkingon‘EyeWonder’ AcryliconCanvas

ImagesCourtesyofErikMinter

Annanaffotey

Oxford-basedartistAnnan Affoteynavigatesblackidentity throughportraiture.Hispaintingsfocusonwomenandmenof colorwithvibrantdarkskinand soul-filled,redeyes.Hesurroundshisfiguresinnegative spaceallowingeachsubjectto telltheirownstory.Affotey’s paintingshighlightthenuances ofthefacialexpressionandexamineastorythatgoesbeyond thesurfacelevel.

Affoteywasbornin1985and graduatedfromGhanattaCollegeofArtandDesignin2007 withadegreeinDrawing&Painting.In2013,AnnanAffotey helpedfoundtheAfricanYoung ArtistOrganization(AYAO),a groupdedicatedtosupporting Africanyouthintheartsthrough educationandexhibitions.

Hispaintingsareinfluencedby twomainfactors:growingupin thepresenceofstrongwomen andtheculturaldiversityhe’s experiencedthroughlivingin Ghana,EuropeandtheUnited States.Thecombinationofthese experiencesbringsadiverse narrativetohiswork,exploring thenuancedstoriesandmeaningsbehindhissubjects’faces andbodies.

Affoteybringseveryday experiencesintointensely colorful,texturedandexpressivecompositions. EarlierthisyearAffotey hadsoloexhibitionsat RonchiniGalleryinLondonandDannyFirst’s CabininLosAngeles.His workhasalsobeenexhibitedinNewYorkCity,London,MiamiandAccra.

LEFT:ANNANAFFOTEY

‘WindowsToTheSoul’ Exhibition

AcrylicandCharcoalon Canvas

ImagesCourtesyofAnnan Affotey&RonchiniGallery

BELOW:ANNANAFFOTEY

‘WindowsToTheSoul’Exhibition

AcrylicandCharcoalonCanvas

ImagesCourtesyofAnnanAffotey&Ronchini Gallery

My“redeye”portraitsholdahauntingbeautythatinvites viewerstoquestiontheemotionsandreallylookintothestoriesbehindthefaces.Theconceptisoneofmisinterpreted identities.WhenImovedtotheUSfromGhana,Iwasoften questionedwhymyeyeswereredandwhetheritmeantI hadn'tsleptorwasdoingdrugs,neitherofwhichwastrue. Anditbecameasymbolformisinterpretedidentities.Facial expressionsareimportantbecausetheyspeaktoaperson's emotions.Thefirstassumptionsmadeaboutpeopleare basedonsight.Sothingslikeskincolor,clothing, accessories,background,setting,andposedictateemotion. There'snoguaranteethosethingsmatchthecharacterunderneath.

We'reoftenidentifiedbywhatwe'recomparedto(or against).Myworkisasocialcommentaryonthis,askingthe viewertotakeasecondlookatwhattheyreadfrommypor-

LEFT:ANNAN AFFOTEY

‘PaulandNorma’ AcrylicandCharcoalon Canvas

180cmx150cm

ImagesCourtesyofAnnan Affotey&RonchiniGallery

traitsandwhy.ThisisthereasonwhyIaddabrightbackdropagainsttheBlacksubject -tohighlightthecontrastbetweenthetwo.Ioftenpaint peoplearoundme,including familyandfriends(andmyself).ButIalsotakeinspirationfrompublicfiguresand modelswhousethepowerof bodylanguageandexpression.

Divide Magazine - The Contemporary Art Magazine - Issue 4

FEATURED ARTICLES EXHIBITS

COLORANDCHARACTER

CURATEDARTISTS

Letterfromtheeditor

ZACCHEOZHANG

LISAMcCLEARY

JOHNTAYLORWAGNER

ROBYNJADE

APRILWINTER

LEFT:APRILWINTER

Seitaroyamazaki

NIGELFOLLETT

AshleyCheatham

RIGHT:ASHLEY CHEATHAM

Kayanhamadeh

LEFT:KAYAN HAMADEH

RIGHT:TAMARA ZIBNERS

LIDĲARISTIC

RYANBELL

BELOW:RYANBELL

INGRIDV.WELLS

Popovysisters 101 101

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TOP:POPOVYSISTERS

TOP:POPOVYSISTERS

CODERCH&MALaVIA SCULPTORS

RIGHT:CODERCH&MALAVIA

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TOP:CODERCH&MALAVIA SCULPTORS

Sallywest

LEFT:ERIKMINTER

Annanaffotey

LEFT:ANNAN AFFOTEY