Inside Artists - Issue 16

Page 1

Contemporary Artists & Exhibitions

Issue 16 autumn/winter 2019



THE TRUMAN BREWERY LONDON 13TH - 15TH SEPTEMBER 2019 Friday Private View 6pm - 8pm FREE ENTRY All Weekend 12pm - 6:30pm

Off Ely's Yard London E1 6QR

An artist observes the world around us. They are both participant and outsider looking in; taking notes and representing what they see through their chosen medium, be it paint, clay or photograph. It seems impossible therefore that the issues affecting the planet wouldn’t be part of the artist’s psyche while creating work. Whether taking an emotional, political or academic viewpoint, the artist is creating a new platform for awareness; passing their ideas to new generations and allowing the viewer to connect with the planet through alternative perspectives. The climate crisis, changing landscapes and declining natural spaces are all themes explored by artists in this issue. While we are all aware of the catastrophic effects that modern society is having on the environment, to be confronted with such artworks may ignite a new desire for change, to preserve for the present and the future.

An Art Fair like no other


Fresh: Art FAir

ART FAIR contemporary ART FAIR

53 galleries: 600 artists: 6000 works Hockney: Hirst: Emin: Banksy: Blake


BRIGHTON RACECOURSE Freshfield Road, Brighton, East Sussex BN2 9XZ

11th, 12th, 13th October 2019

120+ Artists Galleries & Collectives 1000’s of Artworks From £50 - £5000+

Preview Evening 11th October 2019 6:00pm - 9:00pm Open All Weekend 12th & 13th October 2019 10:00am - 6:00pm Artist: Jody Craddock #sussexartfairs

EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE By Joel Biddle Crown, 2019 silver gelatin print,15 x 10 cm PROOF READER Daisy Francome FOLLOW US InsideArtists InsideArtists ONLINE ENQUIRIES +44 (0)1273 649 724 Inside Artists is a registered trademark. All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publishers. The magazine can assume no responsibility for unsolicited manuscripts, photographs or illustrations.

"A ‘crown’ of gulls on the head of this land form earned the image its title. To me, this work is about acceptance; as despite the abrupt interruption of calm waters, the water shows no resistance to the asymmetrical island’s presence with no sign of waves hitting against the rock or any current struggling around it." Joel Biddle

Exhibitions 08 New Artist Fair 'Summer Exhibition' 10 Fresh: Art Fair Ascot

14 Sussex Art Fairs (East) 16 Landmark Autumn Art Fair

Interviews 18 Joel Biddle 46 Stephen Wilson

72 Diana Cheren Nygren 100 Fiona Scott-Wilson

Artist profiles 24 28 30 32 34 38 40 50 56 60 62 64 66

Shar Coulson Makotu Nakagawa Andrea Shearing Sharon Alviz Corinna Holthusen Tobbe Malm Edith Torony Krishna Pulkundwar Xan Padrรณn Mohsen Modiri Christine Olmstead Alexandra Vacaroiu Seรงil Erel

70 Jessica Alazraki 78 Marcus Callum 84 Beate Tubach 86 Ricky Leaver 88 Maryam Radulescu 90 Anne-Sophie ร gaard 92 Kench Lott 96 Anna Vodka 108 Valentina Baicuianu 112 Magdalena Morey 116 Rhea Cutillo 118 Jane Hargrave

Artist showcase 126 Adam Binder 132 Mika Yajima

Artist exhibitions 138 Upcoming artist exhibitions

136 Ana Junko

08 EXHIBITIONS New Artist Fair

Miles Cantelou

Felipe Chavez

New Artist Fair 'Summer Exhibition' 13-15 September | Old Truman Brewery, London


ow in its 9th consecutive year, the New Artist Fair has set a precedent for emerging artist representation in London, using its platform to showcase over 100 new and recently established artists to art lovers, buyers and collectors. The carefully selected UK and international contemporary artists represent a huge spectrum of the art world, with painters working across all genres and mediums, sculptors, photographers and printmakers. The New Artist Fair celebrates the living artist with its gallery layout which

removes the usual booths seen at art fairs, bringing you closer to the work and the artist themselves. Many artists begin their career at the event, going on to exhibit and sell with some of the UK’s top galleries. This year the fair has partnered with Art Experiences, who will have live demonstrations from a selection of their featured artists for visitors to meet and speak to. The founders of the fair, Lemon Art, have also established a new Lemon Art Purchase Prize Award, which will see them purchasing an artwork from the fair to add to the Lemon Art Collection, which already includes artworks from renowned international artists.

New Artist Fair EXHIBITIONS 09

Kelly Vincent

The weekend-long art fair, which returns to the iconic Truman Brewery in London’s E1 art district, kicks off with a private view where you’ll find live art being created through the evening, a DJ, fully stocked bar and of course the dynamic selection of artworks. New Artist Fair is free to visit all weekend, 1415th September, 12-6.30pm. The private view

takes place 6-9pm on Friday 13th September; tickets to which are available online. The Old Truman Brewery is located off Brick Lane, London.

10 EXHIBITIONS Fresh: Art Fair Ascot

Fresh: Art Fair Ascot 20-22 September | Ascot Racecourse


hree successful years at Cheltenham racecourse have firmly established Fresh: Art Fair on the art calendar, and now the event is expanding to open in Ascot this September.

Unlike the many artist fairs in the Thames Valley, Fresh: exhibits only galleries, making it an easy and exciting way to see a huge volume of quality work in one day or across the weekend. In fact, this autumn’s fair will host 53 leading galleries from across the UK and Europe, with some 6,000 original works including prints, paintings, sculpture, glass and ceramics. Emerging new talent, established professional and Royal Academicians are all represented,

with the likes of Blake, Hockney, Hirst, Emin, Banksy, Warhol and McLean all to be found. The fair’s focus on galleries ensures a high quality range of work for visitors to view and purchase. ‘It means we can show the work of far more artists, professionally hung in large room-like spaces’ says Fresh: founder Eleanor Wardle. ‘All our Galleries are experts with their fingers on the pulse of the market, so our visitors know they are looking at acknowledged talent and can buy with confidence’. Alongside the artworks the Ascot fair will have a full programme of talks including ‘Art in Interior Design’ and the intricacies of framing, and there will also be live demonstrations from artists who will be there explaining their skills and inspiration.

Fresh: Art Fair Ascot EXHIBITIONS 11

Art Salon - Peter Graham

For those making purchases, paintings are wrapped free of charge at a professional packing station and can be shipped worldwide, and the Arts Council supported Own Art will be there to provide interest free credit on purchases from £100 up to £25,000. Fresh: Art Fair Ascot is open 20-22nd September, with a private view on Thursday 19th September 5.30-9pm, tickets for which are available

online and on the door. Friday is free to visit for everyone with no ticket required, while tickets for Saturday and Sunday are £8 per person on the door or £6 per person if purchased online, children under 16 are admitted free. The Fair takes place at Ascot Racecourse throughout the ground floor Concourse of the main Grandstand.

12 EXHIBITIONS Fresh: Art Fair Ascot

Hunter Gallery - Colin Carruthers

Sol Art, Dublin - David Uda (Duda)

Clifton FA - Harriet Whyatt

Fresh: Art Fair Ascot EXHIBITIONS 13

Doorway Gallery, Dublin - Iain Holman

14 EXHIBITIONS Sussex Art Fairs (East)

Lexi Laine

Darren Baker

Sussex Art Fairs (East) 11-13 October | Brighton Racecourse, East Sussex


ollowing the success of the inaugural Sussex Art Fairs (West) which saw Goodwood Racecourse transformed into a cultural hub earlier this year, Brighton Racecourse will be host to the second edition, Sussex Art Fairs (East), which takes place this October. Overlooking the East Sussex Coastline, the fair will bring over 120 exhibitors, galleries and independent artists alike to showcase thousands of artworks. With prices starting from as little as £50 for prints and smaller works, to over £5,000 for an outstanding masterpiece, there’s the perfect find for every taste and budget, and for those who can’t decide on a purchase during the event all exhibitor details are available in

the limited edition brochure and online. As well as art, there’s a focus on the environment at the event with all purchased artworks wrapped by specialist team artPAKK, who will ensure the fair’s commitment to being an environmentally aware organisation is met. Sussex Wildlife Trust will also be present, showcasing artworks donated by exhibitors, with all proceeds going to the Trust. Sussex Art Fairs (East) at Brighton Racecourse begins with a Preview Evening on Friday 11th October 6-9pm tickets for which are £12 each, and continues across the weekend 12-13th October, 10am-6pm. Tickets for each day are available on the door, priced £6 per person or free for under 12s. Tickets are available at

Sussex Art Fairs (East) EXHIBITIONS 15

Sarah Weedon

Helio Teles

Rebecca Kent

16 EXHIBITIONS Landmark Autumn Art Fair

Alan James McLeod

Ronan Walsh

Landmark Autumn Art Fair 18-20 October 2019 | Landmark Arts Centre, Teddington


ver 75 artists will be exhibiting their work at Landmark Art Centre’s biannual contemporary visual art fair, taking place this October in Teddington,

pencil works focus on capturing the human form in its revealing state, Nicky Chubb who conveys a sense of hope and happiness through her paintings of trees, flowers, land and sea, and Alan James McLeod whose collages are built up in layers of texture and pattern.

South West London.

Local and national artists will be displaying work to discover and buy, with the artist there in person to meet. With a wide range of styles and mediums including painting, printmaking, photography, ceramics and sculpture, it’s a perfect opportunity to find the piece that speaks to you, from the very person who created it. All budgets are accommodated, with prices ranging from £40 to £4,000. Among the exhibiting artists are Ronan Walsh whose acrylic and

The Landmark Art Centre is a former church and Grade II* listed building, making it a special location for an art fair. With a café serving tea, cake, and lunches you can make a day of your visit. The Autumn Art Fair takes place 10am-5pm, 19-20th October, with an invite-only private view on Friday 18th October. Admission on the door is £4, or £3 for concessions with Under 16s & LAC members free.

19&20 OCT 2019 10pm - 5pm

AUTUMN art fair

Image: Ronan Walsh

Admission £4, Concessions £3, U16s & LAC Members FREE

Ferry Road, Teddington, TW11 9NN 020 8977 7558 landmarkarts landmarkartfairs Registered Charity No: 1047080


Joel Biddle


ike lone figures standing in contemplation, solitary islands surrounded by the soft, still sea are the protagonists of photographer Joel Biddle’s atmospheric images. Exploring the contrast between the fluid and motionless, where the glassy smooth surface of the sea meets the rough texture of the geological structures, his photographs are tranquil observations of landscapes as familiar as old friends. While a sense of isolation is established, it is not through a bleak or melancholy perspective; but rather a break from chaos, a calm anchor amongst the disorder of modern life. Based in Kent, Biddle is a recent graduate in photography from the Arts University of Bournemouth. All of his monochromatic images are captured using black and white film and hand printed on silver gelatin darkroom paper.

Can you tell us more about your decision to work using black and white film? Are you conscious of the exclusion of colour when shooting images? The decision to use film was always a simple choice for me, it suited the way I photograph and the work I produce. I don’t take a large quantity of photographs, and I enjoy the suspense of discovering your photographs again after you develop them, not knowing what you have achieved. There is, of course, also the appreciation of a handmade artefact that is a factor. I’ve also found that working with the absence of colour allows the audience to suspend their disbelief in some ways and accept some manipulation of the image that they may not accept in colour. This acceptance allows me to

bring down the shadows and dodge and burn the image without fear that the viewer will reject this, which focuses attention on key parts of the photograph where colour manipulation may instead distract. There is a freedom you get with black and white to produce an expressive photograph that I think is accepted as an interpretation of reality rather than a reproduction, and the viewer allows you to be expressive without the risk of a feeling of suspicion or detachment that can come with digital manipulation. Do you find the use of monochrome informs where and how you capture images? Monochrome can be a huge challenge to visualize, and even after the visualization there is the challenge of breaking the image down


Iron, 2019, silver gelatin print, 15 x 10 cm


Four and a Half Trees, 2019, silver gelatin print, 15 x 10 cm

to its simplest components, creating a very minimal composition, as the image can easily become cluttered where there is no colour to split up the elements. The horizon has been the critical point of the photograph for me on many occasions and I use that as the starting point for the image frequently, as deciding where elements sit in reference to the horizon is the first step to deciding where everything else needs to be. Working in monochrome has led me to seek out the simplest subjects, usually involving a body of water, as I find I need negative space inside the image to clearly define what the photograph is about and is trying to say. The key is to achieve a balance between a strong, minimal approach whilst avoiding the creation of a sterile, cold image. Working with black and white film is a great advantage in this respect, as it has an

Mewstone, 2019, silver gelatin print, 15 x 10 cm

organic quality in its grain that goes some way to offset this. What drew you to landscapes as a subject for your photographs? I almost don’t regard my work as landscape photography because of my reluctance to photograph a whole scene, instead choosing slices of the subject and removing the peripheral view. The subjects I choose to photograph could be described as Islands. The island is solitary and separated, sometimes by choice, sometimes not. These islands do not appear alone however; they make reference to others by their very nature. This reference is what tests their boundaries and defines what they are, as they defy conformity. With the seclusion of these objects room for their story is created, a relief of


Bat's Head, 2019, silver gelatin print, 15 x 10 cm


space surrounding them that allows dialogue to begin. There is always the suggestion to leave these sanctuaries and move out of the comfort zone. These works play with that moment of thought, when it occurs to leave that safety, but does not realize this possibility completely. They leave a perpetual possibility in the mind of the viewer.

Has there been a location which has stood out for you? Do you usually pre-plan locations for shoots? Freshwater Bay on the Isle of Wight has been an obsession for me since I first visited, and I’ve been back there many times with the sole purpose of attempting to create a photograph that does justice to the feeling I had when I first came across the bay. I think the frustration I have found with trying to create work from that location is the abundance of options when you arrive, as the cliffs allow you to get any angle on you want, so the horizon can be placed anywhere in the frame in relation to the sea stacks I was photographing, and the entire scene changes with a slight change in your position. It’s a location I will be returning to indefinitely. I usually find researching using google maps can help to find somewhere with potential, but usually locations are simply discovered. Currently I’m exploring the coastlines of the UK for subjects. Is there a particular feeling or emotion you aim to convey with your images? The feeling I look to establish depends on the

viewer; some see the subjects I photograph as lonely and isolated, discarded, whereas others see a subject that stands alone and interprets that as a sign of strength. I try to capture something ethereal and timeless, with context reduced, sometimes to the extent that even scale becomes unclear. These concepts seem to instil a sense of tranquillity and calm, maybe because the compositions are clear of clutter so the mind becomes clear as a result. I find the process of making a photograph from start to finish quite meditative, which naturally spills over onto the print itself, and I hope this generates a meditative experience for the viewer as a result. Can you tell us about your latest photographs, are you working on a particular series or exhibition? As well as my ongoing project on islands and the coast, I am currently producing a body of work exploring the concept of the rose-garden. The romantic ideal, something unobtainable and timeless, is something I find difficult to avoid in my photography. The project began with a photograph by the side of a lake of five trees, perfectly in line like prison bars over the scene of the lake. One of the trees was broken in half, introducing imperfection to the image. The suggestion of breaking in or breaking out of the landscape became apparent, and seemed to play with the limits of the ideal and materialism.


Foam, 2019, silver gelatin print, 15 x 10 cm

24 ARTIST PROFILE Shar Coulson

Shar Coulson


nfluenced by the interconnection between humanity and nature, the organic quality of Shar Coulson’s work stems from a love for the mysterious repetition of line and form found in the beauty of nature. Working from her own personal visual memory she explores ideas of perception vs. reality as figural forms appear and disappear upon the canvas. While in the studio her paintings evolve intuitively, with gestural line work and abstract shapes; although the artist’s heightened ability to see recognizable objects in otherwise unrelated patterns – the psychological phenomenon known as Pareidolia – also guides her process. Animals, plant-like forms, landscapes or figures appear

FaunaFloraFigure123, 2019, mixed media on linen, 76 x 101 cm

amongst the drips, splashes and brush marks, becoming an anchor point for Coulson as she layers and refines the painting. The viewer is also invited to find their own interpretations of the shapes, like a Fine Art version of the Rorschach test, with the allusive patterns revealing infinite possibilities. Coulson lives and works in Chicago, USA, creating work informed by a successful career as a designer and executive creative director. Her artworks are regularly exhibited both nationally and internationally.

Shar Coulson ARTIST PROFILE 25

FaunaFloraFigure115, 2019, mixed media on linen, 142 x 101 cm

26 ARTIST PROFILE Shar Coulson

SmallWorks61, 2019, mixed media on cradled panel, 30 x 30 cm

Shar Coulson ARTIST PROFILE 27

SmallWorks63, 2019, mixed media on cradled panel, 30 x 30 cm

28 ARTIST PROFILE Makotu Nakagawa

uro no ena - the remains of my father 3, 2018, photography - silver gelatin print, 58 x 48 cm

Makotu Nakagawa


he subject of death is often of particular interest and intrigue for artists, and for Japanese photographer Makotu Nakagawa it is something he approaches with particular intimacy and clarity; depicting his late father and his body through numerous stages of life, death and the spaces in-between. For almost a decade, since beginning his photography practice, Nakagawa’s father has been at the forefront of his work as he documented his relationship with the man born half a century before him. While it began as an escape from the anxiety of death – the

artist always being aware of his predecessor’s mortality - in time it turned into a means to accept and record the raw reality that was in front of him. His work is a delicate portrait of what is, what was and what will be. Nakagawa completed an aesthetic degree at Keio University in Tokyo, before pursuing photography at Tokyo College of Photography in Yokohama. His work has been shown internationally as part of group exhibitions in Barcelona, Monaco and New York, and at the Venice International Art Fair.

Makotu Nakagawa ARTIST PROFILE 29

uro no ena - the remains of my father 2, 2018, photography - silver gelatin print, 58 x 48 cm

uro no ena - the remains of my father 1, 2018, photography - silver gelatin print, 58 x 48 cm

30 ARTIST PROFILE Andrea Shearing

H2O Solo Exhibition Arts Depot London

Andrea Shearing


he force and strength of nature in both moments of calm and turbulence is explored in Andrea Shearing’s sea and rock paintings, where the movement of the ocean waves is mirrored through line and form. Her highly detailed and carefully considered compositions and colour palettes move beyond representation, delving into the emotional symbolism of her subject matter. Recently the artist has been developing her work as a series of 3D paintings, creating structures which sit on specially designed plinths, allowing them to be seen at specific heights and perspectives. These hanging paintings, 3D floor paintings and irregularly shaped works challenge the traditions of painting while

considering the opportunity to place paintings in different parts of an environment. Shearing trained at Eastbourne Art School and Edinburgh College of Art in Fine Art, going on to write and illustrate over 100 books, games and puzzles for which she has received over 20 international awards. After working to commission for public arts projects, she returned to her roots as a fine artist, exhibiting in group and solo shows across the world. This autumn her latest solo show, ‘H2O’ will open in London, with 70 new waterinspired works, while new pieces on the theme of ‘Pathways’ will be exhibited in a solo exhibition in Santagio de Compestella, Spain.

Andrea Shearing ARTIST PROFILE 31

Misty Dawn, 2018, acrylic on MDF, 76 x 47 x 26 cm

32 ARTIST PROFILE Sharon Alviz

Recycled, 2019, photography, 30 x 46 cm

Sharon Alviz


s a photographer Sharon Alviz reveals the thoughts of humanity, creating uninhabited compositions on repetitive surfaces. She seeks to explore the beauty behind what is seen, transforming it into another possibility. Colour and geometry are two major influences for Alviz, seen latterly in her editorial project ‘Plastic Soul’, which explores the conscience required by the planet to reduce plastic consumption. In this series the geometric shapes of the landscape become an intervention to the asymmetric plastic sphere which humans inhabit, where thoughts are accumulated and transformed into action. Her perspective transforms chaos

into beauty, the vivid colours of cloth and sky vibrating in the dialogue between the figure and what she sees. Currently living in Puerto Colombia, Alviz’s photographic career has seen her working for the History Channel, Mercedes Benz, and the Social Protection Ministry, before starting her first editorial projects in 2006. Recently she has been working on more personal contemporary projects, where she reflects her new thought perspective, creating beauty where she could not see it before.

Sharon Alviz ARTIST PROFILE 33

Amazonas, 2019, photography, 46 x 30 cm

34 ARTIST PROFILE Corinna Holthusen

SURFACES I,C, 2017, acrylics on photoprint on aludibond 143 x 111 cm

SURFACES I,D, 2018, acrylics on photoprint on canvas 30 x 20 cm

Corinna Holthusen


triking figures are manipulated beyond reality in Corinna Holthusen’s arresting images, which sees women transformed into living dolls, limbs disconnected and features distorted. They are familiar and yet uncanny; the natural and supernatural combined. Convergence of beauty, disgust, artificiality and naturalness are running themes through her work as she explores bodies and their destruction; creating perfectly worked faces and new bodily composition from several physiognomies. Holthusen’s process begins in the studio, where she captures her photographs. She then

manipulates the images digitally before printing. The final step of her work is a haptic breakup by material deposition on the surface of the photo prints; using acrylics and pigments to develop an emotional dimension on the print. With her work exhibited worldwide, the photographer has also won several international awards, including a gold award for her series ‘Living Dolls’.

Corinna Holthusen ARTIST PROFILE 35

SURFACES I,Leonardo, 2016, acrylics on photoprint on aludibond, 210 x 176 cm

36 ARTIST PROFILE Corinna Holthusen

SURFACES I B, 2018, acrylics on photoprint on aludibond, 143 x 111 cm

Corinna Holthusen ARTIST PROFILE 37

SURFACES I A, 2017, acrylics on photoprint on aludibond, 143 x 11 cm



Tobbe Malm


very artwork that sculptor Tobbe Malm forges in iron tells a story; combining reflections of our time with memories from his childhood growing up in the mining industry of Norberg, Sweden. Using solid iron and recycled industrial materials, often together with found objects, he creates tender expressions of life in the form of animals, people and poetic abstract forms. His creative process sees him working intuitively and physically, using his whole body to bend the iron and weld it together. It is important for the artist to have himself fully present in the finished

piece. He is inspired by meeting people with full, lived lives, and the things in the world seen as less beautiful. Malm is now based in Bærums Verk, outside Oslo, where he has his workshop and is part owner of Gallery SOOT. His monument ‘Jernrosen’, which consists of 900 iron roses created by blacksmiths and artists around the world and created in memory of the victims of the July 22nd 2011 terrorist attack, will be placed outside of Oslo Cathedral this autumn.


Homage to the Workers

40 ARTIST PROFILE Edith Torony

Edith Torony


amiliar artefacts emerge among the scattered debris and abstract marks which populate Edith Torony’s canvases, exploring memory, consumerism and superficiality. Her works are desolate spaces; invaded by everything we don’t need any more but which are not easily removed. Torony considers her process as a perpetual search; exploring ways in which she thinks differently as a ‘visual seeker’. Throughout her years as an artist she has experimented with various techniques; photography, digital manipulation and painting. Her canvases, which

Junkyard Symphony XIX, 2017, acrylic and spray on canvas, 150 x 200 cm

combine acrylic with spray paint, reconstruct the world, starting from a real place close to the artist; isolating everyday objects from their context and reducing everything else to what is essential. The result is collage-like pieces where the subject sits just as if it always belonged there – a recycle bin of memories. Based in Romania, Tonory has exhibited regularly since 2006 in group and solo shows. Since 2011 she has been a Member of the Fine Artists Union of Romania.

Edith Torony ARTIST PROFILE 41

Junkyard Symphony XVIII, 2017, acrylic and spray on canvas, 150 x 130 cm

42 ARTIST PROFILE Edith Torony

Playground IX, 2017, acrylic and spray on canvas, 120 x 100 cm

Edith Torony ARTIST PROFILE 43

Playground VIII, 2017, acrylic and spray on canvas, 120 x 100 cm

44 ARTIST PROFILE Edith Torony

Exile And The Kingdom, 2019, acrylic and spray on canvas, 80 x 70 cm

Edith Torony ARTIST PROFILE 45

Gordian Knot, 2018, acrylic and spray on canvas, 80 x 80 cm

46 ARTIST INTERVIEW Stephen Wilson

Stephen Wilson


uestions around appropriation, conspicuous consumption and brand worship are explored by Stephen Wilson; his background in fashion and home design informing his sculptural, textile-led work, where heavily embroidered modular blocks combine into large-scale images. Part Pop-Art, part high-fashion editorial, themes of Americana, luxury and excess are playfully represented in a collage of iconic symbols, text and photography. The techniques and materials the artist selects for each artwork is an important part of his studio process, taking a special interest in the intersection of traditional craft and contemporary culture. From machine embroidery and painting to 3D printing and laser engraving, his mixed media assemblages take on many forms, although most often created from millions of stitches which take hundreds of hours to complete. Wilson is based in Charlotte, North Carolina, a former mill town and textiles hub. He is represented by major galleries across the US and has had several solo shows, as well as group exhibitions and art fairs internationally.

How did your background in fashion and home design evolve into your current artistic practice? I’ve always been in a creative setting but I wouldn’t say I set out to be an artist. My background as a freelance embroidery designer lended itself to the work. Being immersed in the embroidery world for over 20 years allowed me to master the knowledge of the traditional techniques. What’s your process for starting a new piece; do you have a research stage? Where do you draw inspiration from? Much of my inspiration comes from the very boxes that I use and the brands they exemplify — Gucci and Hermes are among the classics when it comes to designer boxes. They’re steadfast and have truly become iconic. When it comes

to process, the first stage includes sketching the design with a simple concept drawing. The information involved in the initial design is vital; it’s where I decide the compositional details. Then comes digitizing the design which is programmed to the embroidery machines software — each stitch gets hand-placed within the program. Thousands of stitches go into one single piece of work. There are several refining stages that I go through but each piece of art has its own story and intention. Your work is often a combination of traditional crafts combined with contemporary techniques, mediums and technology, is this blend of the old and new an important aspect of your practice? The combination of traditional crafts combined with contemporary techniques is certainly an

Stephen Wilson ARTIST INTERVIEW 47

Hermes Hummingbird Bagscape, 2019

48 ARTIST INTERVIEW Stephen Wilson

High Hopes, 2018, mixed media, 36 x 36 cm

important aspect of my artwork. Infusing these two worlds creates pieces that would never have been designed with the traditional methods. For instance, I just bought a machine that has a cording capability so I can now infuse yarn and add even more dimensionality to my pieces. It really adds an incredible amount of depth to the boxes. It’s a challenge to represent the complexity of layers with photography — I really encourage visitors to the studio so that they can see the pieces for themselves. Can you tell us more about a particular piece of yours that has stood out, and why? I’m drawn to all of my designs, the newer ones will always grab my attention simply because it’s shiny and new and it’s always something I haven’t done before — seeing the design fail or succeed is part of the entire process. However,

my favourite designs include a lot of traditional techniques, there is an intense amount of history that comes with each of those methods and it is something that I can visually reflect on. Is there a piece you’re currently working on; do you have any upcoming exhibitions? There is always something I have in progress. My Modularity series has seen immense evolution recently — the fundamental concept remains, but the overall intent is being defined each and every day. I have several exhibitions this autumn - really looking forward to Aqua during Art Basel this year. I have a new series that is being outlined and I can’t wait to debut the new series.

Stephen Wilson ARTIST INTERVIEW 49

Gucci Collage II, 2019, embroidery stitched directly through luxury box. embroidered butterflies, 26 x 26 cm

50 ARTIST PROFILE Krishna Pulkundwar

Untitled, 2017, collage, 38 x 27 cm

Untitled, 2017, collage, 38 x 27 cm

Krishna Pulkundwar


implicity is key to Krishna Pulkundwar’s practice as he creates contemporary abstract works in series, experimenting with different materials, techniques and processes. Whether working in ink, charcoal, acrylic or mixed media, his work flows with a sense of uncomplicated expression, following his belief that ‘Simple is best’. Inspiration often comes from plays between nature and manmade artefacts, having grown up in a small village where the textured walls of structures displayed the effects of the natural world. Variations of texture and surfaces - such as where rain and sun have altered the patina of

metal through rust and dust - continue to fascinate the artist, and can be seen mirrored in his application of paint and ink. Based in Mumbai, India, Pulkundwar is also a professor at the Sir J.J. Institute of Applied Art, and considers his students as one of the most important factors of his artistic development, finding himself constantly inspired by their thoughts and interpretations. In India his work has been shown in more than 30 group shows and 10 solo exhibitions, as well as many worldwide shows, with many pieces held in collections.

Krishna Pulkundwar ARTIST PROFILE 51

Untitled, 2018, collage, 51 x 36 cm

52 ARTIST PROFILE Krishna Pulkundwar

Untitled, 2018, collage, 51 x 36 cm

Krishna Pulkundwar ARTIST PROFILE 53

Untitled, 2018, collage, 51 x 36 cm

54 ARTIST PROFILE Krishna Pulkundwar

Untitled, 2018, collage, 51 x 36 cm

Krishna Pulkundwar ARTIST PROFILE 55

Untitled, 2018, collage, 51 x 36 cm


Time Lapse. Princes Street, Oakland New Zealand. 2019

Xan Padrón


single spot is captured multiple times and pieced together into seamless compositions by Xan Padrón, whose photographic work finds life in even the most remote corners of the world. Behind the lens he is a silent observer who sees things quietly and finds stories everywhere. While his work has often been about movement, he began the TIME-lapse series in a moment of pause; reflecting on how much life happens in one place. Finding a location to sit for a while unnoticed he captures people as they pass, observing all of their differences and idiosyncrasies; their individual ways of walking and dressing, their personal rhythms and sense

of purpose. The photographer has minimal interaction with his subjects; something which is reflected in the silent conversation that his work holds. Padrón’s life as a professional touring musician has taken him around the world, constantly capturing new work while travelling. Now living in New York City, his work has been exhibited in Spain, Canada, Israel and the US. His portraits of artists have been published worldwide in newspapers, magazines, concert programs, posters and album covers.


Time Lapse. Calle Cristo, Trinidad, Cuba. 2014


Time Lapse. Wangfujing Street, Beijing. 2017


TTime Lapse. West Palm Beach. 2018

60 ARTIST PROFILE Mohsen Modiri

Last Signs of Winter, 2019, acrylic painting on canvas, 70 x 100 cm

Mohsen Modiri


nfluences from across multiple artistic styles collide upon Mohsen Modiri’s canvas in paint as he explores ideas of movement and stillness, urban life and humankind’s connection to earth. While his work is rooted in abstract expressionism, he has recently combined this with elements of surrealism, resulting in a new style he refers to as ‘Abstract Expressurrealism’. Colour is the dominant expressive tool in his paintings, as he aims for unity among the tones and pigments, deriving colour inspiration from the Old Masters. Repetitions of specific strokes and colour compositions have resulted in the artist

creating his own visual language, expressing the earth as an abstract form and the grounding for each work. Modiri is based in Tehran, Iran, and has featured work in group and solo shows throughout his multi-decade art career. Although he had a 12 year break from the arts, he began painting again in 2012, and has since exhibited at the Italy Florence Biennale, England Chester Art Fair and LICC, US Gateway Paining and Poland Gologorski Gallery.

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Earth Water Birds, 2019, acrylic painting on canvas, 70 x 100 cm

Nocturn, 2019, acrylic painting on paper, 70 x 100 cm

62 ARTIST PROFILE Christine Olmstead

Don’t Stop But Slow Down, 2018, acrylic, oil, oxidized copper, and 24k gold leaf on raw canvas, 121 x 213 cm

Christine Olmstead


ince childhood painting has been a huge part of Christine Olmstead’s artistically-driven life, with her practice evolving through many styles and mediums from impressionism to realism, and finally to abstraction in her adult life and professional career, drawn by the global sense of unrest that pervades culture today. As a viewer there is a sense of calm to be gained from the soothing brushstrokes and earthy pigments found in each of Olmstead’s works; which range from acrylic with 24k gold on canvas, to semi-sculptural works created from paint applied to layers of clear acrylic sheets. Her process is also a deeply meditative experience, each new piece stemming from

personal experiences, memories or social concepts. Music is often used during painting, merging senses as she focuses on healing, seeking peace, restoring painful memories and infusing light and beauty into her work. Olmstead’s work is in high demand worldwide from both collectors and corporations, including West Elm and Marriott Hotels. Her paintings have been featured extensively in print and online, as well as in group shows and solo exhibitions.

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Don’t Stop Seeking The Light, 2018, acrylic, oil, oxidized copper, and 24k gold leaf on primed canvas, 182 x 121 cm

64 ARTIST PROFILE Alexandra Vacaroiu

Dreams Sleep I, digital photography

Alexandra Vacaroiu


elationships between identity and memory are explored through photography and film in Alexandra Vacaroiu’s work which looks at personal dreams and the collective unconscious, as well as social issues as she documents the lives and stories of Romanian immigrants in the UK. Both digital and analogue techniques are part of her practice, particularly seen in her series ‘Dreams,sleep’, where sequences of dreams have been collected from the subconscious and recreated, portraying archetypes and personal desires and fears.

Vacaroiu completed a BA in photography and film in Romania at the University of the Arts, Bucharest, and followed this with an MA in fashion photography at the London College of Fashion. Her work has been exhibited at the V&A Museum and has been screened at the Institute of Contemporary Arts at London’s Short Film Festival. Her participatory project ‘I Want to Remember Everyth’ was exhibited at the Photographers Gallery, combining film and photography to look at ways photography can be used with patients living with Alzheimer’s disease.

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Dreams-Sleep IV, digital photography

Immigrants I, digital photography


Seçil Erel


olour, texture, light and layers are all main components in Seçil Erel’s visual language, her paintings reflecting modular systems found in nature; combining to create imagined spaces that resemble many openings or portals. Her works attempt to harmoniously blend Eastern and Western elements, while contemplating on the here and now; providing a gateway to replacing the past and the future in conversation across the culture. Erel’s process sees her using multiple layers of paint on a single surface to construct the image; adding, removing, hiding and transforming what is seen. Masking tape is a key medium in her painting method, using it across layers and then stripping it from the canvas; preserving it to

The clarity of acceptence, 2018, oil on canvas, 125 x 200 cm

create a collaged composition from the partially painted strips of tape. Often the artist makes multiple square units that fit together to make the whole, rather than multiple layers on a single large surface, and in addition to her oil paintings and works on paper she creates installations using light-boxes. Now based in London, Erel gained her BFA and MFA in painting at Mimar Sinan Fine Art University, Istanbul. Her work has been exhibited internationally in both group and solo shows. Her most recent solo exhibition, ‘A Separate Reality’, was shown at Milli Reasürans Art Gallery, Istanbul.


Duality, 2019, oil on canvas, 125 x 100 cm


Be grateful, 2018, oil on canvas, 200 x 200 cm


Alliance, 2018, installation with 11 piece of oil on canvas, 200 x 450 cm

Everyday is a new life, 2019, oil on canvas, 200 x 400cm (with 4 panels each 200 x 100cm)

70 ARTIST PROFILE Jessica Alazraki

Balloons, 2019, oil on canvas, 154 x 121 cm

Couple, 2018, oil on canvas, 154 x 121cm

Jessica Alazraki


hrough her colourful figurative portraits Jessica Alazraki breaks traditional viewing rules to create unpredictable paintings where laws of perspectives and anatomy are altered; distorting or exaggerating features and proportions to prioritize emotion over objective reality. Her narrative-driven canvases depict ordinary and familiar scenes of Latinx family life. The figures confront the viewer without interacting with each other, instead submerged in their own personal psyche. Humour, nostalgia, patterns and decorative elements play an important role in her compositions, as does her bold use of colour which enters the paintings in radical, aggressive ways. The strong presence of primitive and naïve

style connects the works to folklore elements and Mexican crafts, while the abstracted forms amongst the representational figures brings forth the social condition of Latinx people in the US, both defined and abstracted. Having studied Figurative Painting at the New York Academy of Art, Alazraki has exhibited her paintings in over thirty group shows across the US in both galleries and museums, and more than five shows in Mexico. She has had two solo shows of her work in New York City, and has won numerous awards for her paintings, including ‘The Award of Excellence’ from Huntington Arts Council.

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The Bathers 2, 2018, oil on canvas, 154 x 182 cm

The Bathers 1, 2018, oil on canvas, 154 x 182 cm

72 ARTIST INTERVIEW Diana Cheren Nygren

Diana Cheren Nygren


he visual character of a place is explored through the camera of Diana Cheren Nygren, who captures both urban and rural landscapes, defined through physical environment, colour, light and weather. Based in Boston, Massachusetts in the United States, the photographer originally trained as an art historian with a focus on Modern and Contemporary Art. This training can be seen reflected in her images, through her emphasis on abstract composition, as well as her subject matter. Cheren Nygren’s work has been recognised by the International Photography awards, and has been shown in several group exhibitions in the US. Has photography always been your medium of choice? Photography has long been a passion of mine. I began shooting seriously in high school. I wrote my senior thesis in college on Diane Arbus, and immediately after college began studying photography in the evenings. I had been interested in post-modernism and feminism in art when I was in school, and my early independent photography projects were inspired by Cindy Sherman. But my road to focussing exclusively has been a windy one. I interned for a period of time for an architect, went to graduate school to study the history of art, for a number of years designed

and manufactured a line of children's clothing, and then briefly experimented with textile design. Your journey as a photographer has been interesting in terms of discovering a subject matter which moves you to shoot; can you tell us more about how you evolved from portraiture to capturing landscapes? Like many young artists, my first subjects were myself, my family, and my friends. Once I had children, they became the centre of my world and made obvious subjects. Photographing young children can be extremely fun. They expose and share so much in front of the camera without any self-consciousness. I did all of the photography for my children's clothing line,

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Abstraction 1 (from the series Paradise Among the Rocks Balos), 2016, digital pigment print, 63 x 63 cm

74 ARTIST INTERVIEW Diana Cheren Nygren

Not Your Corn (from the series American Idyll), 2017, digital pigment print, 50 x 63 cm

primarily using my daughter and a handful of her friends as models. Once I closed that business, it was a logical step to start shooting other people's kids, and then adults. While I enjoyed the challenge of getting people to open up in front of my camera, portraiture is often client work and, as an extremely anxious person, I find the pressure to deliver images that satisfy someone's hopes in the face of that person's self-perception and insecurities draining. One central challenge with landscape photography is finding a distinct voice.But it also requires slowing down and looking carefully at little things. It took me a long time to develop that kind of calm and patience. Learning to appreciate the landscape was a drawn out process, and I only now feel like I am really finding my voice with that subject matter. It

feels to me timely to have landed in that place now. The challenges of climate change and over-population bring a new urgency to looking closely at the natural and built world around us and trying to process what we see. You have a distinct eye for composition and this seems to be an important aspect of your images; is this something that comes naturally when shooting a location, or do you find yourself planning each photograph with composition in mind? Composition comes pretty naturally to me. I think it always has. At the same time, I can't discount years of training as an art historian. My husband was also trained as an art historian, my fatherin-law is a museum director, and my brother-inlaw is a professor of Art History. We spend a lot of time as a family at museums, at galleries,

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Chicken Farm 3 (from the series American Idyll), 2017, digital pigment print, 50 x 63 cm

collecting art, and discussing art. All in all, I have done and continue to do an enormous amount of looking and analysing what I see and I am sure my sense of composition continues to evolve in the process. As a family, we love to travel. I am a visual person. For me, traveling means taking in the distinct visual character of the places I visit. I do some planning before I shoot, but not really around composition. I think composition needs to come out of an instinctive response to the location itself. Tell us more about your process; what draws you to a location, and how do you decide what to capture when there? Most of how I decide what to capture feels purely instinctive. I try to have a camera with

me as much as possible. As I move through a place, things just seem to call out that they want need to be captured. Occasionally I will notice a theme running through what I am shooting and will then dive deeper into that, seeking it out in more places. But the original impulse feels like a compulsion in response to what I see. I started shooting landscapes on family vacations. We try to travel regularly to new places, and everyone has become accustomed to having to slow down the pace while I process our environment through the camera. As I began to see myself more as a landscape photographer, be that landscape rural or urban, I started identifying places that I was passing through for their interest as subject matter, and then planning to return to those places solely to focus on photography. Ultimately, I have honed in on a

76 ARTIST INTERVIEW Diana Cheren Nygren

The Wave (from the series Through Sun and Fog), 2014, digital pigment print, 76 x 76 cm

Exercise (from the series Through Sun and Fog), 2014, digital pigment print, 76 x 76 cm

sense of what draws me and what makes fruitful subject matter for me and that is directing how I select a location. A few themes I am particularly interested in right now are farming in the northeastern United States and the nostalgia for old New England and a sense of a simpler life, places where the natural environment is resistant to man's efforts to control it and where the power and enormity of the natural world is visually palpable, and places where people slow down and relax and find a harmonious relationship with the natural world. Recent trips and those I am planning are guided by these threads.

are incredibly important to me, my heart is most deeply contained in some of the photographs of my children. Those will always be the ones that I can't let go of. I don't know that there's a single image by another artist that has special significance for me, but I can remember as clear as day seeing two particular gallery shows for the first time. One was a show of Massimo Vitali's beaches which I saw in a gallery in Barcelona in 2008. The second one I can't put a specific date or location on, but it was a show of Edward Burtynsky photographs of quarries. Both photographers shoot monumental landscapes that really just blew my mind and opened my eyes to what a photograph can be.

What would be your dream location to shoot? I'm not sure I can pick a single dream location. Right now I have an itch to go to Iceland. I would also really love to shoot the Chinese landscape. It has a particular kind of magic that you really don't find anyplace else. Is there a particular image that stands out, or has a particular significance for you? Even though a number of my landscape pictures

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Main Street (from the series Cruising Into Disneyland), 2018, digital pigment print, 55 x 55 cm

78 ARTIST PROFILE Marcus Callum

Prayer for a Mutilated World, oil on Dibond, 52 x 102 cm

Marcus Callum


n unearthly light glows from acclaimed artist Marcus Callum’s realist portraits, fusing traditional painting techniques with contemporary aesthetics. His figures appear deep in thought – perhaps contemplating increasing global concerns - provoking a collective emotional response while conveying a sense of psychological insight. His process sees him taking up to four months to complete a painting, using traditional painting techniques such as glazing, scumbling and sfumato, a softening of the transitions between colours. This time spent painting is a type of meditation for the artist, as he seeks a state of mind where he can have an intuitive flow, letting go of accuracy and allowing imagination to take over.

While Callum has spent years focusing on his technique, an increasing sense of responsibility to say something more meaningful about the uncertain state of our planet has begun to inform his work. This can be seen in a new series of figurative paintings in which he considers anxieties around artificial intelligence and the technological Singularity. Callum’s prestigious artistic career has seen him exhibit across Australia and internationally over the last decade. He was a finalist of the Sky Arts Portrait Artist of the Year 2018, and most recently won the Shirley Hannan National Portrait Prize, Australia’s richest prize for realist portraiture.

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All The Light We Cannot See, oil on Dibond, 81 x 61 cm

80 ARTIST PROFILE Marcus Callum

Meg, oil on linen, 76 x 102 cm

Samsara middle panel, oil on polyester, 91 x 152 cm

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The Green Man, oil on Dibond, 60 x 58 cm

82 ARTIST PROFILE Marcus Callum

Lez Brotherston, oil on Dibond, 86 x 122 cm

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84 ARTIST PROFILE Beate Tubach

Indian Queen #2, 2019, new media, 38 x 30 cm

Into the Multiverse #2, 2019, new media, 39 x 30 cm

Beate Tubach


o make known the unknown is the intention of Zürich-based artist Beate Tubach, whose otherworldly artworks of figures and florals take the viewer to unexpected hazy horizons. With swirls of pigment and leafy compositions that interact with her protagonists in an intervention of what is seen and not, her works are a visual joy away from the mundanity of reality. Although primarily a painter, sometimes Tubach’s process sees her overlaying paint with photographic images to create symphonic collages of colour and pattern. Both forms of creation – painting and digital photo editing – inform and

influence each other within her practice, revealing new depths to the artist’s work. Tubach has exhibited in solo and group exhibitions in New York, USA, Miami, USA, Milan, Italy, Rovigo, Italy, Basel, Switzerland, Amsterdam and the Netherlands, as well as across Germany.

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Other Worlds, 2019, new media, 39 x 30 cm

86 ARTIST PROFILE Ricky Leaver

Millennium Bridge, London, 2012, giclee print, 76 x 50 cm

River Cuckmere, Sussex, 2014, giclee print, 76 x 50 cm

Ricky Leaver


ondon and British landscapes are lovingly captured by photographer Ricky Leaver, creating a portrait of a country filled with contrasting environments. While London is portrayed through his lens as a vibrant and modern-yet-timeless metropolis, his country landscapes are slices of a wild and remote land; beautiful, rugged and dramatic, alternating between savage land and tranquil, bucolic countryside. Leaver’s process sees him seeking out sharp bold lines and curves, pronounced geometric shapes and vivid colour contrasts. Whether shooting within city architecture or amongst rural settings, his images are often textural in composition, and

sometimes verge towards abstraction with motionblurred shapes and alternative perspectives. Water is also a recurring theme, where fog settles over the Thames like a murky cloak, rain splashes down in melancholy drips, leaving roads and windows glistening, or sunlight winks upon the ripples of fountains, pools and rivers. In 2001 Leaver founded the Londontstills Picture Library, which supplies images of contemporary London for editorial, commercial and creative use worldwide. He exhibits regularly in the UK in group shows and often with Wandsworth Artists’ Open House.

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Tollesbury Marshes, Essex, 2019, giclee print, 52 x 35 cm

88 ARTIST PROFILE Maryam Radulescu

A Prayer, 2016, acrylic, oaper on canvas, 30 x 30 cm

Maryam Radulescu


istractions are stripped from Maryam Radulescu’s pure, simple and intently abstract pieces which place text at the fore. Using words she allows the viewer to arrive straight to the point of reflection; contemplating through the canvas on the universe that surrounds us. The artist’s body of work is a product of years of reflection, introspection and spirituality. Her process is always led from the heart, using a typewriter to create the poetic typographic elements which are complimented by strokes of

colour in oil – sometimes soft and deliberate, and other times intuitive and impasto. Each artwork is an invitation for the viewer to follow the journey of self-discovery and introspection by understanding a greater depth of our surroundings. Radulescu is based in Gangi, Italy. In 2017 she founded Aurilor Art / Design in an attempt to combine the arts with architecture, poetry and fine art. She is currently involved in a restoration project in Italy, where minimalist design meets stone structures and open spaces.

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Words we Utter, 2016, acrylic, oaper on canvas, 30 x 30 cm

90 ARTIST PROFILE Anne-Sophie Øgaard

Untitled, 2019, sand, graphite, paint on canvas, 150 x 120 cm

Anne-Sophie Øgaard


orm is reduced to basic elements of structure, support, and material in Anne-Sophie Øgaard’s monochromatic textural works. Heavily influenced by Scandinavian architecture and her graphical background, the surfaces of her artworks are deconstructed and reconstructed; the final result going beyond the subjective form of the original image. As well as paint, the surfaces of Øgaard’s mixed media pieces are created with materials such as clay, sand, cement and plaster. She works mainly with large formats, embracing her self-imposed

limitations of colour by exploring the physical effects of light, and how it creates shapes within the composition. Øgaard lives and works in Copenhagen, Denmark, via Oslo, London and Paris, where she gained her Master’s degree in Visual Communication from Creapole ESDI. As well as exhibitions in Denmark and Norway, her work is found in private collections in Europe, Asia and the USA.

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Black Conjunction 070.019, 2019, cement, sand, plaster, paint on canvas, 140 x 110 cm


United, 2018, 243 x 304 cm

Kench Lott


hrough sculptural optical illusions which challenge the viewer’s sense of space and depth, Kench Lott creates a mindful form of escapism; diverting attention from the irrelevancies of society. His sharp, geometric forms extend from wall and floor, the lines and angles exciting the eye while exploring our perceptions of what is optically possible. Primarily a three-dimensional artist, his visual paradoxes are constructed from hollow steel pipe and solid rod. His process sees him beginning with a series of sketches on graph paper, before emulating them in real space. The structures are created to be intentionally visually confusing,

inviting the viewer to focus their attention when studying each work. The artist intends a similar experience to viewing religious symbolism; a contemplative state away from the social ills of contemporary society. Based in Savannah, Georgia, Lott received his Bachelor of Fine Arts at Savannah State University and a Master of Fine Arts emphasis in sculpture at Georgia Southern University. His work has been shown and published both nationally and internationally.


Untitled, 2017, 274 x 243 cm


Untitled, 2017, 213 x 609 cm


Untitled, 2018, 274 x 365 cm


Deepness, 2018, oil on canvas, 70 x 100 cm

Anna Vodka


fter a 27 year career as a brand manager for a big international corporation, Anna Vodka decided to pursue her dream of becoming a professional artist. She completed a diploma in the arts at the Stroganov Academy, Moscow, and has since continued creating works on canvas, exploring many different styles and techniques. The main themes throughout the artist’s works are human emotions and deep feelings, as well as water and the sea as a symbol of constant development, motion and freedom. Her

expressive and sensitive paintings bring together figurative and abstract elements, often combining to evoke a sense of calm which is also felt through her choice of colour palettes. The last six years has seen Vodka’s art career flourish, with more than 50 works in private collections, and 15 exhibition projects including 2 group shows as part of the independent artists’ society, and a piece displayed in one of Moscow’s biggest art centres.


Liberation, 2018, oil on canvas, 70 x 90 cm

Hidden Emotions, 2018, oil on canvas, 70 x 100 cm


Stop the Moment, 2019, oil on canvas, 80 x 70 cm


Marine, 2018, oil on canvas, 100 x 50 cm

100 ARTIST INTERVIEW Fiona Scott-Wilson

Fiona Scott-Wilson


ntricate scenes emerge from hundreds of pieces of cut paper in Fiona Scott Wilson’s works, which depict sun-soaked beaches and slices of English countryside. The influence of her artistic career can be felt in the painterly effect of the artworks, where her experience with gouache, oils and acrylics continues to inform composition and colour. With scalpel and paper – sometimes in a dozen different shades - the details are built across many layers, with every leaf, shell or petal carefully arranged to create complex images of life and nature. Scott-Wilson’s latest project, Art4Kids. gallery, sees her applying her paper expertise into pieces specifically designed to inspire young children with exciting scenes of creatures, adventure and imagination. Has cut paper always been your medium of choice? How did you begin using the process to create artworks? I started experimenting with cut paper many years ago to create special handmade Christmas cards but did not really start using it as a preferred medium until around 2014 when I decided to explore new ways of working with multi coloured papers and different textures, instead of using paints or inks. So I swapped my brushes for a scalpel and developed a technique of using it like a paintbrush, to paint by cutting out the elements and shapes I needed to create a design or an artwork. I build up the ‘painting’, by positioning and sticking down many hundreds of pieces of coloured paper to create the affect I wanted. My process has evolved organically and I

discovered that I could ‘paint’ using a multitude of component pieces in different shades of colours to create a painting or design. My work is not a collage of paper but a definite design using paper as a dry medium instead of paint. Can you tell us more about your working style; do you tend to make lots of preliminary sketches or do the artworks evolve more organically as you begin to cut the paper? I do make sketches and often draw what I envision in my head but my artworks do tend to evolve organically as I build up the component parts and move around the shapes. My style of working continues to evolve from the earlier more simplistic, graphic images to more complex intricate images with multiple shades of colours, and multiple layers.

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Lillian’s Cat, 2017, cut paper, 59 x 42 cm

102 ARTIST INTERVIEW Fiona Scott-Wilson

Oriental Birds on Blossom, 2015, cut paper, 29 x 42 cm

What challenges are there working with paper in this way? Paper is a wonderfully flexible medium to work with. If you don't like something you have created it’s easy to fix it, either carefully removing bits or adding new paper on top. The challenge is keeping the paper clean, dry and free from glue marks, dust and hair! Finding the right glue that enables you to reposition shapes is also a critical factor! Painting accurately with a scalpel is definitely a challenge and patience is required! Is there a particular piece which has stood out to you, perhaps for its intricacy or subject matter? Every artwork that I create in cut paper has a special meaning for me because they are so labour intensive and take time and care to

create. One of my favourites would be, the “mice on raspberries” in my Fiona Scott-Wilson Gallery because I wanted to try to encapsulate an art and craft element, a twist on William Morris, who continues to influence my work, as well as Matisse. Recently you’ve been working on a new project, Art4Kids Gallery, can you tell us more about this and the idea behind it? is a new and very personal project that I have been working on recently. It was inspired by the birth of my delightful grandchildren. I wanted to create works of cut paper art especially for children that would excite and ignite their creativity, imagination, and sense of wonder about the living world, as well as becoming a treasured memory of their own

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Little Cherokee girl, 2019, cut paper, 42 x 29 cm

104 ARTIST INTERVIEW Fiona Scott-Wilson

The Farm Train, 2018, cut paper, 42 x 59 cm

childhood, that invokes reminiscence of a vintage age rather than just our fast paced technological era. My idea was to create bold, colourful, fun, wall artworks that inspired thrilling stories and interactive discussion between children and their parents, about the artwork image. Art is very important for our children and greatly benefits them in their personal development and social skills, leading to well-rounded personalities, which sparks further creativity and imagination. ‘Every child is an artist, the problem is staying an artist when you grow up’ - Pablo Picasso Wall artworks are divided into the three worlds of Creatures, Adventure and Imagination. I have recently added a range of products for children with selected designs, so parents can create a bespoke or themed bedroom or playroom for their little ones.

Where do you tend to find inspiration for new work? Is there a piece you’re currently working on? I find inspiration from a myriad of different sources. I love nature and try to replicate it in many of my images as accurately as I can in Cut paper! I often research what is a current trend for children and try to implement it using my own style. I have just finished a design of two hungry big eyed crocodiles swimming with dancing fish and herons.

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Stripey Socks Flamingoes, 2019, cut paper, 42 x 29 cm

106 ARTIST INTERVIEW Fiona Scott-Wilson

Dreaming of Unity, 2017, cut paper, 42 x 59 cm

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108 ARTIST PROFILE Valentina Baicuianu

Stream of life, 2019, acrylic on canvas, 100 x 150 cm

Valentina Baicuianu


or more than two decades Valentina Baicuianu ignored her drawing skills, embarking instead on a successful corporate career and supressing her artistic desires until early 2018 when the call from within herself became too great, and finally she embarked on a new life chapter as a painter. As a self-taught artist, creativity and authenticity is valued highly within Baicuianu’s practice as she uses her art to communicate with the world. People are an infinite source of inspiration for the artist, with every portrait bringing a different message; be it of strength, vulnerability, joy or pain. By focusing on the entire spectrum of

ordinary life she aims to recreate the nuanced expressions of everyday characters, capturing a certain thought or attitude while often adding unexpected colours and shapes within the features of the face. Based in Bucharest, Romania, Baicuianu has begun exhibiting her alluring artworks with a solo show upcoming at Galateca Art Gallery, Bucharest, and a group exhibition at Galleria Merlino Bottega d’Arte, Italy at the end of the year.

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Conflicting thoughts, 2018, acrylic on canvas, 70 x 50 cm

110 ARTIST PROFILE Valentina Baicuianu

How could I ever know?, 2019, acrylic on canvas, 70 x 50 cm

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I'm so pretty!, 2019, acrylic on canvas, 100 x 100 cm

112 ARTIST PROFILE Magdalena Morey

Out Of My Depth 3, 2018, mixed media (acrylics, watercolours, pastels, gold leaf), 100 x 100 cm

Crocus Sunrise, 2018, mixed media (acrylics, watercolours, pastels), 100 x 100 cm

Magdalena Morey


hrough a life filled with a passion for her artistic practice, the places that Magdalena Morey has lived have each left a lasting impression on her canvas. In Poland, where she grew up, she learned the qualities of each medium; understanding the nature of form and the blending of colour. It was England that infused her with a love of landscapes and representing the weather, and Switzerland where she began to explore the abstract, experimenting with more restricted palettes. Spain, where the artist currently lives, has been the biggest influence of all; the intense heat of the sun reflected in the gold leaf that interacts with the paint below, and cool turquoise shades

introduced in response to the mountain rivers she discovered as a refuge from the raising temperatures. Morey considers her work as four distinct genres; the land and seascapes which are inspired by her travels, her memories of growing up represented through waterlilies, figurative pieces which show the inner artist, and finally the pure abstract works, which are expressions of her personal philosophies. Many of her paintings are held permanently by galleries around the world, and she regularly takes part in art fairs and exhibitions.

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Consideration, 2016, mixed media (acrylics, watercolours, pastels, gold leaf), 135 x 90 cm

114 ARTIST PROFILE Magdalena Morey

Peaceful Moments 2, 2019, mixed media (acrylics, watercolours, pastels, gold leaf), 80 x 80 cm

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Life is all the same thing it just comes in different shapes 1, 2019, mixed media (acrylics, watercolours, pastels, gold leaf), 100 x 100 cm

116 ARTIST PROFILE Rhea Cutillo

Cultivation Killed the Wildlife, 2017 oil on wood, 91 x 91 cm

Studies on Forgotten Spaces #2, 2015 oil on wood, 91 x 91 cm

Rhea Cutillo


ainter and photographer Rhea Cutillo is inspired by never-ending landscapes; seeking open space both internally and externally in a fast moving world. Her images are both dense and minimal - fog, clouds, and sky seem to hover around snowfields, forests, and roads. Her works expand space into the cerebral realms; existing beyond order and without time or social context. Using 35mm film which is unedited, her travel photography sees her facing away from heavily populated and enclosed areas, instead drawn to remote places of the earth where form and light have a different effect. Her search for the unknown sees her focusing on vast stretches of desert, distant mountaintops and endless skies, blue and hazy against snow and sand. Often

captured in series, her images contemplate spaces with infinitely unattainable horizon lines (‘Exit Series’), the space between destruction and creation (‘[Lack of] Being’), and the necessity of both dark and light to create substance (‘That Which is Past, That Which is Now’). Now based in Philadelphia, Cutillo graduated from Mills College in 2011 and quickly followed this with 3 solo exhibitions. Her work has since been shown and sold internationally, including participation in residencies in California, Iceland, and China. She is currently working with open space conservation efforts along with her latest series ‘Inquiries into Permanence’.

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Of Being in Nothingness #3, 2017, oil on wood, 122 x 91 cm

118 ARTIST PROFILE Jane Hargrave

La Grande Theatre, 2018, oil on wood panel, 122 x 122 cm

Immediate Expansion, 2014, oil on canvas, 102 x 102 cm

Jane Hargrave


rom the perspective of her own lived experience, Jane Hargrave explores with paint the ever-changing human consciousness, developing her own artistic language to communicate personal observations of the universe and its many systems and behaviours. Her paintings burst forth with an abundance of symbolic imagery, overflowing like the bloomheavy stems of flowers in a spring garden; like fruit hanging ripe from the branches of summer trees. Themes of life, death and beauty are explored through landscapes, abstract reflections, figures and faces, rich compositions and layers of brushstrokes, glazes and impasto. As if gazing upon a new world - or indeed another dimension of the world we know - all things familiar are distorted; represented in new colours, shapes

and forms. Throughout the artist’s body of work there remains a harmony and balance; where there is dark there is light, decay and destruction is surrounded by growth and life, the past is looked upon from eyes in the present. Hargrave’s journey through life saw her beginning an artistic career in the early 90s, studying first at Richmond School of Art, followed by Chelsea School of Art and Design in 1992. From her studio in Teddington, South West London she creates her enigmatic paintings which are largely oil on wood panels, canvas and paper, exhibiting in London and the UK with pieces in prominent private collections internationally.

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Silence of the Lambs, 2018, oil on wood panel, 122 x 122 cm

120 ARTIST PROFILE Jane Hargrave

The Seer, 2012, oil on canvas 42 x 42 cm

Jane Hargrave ARTIST PROFILE 121

Red and Green, 2011, oil on wood panel, 61 x 61 cm

122 ARTIST PROFILE Jane Hargrave

Garden of Delights ( They never promised me a Rose Garden), 2018, oil on wood, 122 x 122 cm

Jane Hargrave ARTIST PROFILE 123

That Magic Place 1(End of Day), 2010, oil on canvas, 71 x 71 cm

124 ARTIST PROFILE Jane Hargrave

Down at the White Cross, 2019, oil on canvas, 60 x 80 cm

Jane Hargrave ARTIST PROFILE 125


Walrus, 2019, bronze, 27 x 44 x 22 cm

Adam Binder


imple lines and flowing forms are part of Adam Binder’s signature fluid style as he depicts both the movement and emotions of wildlife in bronze, beautifully capturing the essence of his subjects.

As one of Britain’s leading wildlife sculptors his prolific body of work is recognised and collected all over the world, renowned for his in-depth knowledge of his subjects, his earthy, rich patinas and eye for detail. Where possible the artist observes and studies his subjects in their natural environment, allowing him to gain a sense of the spirit of the animal, through understated movement and suggestion.

Based in the Cotswolds in the UK, the diverse surrounding environment provides endless inspiration for Binder’s sculptures. His bronze pieces are currently produced in two foundries which specialise in lost-wax bronze casting, with the larger pieces created locally in the Cotswolds. Binder is a Member of the Society of Wildlife Artists, and his works are exhibited regularly across the UK. In 2010 he won the David Shepherd Wildlife Artist of the Year.


Otter, 2019, bronze, 65 x 19 x 11 cms


Woodcock, 2019, bronze, 14 x 23 x 10 cm

Goldcrests, 2019, bronze, 33 x 11 x 10 cms


Otter, 2019, bronze, 54 x 30 x 13 cm


Two Wrens, 2019, bronze, 20 x 17 x 14 cms


Sitting Polar Bear, 2018, bronze, 28 x 30 x 19 cms


1 x 9 Composition Whirlpool / 2018, textile, mixed collarge with frame, 39.5 x 89.5 x 7.5 cm

Mika Yajima


ateriality is an important aspect of Mika Yajima’s work, whose fibre artworks an almost contradictory combination of thin, delicate threads and strong, sturdy metal. Informed by her experience of working in the production of artworks for kimono and architectural objects, her process uses original techniques that see her weaving, knotting and collaging the mix of mediums. Yajima’s sculptural pieces often take the form of large-scale installations that inhabit entire rooms of the gallery, or expand outwards from the confines of a frame, always playing with the paradoxical contrast of light and heavy, soft and hard. Her smaller, more intimate pieces also hold

a big impact, both visually and with the meaning they hold on a spiritual level. Her practice has recently seen her focusing on ideas which transform dyed and woven folk craft materials into pieces of contemporary art; imagining ways in which the traditional Japanese fabrics may be interpreted across the world, through another’s eyes. Based in Japan, Yajima exhibits her work internationally in group shows and at prestigious art fairs. This October she will participate in XIIth Florence Biennale, at Fortezza da Basso, Florence.


Sprang Gold / 2018, fiber work, mixed media with double frames, 20 x 23 x 0.8 cm / frame size 65.4 x 65.4 x 5.5 cm


Terra - Before the Earth will break / 2018, fiber work, Mixed collage with SUS framed panel, 32 x 32 x 2.5 cm / full size 60 x 140 x 2.5 cm



The labyrints of reality, 2019, photography, 34 x 50 cm

Ana Junko


he black and white which Ana Junko uses throughout her photographs allows for a greater freedom of interpretation, with elements of over-exposure, motion blurs and blank space which all add to the poetic language of the artist. She considers her photography as an emotive language, using it to communicate with the viewer in an open dialogue. Her images are always metaphors rather than a simple depiction of what can be seen; a translation of reality liberated from representative responsibility.

Based in Santander in northern Spain, Junko attended the prestigious art school of Oviedo, and her studies in drawing and painting still influence her photographic compositions. She exhibits her work locally in Spain, and recently also in the UK.


From my world, 2019, photography, 70 x 48 cm

138 artist EXHIBITIONS

Upcoming artist exhibitions Alexandra Vacaroiu “Postcards to you” Photography Exhibition, London, Dot Athena Gallery, The Biscuit Factory, Block F,100 Clements Road, SE16 4DG, London 26 October 2019, 12:00-18:00

Makotu Nakagawa Monaco Yacht Show 2019, Monaco 25-28 September 2019

Christine Olmstead 'Superfine Art Fair, Washington D.C. 30 October - 3 November 2019

Crypton Art Festival, Barcelona 18-23 December 2019

Edith Torony SYNTHETIC FUTURE Five Plus Art Gallery, Viena, Austria 4 September - 27 September 2019 Kench Weathers Vorgeschichte: ut a chao, Savannah, Georgia 17-22 September 2019 Krishna Pulkundwar Subconscious Reflections, Mumbai, India 1-15 December 2019 Magdalena Morey Fresh Art Fair: Ascot, Ascot, England Represented by Linton59 20-22 September 2019 Affordable Art Fair New York, New York, USA Represented by Signet Contemporary Art 26-29 September 2019 Affordable Art Fair Battersea, London, England Represented by Signet Contemporary Art 17-20 October 2019 Edinburgh At Fair, Edinburgh, Scotland Represented by Linton59 21-24 November 2019 Affordable Art Fair Singapore, Singapore Represented by Signet Contemporary Art 22-24 November 2019 Pulse Miami, Miami, USA Represented by Signet Contemporary Art 5-8 December 2019

Red Dot Art Fair 2019, Miami 4-8 December 2019

Marcus Callum Exhibition name, venue Accessible Art Fair, Brussels 10-13 October 2019 Stephen Wilson Art Couture, Cincinnati, Ohio 19 September, 2019 Art Couture, Cornell Art Museum, Delray Beach, FL 29-30 October 2019 Of Art & Men, New Orleans, LA 17 October 2019 Art Couture, Dallas, TX 7 November 2019 Valentina Baicuianu Solo Exhibition, Galateca Art Gallery, Bucharest, Romania 12-19 September, 2019 CONTEMPORARY ART TRENDS, Group Exhibition, Firenze, Galleria Merlino Bottega d’Arte, Italy 23 November - 3 December 2019 'ART SYMPOSIUM' Group Exhibition, Firenze, Galleria Merlino Bottega d’Arte, Italy 16-24 December 2019

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