Inside Artists - Issue 9

Page 1

Contemporary Artists & Exhibitions

Issue 9 summer 2017

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For many artists the purpose of their practice is to explore the human condition and the seemingly infinite questions of existence that may plague us through our lifetime. To be able to convey these ideas visually is a gift to the viewer; offering a space to reflect on our connections with those around us and our environment. The intricate mechanical structures created by cover artist Mark von Rosentiel perform repetitive motions which project familiar social traits back to the viewer. We interviewed him about his work for this issue, and how removing a human presence allows us to each consider our own personal place within the sphere of life. For other artists featured in this issue, it is human relationships which pin us together. Themes of language, family, love and physicality and experiences are all explored through their own individual visions.

EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE Mark von Rosenstiel home sounds a lot like rain, 2016 wood, hay, solenoids, custom code 300 x 300 x 300 cm PROOF READER Daisy Francome FOLLOW US InsideArtists InsideArtists WRITE TO US Inside Artists 35 Holland Mews Hove, East Sussex BN3 1JG ONLINE ENQUIRIES +44 (0)1273 748 630 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.

"The idea behind "home sounds a lot like rain" was to embed sound into the actual structure of an object and to play with the absolute nature we tend to view static physical objects. Since the mechanism to create the sound of rain was created by tapping on the wood structure, the sound emanated from the sculpture itself, yielding a static, rigid body with an ephemeral presence. I was interested at the time with ideas that seem like they should be contained and absolute, but rarely are; ideas like "home."" Mark von Rosentiel

Exhibitions 08 Borde Hill Garden Sculpture Exhibition 10 FLUX Exhibition

12 New Artist Fair

Interviews 14 Mark von Rosenstiel 34 Zelko Nedic

54 Victoria Horkan

Artist profiles 20 22 26 30 32 38 40 42 44

Antonie Josefa Latscha Alice Zilberberg Valerie Patterson Sandra Shashou Diana Kirova Sami Gjuka Krasi Dimtch Alli Mackay Maya Ramsay

48 50 60 62 64 66 68 72 74

Elena Renaudière Jessie Pitt Zsuzsa Darab Michelle Key Simone Riley Josh Bowe Stevi Michner Gesa Reuter Michael Lowers

Artist showcase 78 hERO 80 Ryota Matsumoto

Artist exhibitions 86 Upcoming artist exhibitions

82 Adam Binder 84 Martina Marie Manalo


Grace, Juliet Scott

Paradise Lost, Jordi Raga

Borde Hill Garden Sculpture Exhibition 2017 Until 2 October | Borde Hill Garden, Haywards Heath


ocated in the heart of Sussex in 200 acres of an Area of Outstanding Natural Beauty, Borde Hill Garden is the perfect backdrop for the annual Sculpture Exhibition which is currently transforming the garden into a spectacular outdoor gallery. This year marks the 18th edition of the exhibition, with over 80 works by established and up-and-coming artists from across the South of England bringing an extra sparkle to the garden. Visitors can discover an extraordinary mix of abstract and figurative works in bronze, resin, stone, metal work and ceramic. A number of pieces on display have been specially commissioned to celebrate the 21st anniversary

of Borde Hill’s rose garden including Rob Leighton’s ‘Bud’ and ‘Rosebud’ by Will Spankie. The sculptures have been strategically placed to compliment the renowned plant collection, and to encourage visitors to explore the beautiful gardens, each of which has been designed with its own distinctive character, colour and even scent. The exhibition is open daily until October 2nd, with admission included in the standard entry price. Families are also encouraged to explore the exhibition with the popular and engaging Kid’s Sculpture Trail. For more information visit:


Hokusai: Beyond the Great Wave Until 13 August British Museum, London

Jonathan Michie - Exit, pursued by a bear

British Glass Biennale 25 August - 9 September Ruskin Glass Centre, Stourbridge The British Glass Biennale is a cutting edge showcase of contemporary British based glass talent, with work by established artists and new talent on display; ranging from the small scale to large installations. The emphasis is on new work demonstrating the highest level of excellence in design, creative imagination and technical skill. The 63 selected artists – who were chosen from over 200 applications – have been brave and innovative, using a wide range of styles and techniques both traditional and experimental. All work is available for purchase. The exhibition is open Monday to Saturday from August 25th to September 9th, at the Ruskin Glass Centre, Stourbridge; the heart of the historic glass industry in the UK. The awards ceremony marks the start of the International Festival of Glass, a four day event celebrating the drama and excitement of glass. ‘Confident Collecting’ tours are available, led by Matt Durran, the British Glass Biennale Curator.

Widely regarded as one of Japan’s most famous and influencial artists, this new exhibition displays outstanding works from the last 30 years of Katsushika Hokusai’s life. The iconic 'Great Wave' introduces a selection of superb landscapes, while intimate domestic scenes capture fleeting moments in private lives and exquisite depictions of flora and fauna display an innate skill in representing the natural world. The exhibition also explores Hokusai’s personal beliefs, giving us a fascinating insight into the artist’s spiritual and artistic quests in his later years.

Coming Out: Sexuallity, Gender and Identity 28 July – 5 November Walker Art Gallery, Liverpool Marking the 50th anniversary of the partial decriminalisation of male homosexual acts in England and Wales, this major exhibition will bring together a diverse range of artists who have used their work to explore sexuality and gender since 1967. Drawn from the Arts Council Collection and the gallery’s own collections, the exhibition will include work from David Hockney, Steve McQueen, LINDER, James Richards and Sarah Lucas among others.


Anna Sudbina

Tina Spratt

FLUX Exhibition 12 - 16 July | Chelsea College of Arts, London


round-breaking art event FLUX presents an alternative way to encounter today’s best new art, bringing together a collection of the most dynamic painters, sculptors and performance artists for a five-day interactive event which opens in July. Hosted by Chelsea College of Arts in London and curated by Lisa Gray, the founder of FLUX, the exhibition has established itself as a major platform for contemporary artists to be discovered while being part of an exceptional, unconventional event. The summer exhibition is the fourth, much anticipated edition of FLUX, and features 90 carefully selected artists who were chosen from over 700 submissions. The show represents a rare opportunity to gain access to a diverse group of gifted artists, on the path to

being the big names of tomorrow, showcasing international talent in a collaborative, curated show. Another exciting aspect of the exhibition is the ‘Mini-Masterpiece’ wall, where smaller artworks by FLUX artists can be purchased for £300 or less. This is a great opportunity for new collectors to invest in art at a fraction of the price of the artists’ normal sized works. Opening on July 12th with a private view and party, the exhibition comes alive with musical guests, performance art and site specific installations which complement the work and bring a new experimental approach to the exhibition. Entry to the exhibition - which spreads across The Cookhouse Gallery, The Triangle Space and an outdoor installation in the Parade Ground (facing Tate Britain) - is free across the five days. For more information visit:


Lesley Oldaker

Sophie O' Leary


John McGrane

Fabio Esposito

Angelika Millmaker

New Artist Fair Summer Exhibition 2017 8 - 10 September | Old Truman Brewery, London


eturning to London’s iconic Old Truman Brewery for the 7th consecutive year, the New Artist Fair Summer Exhibition will be showcasing 110 new emerging and recently established contemporary artists from the UK and around the world. This will be the largest New Artist Fair to date, with 20 re-exhibiting artists and 90 who are completely new to showing at the fair. With the feel and look of a gallery layout, the event is different from most other art fairs, offering visitors a friendly and welcoming atmosphere as well as the opportunity to meet the artists face to

face. All genres and styles of artworks will be on display and for sale at very affordable prices, and many of the artists will work with buyers to make the perfect individual piece. There will also be live art taking place throughout the weekend, giving visitors the chance to watch the exciting process of artworks being created. The fair opens with a private view on Friday 8th September, and is open to all with free entry 126pm on Saturday and Sunday 9-10th September. For more information visit:

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14 INTERVIEW Mark von Rosenstiel

Mark von Rosenstiel


sing feedback loops and technology to create internalized representations of the human experience, the innovative sculptural works of Mark von Rosenstiel explore the boundary between observation and participation. Informed by his background in mathematics, his intricately constructed mechanical structures perform these rhythmic interactions through repetitive motions; communicating with the viewer a new way of considering the emotional relationships we form to ourselves and our environment. Currently living and working between Seattle and Budapest, the artist’s works have been exhibited in galleries across the world. His next solo exhibition is opening September 7th at Glassbox Gallery in Seattle.

Can you tell us about your process for creating new work; do you have a method for translating a conceptual idea into a physical piece? Taking an idea from conception to an actual physical object is a lot like what, I imagine, it is like to cast a character in a movie or play. An idea behind a piece has a certain physicality that seems inherent in the idea itself. And I guess the trick is to balance stereotypes of materials with subtle variations on universal experiences of those materials, which then allow for the produced object to take on some unique identity and knowledge. I think how the relationships between materials in the object contribute to the personal

narrative of the object in question, not necessarily the narrative I have based on my experience with those materials. I guess that is all a long way to say I try to think about the idea as a person that I would meet in a very minimal setting. Just me and the idea in an empty cafe, sharing a cup of coffee. What kind of jacket are they wearing? The rest seems to follow. How has your background in mathematics informed your practice, both visually and conceptually? Mathematics as a tool is powerful because of its simplicity: at its heart, it’s lots of different structures that define relationships between objects. I think

Mark von Rosenstiel INTERVIEW 15

ritual objects of binary states - Horse skulls, that also smelled good, 2014, florescent bulbs

16 INTERVIEW Mark von Rosenstiel

if only there were a place just quiet and bright, that also smelled good, 2015, wood, fluorescent lights, beeswax, 700 x 700 x 100 cm

the formalism of maths I found intoxicating when I was younger because it seemed to give me some absolute way to see the world. As I got more into it, I saw the fluidity of what it was; all those relationships coming from definitions, to create theorems, which buttress larger and larger bodies of knowledge that illuminate the world. Mathematics is unbounded. It ends up being a process of encapsulating knowledge in ever larger structures. And the pursuit of knowledge, which is what I think of doing in my practice, can be achieved in a similar way by the creation of relationships between the elements of objects. In the end, my work ends up feeling very structurally formal, but I hope they hint at the fluidity that should exist in all bodies of knowledge that have strong foundations. Ideas of the human experience are a key

influence in your practice, although through the use of technology and engineering you are able to visually remove any human presence from the work; can you tell us more about this decision, and how the work still relates to these ideas? This is a hard question to answer in a quick paragraph, but I think the main thing I think about is ‘What is the easiest way to see some base quality of my experience or my shared experience with others?’ In general, I find that the collection of information that makes up an experience doesn’t lie within me. It’s through an action with the environment that an event comes into being; an exchange of information is required. So, in some ways, the place where we see our humanity best is this middle ground that exists between Self and The World. When an object exists that seems to be its own creation

Mark von Rosenstiel INTERVIEW 17

if only there were a place just quiet and bright, that also smelled good, 2015, wood, fluorescent lights, beeswax, 700 x 700 x 100 cm

— containing its own history and narrative entirely separate from us — we can see parts of our purpose and meaning reflected in the way we choose to bring that object into our space. We aren’t just seeing familiar human traits in the object and deciding we relate to those familiar traits, but we’re seeing an isomorphism between two separate narratives. And this can let us meditate clearly on very specific parts of who we are. How have you developed the performative aspect of your sculptures? There’s an interview that David Foster Wallace did with Rolling Stone that eventually was published as a book, “Although of Course You End Up Becoming Yourself,” where he talks about dense writing as needing something sweet to entice the reader into its depths. That idea struck

a chord with me about art in general, where I think a concept can be given a certain sweetness in its presentation that is immediately digestible by the viewer. Hopefully, the sweetness will convince the viewer to invest more time trying to dig deeper into the work. The performative aspects of my work I think of as the sweetness that is hopefully quickly tasted by the audience. It also lays out in a very concrete way that there is a relationship that is formed between viewer and object that speaks to the objects narrative, the viewers narrative, and the shared narrative between them. Do you have any pieces you’re currently working on? What are the inspirations behind these works? I’m currently working on, what I’m calling in my head, “becoming machines” for exhibitions

18 INTERVIEW Mark von Rosenstiel

mantras for machines (or the moment I finally may meet myself), 2016, wood, chalk, custom code, 250 x 500 x 50 cm

in Seattle and Budapest. The exhibitions are both tentatively titled, “Things I am Absolutely Uncertain Of”. The works are influenced by ideas from Gilbert Simondon and Alfred North Whitehead, in particular, their respective ideas on Individuation and Becoming. For the last couple years, I’ve been on a kick about the ways objects take on their own unique history and identity. Sjon’s book “From the mouth of the Whale” has a passage regarding the moment when a hammer was first thought of as a tool of violence. This started me thinking a lot about the ways we assume our relationships are with

objects and what those assumptions mean about who we are as people. A lot of this new work is asking questions about what it’s like to become ourselves over and over, seen through the lens of our relationships with objects.

Mark von Rosenstiel INTERVIEW 19

we turn our heads towards the light (or wander aimlessly in the dark), photo by Joe Iano, 2012, pen, custom code, 300 x 200 cm

20 ARTIST PROFILE Antonie Josefa Latscha

Antonie Josefa Latscha


motions come to the surface of Antonie Josefa Latscha’s paintings as she takes inspiration from poetry; attempting to recreate human feelings visually across the canvas.

Working from her studio in Rheinfelden, Switzerland, Latscha’s iambic painting style embraces an impulsive, expressive technique free from compositional rules. Placing a focus on colour at the forefront of her work, the artist creates lyrical abstractions with a variety of mediums such as coal, pastels and ink in

No. 261, 2015 mixed media, 60 x 70 cm

deep, lush pigments. Nature is a big influence throughout her paintings, seen often in her choice of palette, as well as in the textures applied which appear to mirror organic forms. Latscha has a large following with her paintings being held by both private and public owners in Switzerland, Germany, Czech Republic, Australia and the United States. Alongside her personal work, she also runs a painting school in Rheinfelden.

Antonie Josefa Latscha ARTIST PROFILE 21

No. 210, 2016, mixed media, 60 x 60 cm

22 ARTIST PROFILE Alice Zilberberg

Alice Zilberberg


ward-winning photographer and visual artist Alice Zilberberg creates images which are layered with stunning detail; merging her skills in both traditional photography and digital painting to weave intricate narratives within each artwork. Rich with symbolism while also echoing surrealism and baroque art, the artist’s images explore themes such as female power, the natural environment, personal identity and the human condition. Elements of nature and the environment constantly seep into Zilberberg’s work as reality and fantasy seamlessly unite. Wild landscapes, flora and fauna collide and entwine with female forms, celebrating the beauty and strength

I can see the perfect sky is torn, from Oasis series, 2017 photo-illustration, 102 x 152 cm

found within these two great protagonists. For her ‘Oasis’ series the photographer used the backdrop of the desert to explore the lightness and darkness of love. The environment embodies multiple meanings as it envelopes two lovers – alone and isolated, yet together. Born in Tallinn, Estonia, raised in Israel, and now based in Toronto, Canada, she has exhibited in galleries across Canada, the US and Japan. A graduate of Ryerson University’s Photography programme, her work has been displayed in galleries, publications, auction houses, and collections internationally.

Alice Zilberberg ARTIST PROFILE 23

Nobody said it was easy, from Oasis series, 2017, photo-illustration, 102 x 152 cm

From this broken hill, I will sing to you, from Oasis series, 2017, photo-illustration, 102 x 152 cm

24 ARTIST PROFILE Alice Zilberberg

Whenever I'm Alone with you, from Oasis series, 2017, photo-illustration, 102 x 152 cm

Away she flies, from Oasis series, 2017, photo-illustration, 102 x 152 cm

Alice Zilberberg ARTIST PROFILE 25

Shores of Gaia, Sunrise, from The Vanishing of Gaia series, 2011, photo-illustration, 96 x 76 cm

26 ARTIST PROFILE Valerie Patterson

Valerie Patterson


hrough her skilfully refined watercolour paintings Valerie Patterson searches for a deeper understanding of the human condition, utilising richly symbolic motifs and compositions that vibrate with psychological resonance. Her works encourage thought, emotion and dialogue while contemplating and giving a voice to difficult sociological and political situations. The sense of realism in Patterson’s work allows the viewer to become convinced of a new truth as she fabricates surreal certainty with the same confidence as an old documentary photograph

Lost, 2006, watercolour on paper, 78 x 94 cm

from a political journal. Images of youth and beauty are layered over scenes of desolation and despair; the collage-like configurations creating an unnerving tension in the boldness of their juxtaposition. Currently based in Saranac Lake, New York, Patterson has been creating art as well as teaching for over three decades. She exhibits regularly across the United States in both group and solo shows.

Valerie Patterson ARTIST PROFILE 27

Coming Home, 2016, watercolour on paper, 88 x 68 cm

28 ARTIST PROFILE Valerie Patterson

Ghost In The Machine, 2007, watercolour on paper, 68 x 88 cm

Discovering The Murder Of America, 2017, watercolour on paper, 68 x 88 cm

Valerie Patterson ARTIST PROFILE 29

Savior, 2006, watercolour on paper, 91 x 76 cm

30 ARTIST PROFILE Sandra Shashou

Playful Rapture (8), 2016, harlequin edwardian, hamilton, argyle and tuscan fine bone china | gold pigment on canvas backed board, 119 x 34 x 24 cm

Sandra Shashou


s an artist, Sandra Shashou has a diverse practice of sculpture, photography and painting; although sculpture has come to the forefront of her work with her ‘Broken’ series, which reflects on the fragility of love through major transformation. Bravery, courage, and a sense of rebuilding after devastation, are themes which run throughout the works which see the artist first smashing artefacts such as vintage fine bone china tea sets, porcelain and figurines and then reconstructing the objects into intricate and elegant new formations. The emotionally-charged act of reckless destruction is met with a process of healing and creation.

Working from her studio in Primrose Hill, London, Shashou studied at City & Guilds of London Art School with BA(Hons) in Painting. In recent years, her work has been exhibited internationally, including Art Miami, Art Southampton NY, Armoury Antiques NY, Art15 Olympia London, Sothebys, Christies and Phillips. The artist has been commissions for several site specific large sculptures in the US and UK.

Sandra Shashou ARTIST PROFILE 31

Raising The Barre, 2017, Nao, LLadro signed porcelain ballerinas | jesmonite, acrylic paint, aluminum panel, 92 x 92 x 34 cm

32 ARTIST PROFILE Diana Kirova

XV, 2015, acrylic on canvas, 40 x 50 cm

Diana Kirova


vivid sense of energy and emotion is experienced from the first viewing of Diana Kirova’s expressive works in paint.

From clear, ice-blue backgrounds that could equally represent a never-ending expanse of sky or the depths of a deep aquamarine sea, dramatic forms of ships and sails emerge as if flying. They appear abstracted and retracted but still perfectly descriptive of the vessels they represent. The exclusion of any form of horizon

in her paintings creates a space without limits; where sky and the sea are together. Originally from Bulgaria, Kirova is now based in Rome. She has had a passion for painting since childhood, although her varied life has seen her having to cease her practice many times. In 2008 she returned to the canvas, and has exhibited regularly in Rome throughout the last nine years.


XVI, 2015, acrylic on canvas, 40 x 50 cm

34 INTERVIEW Zelko Nedic

Zelko Nedic


sense of decadence runs through many of photographer Zelko Nedic’s works, depicting staged tableaux portraits which stare out in haunting monochrome while framed by the ghosts of developing chemicals. Preferring a collodion wet plate method over modern, digital equipment, there is a stylised juxtaposition of control and risk-taking in his images, as the grit of the technique is mixed with the glamour of his subjects. This is also evident in his image interventions, where gold is used to repair the cracks and scratches caused by the labour intensive process. Nedic’s photographs have earned him many awards, and this year he was a finalist in the National Photographic Portrait Prize at the National Portrait Gallery, Canberra. How did you first start using wet plate photography? Tell us about the process? When it comes to the collodion wet plate process, time slows sometimes to a meditative state. It’s primitive and difficult; it has a pulse and rhythm of its own. The major disadvantage and challenge is that the entire process from coating to developing has to be done before the plate dries. This gives you less than 10 minutes to complete everything. It dries quickly because the ether and the collodion evaporate. I work mostly with tintype or ferrotype process, which creates a positive image on aluminium. For me tintype is unique because the plate that you see on the wall in a gallery is the same plate that was in the camera; there is no negative, there is only one image – it’s almost like a painting. I like to push it even further by hand colouring the plates, scratching, and stamping text onto the plate.

Choosing to work with such a slow and process heavy technique in a digital world of instant-art feels almost like an act of defiance; how does the way you create art effect the final piece compared to if you were shooting digitally? There is some act of defiance for sure, despite the technology and all of the advantages and disadvantages that it gives us, my choice of medium is a 19th Century photographic process, with an intention to step into the presence of a contradiction between control and risk. This was a move that steps back from what we are used in these days of instant satisfaction and the imperative to control everything. Shooting digital costs almost nothing compared to the collodion process, so from the start it helps you to set your mind to be more focused on what are you going to do. I would often do a drawing in my

Zelko Nedic INTERVIEW 35

Golden Scares #5, 2014, wet plate collodion hand coloured print, 72 x 52 cm

36 INTERVIEW Zelko Nedic

St.Natalija, 2013, wet plate collodion hand coloured print 72 x 53 cm

notebook before I even have a subject to work with on the project. With digital photography it’s a completely different story and your mind often wanders around during a shoot, as you don’t have that pressure of knowing that you have less than ten minutes to prepare the plate, get the plate exposed and then run back to dark room to develop it as soon as possible! I find that constant pressure helps me with focus during a shoot. Every plate that I place into the camera becomes the physical proof of that moment straight away; compared to commercial work where I shoot hundreds of frames for a client and often none of those images gets printed. The technique must see lots of unexpected results for the final outcome; do you find you embrace this lack of control, or are your images heavily edited to fit a more fixed idea? It doesn’t matter how experienced you are working with this process, there always will

Tears for fears, 2015, wet plate collodion hand coloured print 50 x 37 cm

be a few unexpected results in the dark room. And those moments are where I find a thrill of excitement of not having a full control. There are three stages in my work. The first is when I decide the subject matter to work with, a person or an event or something I have seen or read. The second is when the connection takes place; when the time, the light, the arrangements allow the photograph to happen. You can spend hours at the studio working with a subject but you will get only a few minutes when everything clicks and brings out your final vision. Often you walk out with more disappointment than satisfaction, but you go back the next day and do it again and again until you catch that moment. The third is when I interact with the image to re-design it into something more powerful. What I try to do is remove myself from the finished image, as if I was another person seeing it for the first time. At the moment of photography I act instinctively. At the moment of presenting my work I take time

Zelko Nedic INTERVIEW 37

Golden Scares #1, 2013, wet plate collodion hand coloured print, 42 x 52 cm

for aesthetic decisions for which I didn’t have time with the camera; I re-design the image into something more powerful, more mysterious. Tell us a bit about some of the inspirations behind your work? The biggest inspirations for my work are the people that I meet through my journey, and listening to their stories and secrets. Secrets are powerful because they tap tension in an engaging way. Everyone has secrets and problems, problems with relationships, money, family… As teenager I witnessed the horrors of the Bosnian War, I know what it is to experience a local hell and to escape into imagined havens. I like to create a work with a twist to give a viewer an idea to think about their own experiences when they walk out of my exhibition.

What are you currently working on? From the moment of its invention, photography inspired debates around the question of originality, with one negative image capable of producing an unknown number of positive prints; can we consider any of those as original? Authenticity has never existed, and all art including photography never depicts reality but only an idea of reality. At the moment I’m working on transforming my old images into something organic and continually renewable by re-photographing them. By re-photographing these images, I am criticizing conventional notions of originality and attacking the glorification of authenticity.


Blue Forest, YEAR, oil on canvas, 80 x 110 cm

Sami Gjuka


orking in a variety of materials such as soft pastels, watercolour, ink on paper as well as oil on canvas, Sami Gjuka’s works stand on the edge of many movements, yet his distinct style allows his own voice to be heard above them all. Surrealism, abstraction and symbolism informs and influences the artist’s technique as well as more classical art styles, however above all he is seeking to express his own metaphysical ideas. Dreamlike scenes of human actions are recurring

motifs, as well as entwined symbols of nature; particularly trees and forests. Gjuka’s works have been exhibited internationally in Europe, Asia and America. Born in Kosovo, he studied Painting at the Academy of Art in Sarajevo, Brussels and Amsterdam. He currently lives and works in Denmark.


Career Woman, YEAR, oil on canvas, 100 x 80 cm

40 ARTIST PROFILE Krasi Dimtch

Silly talk explains away the book of universal logic, 2016, digital print on acrylic plexiglas, 92 x 102 cm

Krasi Dimtch


eplacing paintbrush and paint with mouse and electronic software, Krasi Dimtch creates complex visual representations of English sentences, inspired by language and the role it plays, not merely in the expression, but also in the creation of thoughts. Searching for ways to articulate the answers to existential questions plaguing her during a period of introspection, the artist began first by building sequences of English synonyms. She found that these structures could bring her answers without

taking on another person’s opinion, which led to her developing custom software for language generation and representation. The final artworks are a result of a symbiosis between the artist’s imagination and the software, which represents the symbols of language as visual patterns – an indefinite number of nonidentical abstract representations means that each word can create an infinite amount of graphic possibilities.

Krasi Dimtch ARTIST PROFILE 41

Nothing is impossible, 2016, digital print on acrylic plexiglas, 92 x 92 cm


Certain, 2016, oil on canvas, 80 x 100 cm

Alli Mackay


elationships are the main source of inspiration for Alli Mackay whose semi abstract figurative works celebrate the connections humans make as interdependent and inherently social beings.

Working in oil on canvas, Mackay has spent time exploring the versatility of paint. Her practice sees her embracing a dry brush technique to describe the form through her individual style which communicates both strength and fragility. She has developed her own personal visual language; softening any features, harsh lines or

angles, yet allowing her highly expressive and dynamic use of colour to heighten the power of the figure. Preparatory sketches and colour plans allow the artist to focus in on each artwork, usually completing in a single sitting. Born in Glasgow, Mackay has participated in many art exhibitions throughout Scotland and London. Her works are held in private collections in Canada, the United States, Spain, and New Zealand.


Belonging, 2016, oil on cancas, 90 x 90 cm


Bloodletting, 2011, surface lifted from wall, 65 x 90 cm

Maya Ramsay


sing unique processes to lift surfaces from historically and politically important sites, Maya Ramsay documents visual histories that would otherwise be lost or unseen. Her projects have included making rubbings from the woodchip wallpaper in Jimi Hendrix’s London home to create a musical score, and lifting surfaces from the derelict buildings of Bletchley Park where the Code-breakers worked in WW11.

bringing the materiality of conflict closer to the viewer. Her most recent project, Countless, involved making 29 graphite rubbings from the graves of migrants who died at sea whilst trying to reach Europe. It is 29 years since the first recorded migrant shipwreck occurred in Europe.

For the past ten years the artist has focused on lifting surfaces from sites relating to conflict,

Ramsay was elected as a member of the Royal British Society of Sculptors in 2015. She won EMERGENCY 2016 for her solo show Countless, which is currently showing at Aspex Gallery Portsmouth until June 4th.


Countless, 2016, graphite rubbing from the grave of a migrant who died at sea, 60 x 42 cm


Intercept Operator (detail), 2012, surface lifted from Bletchley Park wall with carbonised cobwebs and coat rack, 100 x 200 cm

Wall of Sound, 2015, graphite rubbing of woodchip wallpaper in Jimi Hendrix's London home, on manuscript paper, 40 x 230 cm


Aftermath, 2014, surface lifted from wall, 200 x 100 cm

48 ARTIST PROFILE Elena Renaudière

Elena Renaudière


old colours and shapes help to build Elena Renaudière’s own visual language as she seeks new ways of representing her feelings in paint. Her works are abstract, poetical depictions of friendships, love stories, family and professional relationships in the context of our cosmopolite and multicultural society. The viewer is invited to consider each element of the artworks and how the individual components connect and interact with their surroundings; reflecting on how these relationships translate into real-world situations. Renaudière’s self-taught process sees her experimenting with the textural qualities of the

In Conversation, 2017, drawing, 30 x 40 cm

paint, pouring, spraying, glazing and other techniques developed through the use of original and unconventional application tools. Born in Transylvania, Renaudière lived in Paris and travelled extensively before settling down in London a decade ago. Her works are held in private collections in the USA, Australia, Hong Kong and Europe, and she has participated in many prestigious exhibitions such as the SWA Annual Exhibition at the Mall Galleries, London.

Elena Renaudière ARTIST PROFILE 49

Identity and Relationship 1, 2017, digital art, 30 x 40 cm

Scissors and Spoons, 2017, mixed media painting, 30 x 40 cm


Floating, 2016, mixed media on canvas, 65 x 100 cm

Jessie Pitt


aving lived for many years in the mountains of both Australia and Europe and currently based in Austria, a deep connection to her surroundings is a source of constant inspiration for artist Jessie Pitt.

mediums such as charcoals, pastel, graphite, drawing ink and acrylic paint on un-stretched canvases; building each artwork up in layers to create depth and translucency. She considers herself a ‘painter of light, shadow and mood’, using her talents as an artist to capture the fleeting atmospheric moments found in nature.

Soft yet powerful, her artworks masterfully depict the majestic and mysterious beauty of nature. Whether working in shades of grey or with subtle touches of colour, the artist’s love for – and extreme familiarity with – the landscape is clear; as she creates atmospheric works that transport the viewer to a new location.

Her works have been included in many group shows across Europe and Australia, as well as solo shows in Austria.

Using her own photographs of the mountains as reference, Pitt uses a blend of many different


Talleitspitze, 2016, mixed media on canvas, 94 x 62 cm


Steadfast, 2015, mixed media on canvas, 100 x 100 cm


Indestinct But Strong, 2016, mixed media on canvas, 115 x 90 cm

54 INTERVIEW Victoria Horkan

Victoria Horkan


ich with texture and a fearless use of colour, Victoria Horkan’s large-scale works in paint are a powerful tour-de-force of emotion; full of vigour, movement and buoyant expression. Through the use of mixed media and a sculptural technique combining photography and taxidermy with paint, Horkan’s works have a three-dimensional quality, capturing the essence of her subject matter which extends across the canvas like the wings of a living butterfly. Having caught the attention of galleries across the UK and overseas, Horkan’s works are regularly exhibited in both group and solo shows.

Tell us about your process, how much preparation goes into a new work? I don’t sketch anything out to begin with because the paint dictates how the painting is going to develop. The paint work takes centre stage, I’m almost using it in a sculptural way and allowing it to manoeuvre its way around the canvas. I’ve never drawn anything first, I’d find that restrictive and completely banal. The way the paint marries with other colours and forms new textures - that’s what excites me so there has to be a lot of spontaneity in how I work. It’s difficult to analyse the way you paint, and it’s not all instinctive as it does have to come from an idea; but the

interesting part is the story it tells along the way and the results you can never really plan. How do you source the images used within your paintings? I visit lots of butterfly houses and take photos while I’m there. I love photography and incorporating it into my work really excites me. I like to embed the photos into the oil paint and make the textured elements look like butterfly wings. I distort the cuttings so it questions the viewer as to what is painted and what is not; those important little details are everything. I’ve recently started using taxidermy in my work and

Victoria Horkan INTERVIEW 55

Daisy Made A Chain And Danced, 2017, mixed media painting with oils, 100 x 100 cm

56 INTERVIEW Victoria Horkan

Wonka's Sundae, 2017, oils and mixed media on canvas, 150 x 100 cm

so I photograph the specimens when they arrive and use those as well as the dead butterflies. I prefer to see them living and capturing them as they move; there’s something magical about that. But I also like that my work explores life and death and the symbolic nature of butterflies and what I do is also constantly changing. Have you found your technique for combining paint and mixed media to be an organic, almost experimental experience, or is it the result of a more planned approach? Definitely experimental, it was never planned. I can’t even remember how I first got the idea or the first piece I did incorporating this technique, I think it might have been ‘Princess Everything’. It just invigorated me again as an artist - it felt new, it felt exciting - and it felt like a natural progression for my work. I also think it just

works really well. I like the organic nature of the flat surfaces meeting with the sculptural, richly applied oil paint markings, they literally sit together harmoniously. It brings another angle and it’s exciting that people can’t decipher which parts are painted and which aren’t, and I like the playful nature that brings to the viewer. Inspecting the canvases up and close, the question is always the same; ‘How do you do that?’ Your use of colour throughout your paintings is particularly impressive; often mirroring nature but with an enhanced brilliance. To what extent does colour act as inspiration for your work, and how does it inform the final artwork? Colour is so important I think it’s probably a selfindulgent process; without it in my work it’s like that feeling of losing someone and feeling dead inside. Colour is like watching ‘Mary Poppins’

Victoria Horkan INTERVIEW 57

Butterfly Tank, 2017, oils and mixed media on canvas, 100 x 140 cm

for the first time and being able to jump into a colourful world of happiness and nonsense all at the same time. There’s been a trend for darker works lately and we have seen a shift in what buyers have sought to collect; galleries have enforced it and the world has gone into a tunnel of dark dismay. I have painted a collection of pieces using bright yellow just to keep myself sane while this is happening; I’m pleased to say we are slowly getting back to colour and all its wonderful attributes. What are you currently working on? Some very colourful pieces! I’m working on a collection that focuses on circles and utilising the mixed media technique into a more textured realm. The work is fluid, making organic forms with paint that focuses upon nature and enlarging details of butterfly wings and

other elements which are typically small. Scale is important and making a punchier impact with paint, expressive, dynamic and full of life. My work goes through phases, and periods of change and when a new change is happening it’s extremely exciting as it always brings out the best in me; watch this space…

58 INTERVIEW Victoria Horkan

Show-off, 2017, oils and mixed media on canvas, 120 x 120 cm

Victoria Horkan INTERVIEW 59

Aura, 2017, oils and mixed media on canvas, 100 x 100 cm

60 ARTIST PROFILE Zsuzsa Darab

Part of the Family, as a refuge series: Grandma Harsányi+Grandma Rózsika+me, 2014, photograph, 22 x 30 cm

Zsuzsa Darab


ungarian visual artist Zsuzsa Darab considers the role of a photographer to be synonymous with that of a psychologist. To create work she must go into the depths of her own mind, using photography as her private practice where she is the doctor, the patient and the cure. Her work is a mix of documentary and staged portraiture. Often highly personal, her photographs feature her own family, groups of siblings, friends and inspiring women in

both natural and conceptual settings. She is an observer, interested in human relationships and the connections between them. Darab studied for her Master’s degree in photography at the Moholy-Nagy University of Art and Design, Budapest. She is currently based in Iceland.

Zsuzsa Darab ARTIST PROFILE 61

Part of the I exist, I promise series: 016, 2014, photograph, 20 x 30 cm

Part of the Holding Cohesion - Siblings series: ร รณrisdรณttir sisters, 2016, photograph, 40 x 60 cm

62 ARTIST PROFILE Michelle Key

Michelle Key


ichelle Key wants to create the sensation of a memory within her paintings; the same feeling one might have after looking at old photographs where we can consider the fleeting moment that has passed. Her figurative work focuses on solitary people, usually women, who have been photographed surreptitiously. Her paintings give the sense of watching someone who is oblivious to your gaze, yet seems somehow conscious of being seen. She compares this idea to modern day scenarios

The Yellow Towel (part of Bondi Icebergs Series) mixed media on cotton paper, 56 x 76 cm

of social media, where anyone can make an intimate connection to a stranger. The artist’s recent works have seen her using cotton paper, creating diverse textures as the paper absorbs and reacts to the paint, charcoal, pastel and inks. She is also known for her large bronze public sculptures in South Africa. She is now based in Australia, although spends much of her time living in Spain where she also has a studio. Her paintings are represented in Australia, Spain, Ireland and South Africa.

Michelle Key ARTIST PROFILE 63

The Opening (part of Left-Handed Woman Series), mixed media on 300lb Cotton paper, 76 x 56 cm

64 ARTIST PROFILE Simone Riley

Blue Eggs, 2017, digital photomontage, 38 x 38 cm

Simone Riley


itting between photography and fine art, Simone Riley’s painterly compositions are reminiscent of the Old Masters, albeit with a modern, contemporary twist.

of translucency and applying different effects, the image is built up into the final artwork. Her attention to detail and the exclusive use of her own photographs gives each piece a perfectly balanced atmosphere of calmness and serenity.

Her unique process for creating these photomontages involves overlaying her original photographs - usually of a still life composition - with subtle colours and textures, such as peeling paint, old walls and weathered wood. By superimposing the layers with varying levels

Riley’s works - which are usually one off pieces can be viewed at Chalk Gallery, Lewes.

Simone Riley ARTIST PROFILE 65

Gourd, 2016, digital photomontage, 38 x 38 cm


Abnegate,2016, oil and acrylic, 76 x 59 cm

Quixotic, 2016, oil on canvas, 150 x 110 cm

Josh Bowe


hen Josh Bowe paints he is communicating his vision of the universal human experience. It is his way of searching for commonality, as he considers the elements that bind us together; the feelings and emotions we all share. His works are primarily figurative, although abstraction is an important element to each piece, as the contrast allows the viewer to see familiar subjects in fresh and challenging ways. A change from acrylic to oil was a significant moment in Bowe’s practice and the development

of his painting technique. Each artwork represents an investigation, as he reconciles the opposing forces of representation and abstraction. Last year Bowe’s work was part of the Contemporary Portrait Open at The Biscuit Factory, Newcastle. He is based in Powys, Wales.


Baha, 2015, oil on canvas, 210 x 200 cm

68 ARTIST PROFILE Stevi Michner

Stevi Michner


he process of deconstructing materials in order to create something new and unexpected is the motivation behind Stevi Michner’s practice, which challenges structure to create sculptural works from otherwise flat forms. Using a technique developed over the last decade, the artist strips the canvas from the stretcher, dipping it in concrete to restructure the painting into sculpture, using found driftwood to hold the forms. Her flat works are an examination of portraiture, composed by transferring her original photography onto concrete using a technology she developed herself.

M6, 2015, concrete canvas, 43 x 81 cm

A look at Michner’s notebooks reveals her preoccupation with ideas of time and space, and how they inform the composition and structure of materials. Her interest in structure came during her time studying in London, having previously attended the International Academy of Design in Chicago. By understanding the properties of a material, she is able to explore ways of unmaking and re-making them.

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F1, 2016, concrete canvas drift wood, 163 x 122 cm

70 ARTIST PROFILE Stevi Michner

Untitled, 2016, concrete aluminum, 122 x 81 cm

Stevi Michner ARTIST PROFILE 71

Shadow Study 11, 2015, concrete aluminum digital photography, 183 x 122 cm


Blue World, 2017, gouache and pastels on canvas, 80 x 80 cm

Gesa Reuter


hades of blue sweep across the canvas of Gesa Reuter’s artworks as she paints landscapes, seas, skies and clouds to convey the beauty of nature and how it connects to emotions of the soul. The ultramarine pigments hold particular importance to the artist, as she uses their symbolic qualities to represent wisdom, loneliness, sadness and also great beauty. Based in Detmold, Germany, Reuter’s practice started in 1996. She has since studied the techniques of the Old Masters, layering selfmade gouache, egg tempera and sometimes oil to build her paintings with different layers of

paint from thick to thin. Recently for her ‘Blue Worlds’ series she has discovered the power of watercolours and ink in her work, enjoying the way the lightness of the materials can describe her inner feelings. Rather than using photographs or attempting an accurate visual representation of a place, she prefers to use the power of memory; her artworks are an expression of her feelings in the moment of experiencing the landscape. Reuter’s latest solo exhibition of her new paintings opens in November in Detmold.


Feeling Blue, 2017, gouache and pastels on canvas, 80 x 80 cm

74 ARTIST PROFILE Michael Lowers

Orange super, 2014, photography, 60 x 42 cm

Tweety, 2014, photography, 60 x 42 cm

Michael Lowers


or the last ten years Michael Lowers has been travelling and documenting his version of the world, capturing the moments often missed at first glance while bringing new life to the seemingly mundane. His latest photo series sees the photographer exploring these ideas further; a fascination harboured since childhood leading to a series of slick, bubblegum-bright portraits of Pez dispensers. His predilection of the mundane is arguably still present within the series which places the everyday icons in centre stage, although for this collection Lowers wanted to capture more than what can be seen in front of the lens; aiming to bring the character of each dispenser

to life. Experimenting with new materials and techniques, he explored new avenues of expression by painting and layering the images with frenetic marks and slogans. Lowers was born in New Zealand where he studied photography, although he has been based in London, UK since 2007. His Pez Study collection was launched last year at The Other Art Fair in London, and he is also a resident artist at Reem Gallery in the UK, as he continues to build an international following with his unique designs.

Michael Lowers ARTIST PROFILE 75

You’re welcome, 2015, mixed media, 84 x 60 cm

76 ARTIST PROFILE Michael Lowers

Why not, 2015, mixed media, 84 x 60 cm

Michael Lowers ARTIST PROFILE 77

PR, 2016, mixed media, 84 x 60 cm


SAFETY, 2016, acrylic on canvas, 70 x 70 cm



elen Roowalla is hERO, a visual artist creating playful abstract works that pop with bubblegum-bright colours. Currently based back in her native Switzerland - having spent time living in the United States where she moved to complete her education - she has been actively painting since 2009. hERO's signature inventive style which is characterised by bold lines and bright colours emerged several years ago. Her artistic career started with large-scale insects painted in oil; however she now focuses primarily on developing her abstract pieces, which are

painted in acrylic on canvas as well as on unusual surfaces such as mannequins and shoes. With bold, curved lines and organic, cartoonish shapes full of movement, her works draw influence from a variety of life experiences, her heritage, her travels, nature and animals. Aside from sculpture classes to learn new techniques, she is entirely self-taught, developing her style and painting techniques through experimentation and consistent work. This year hERO has exhibited in Los Angeles and New York, and in June she will exhibit in Paris and Basel.


FEAST, 2017, acrylic on canvas, 80 x 80 cm

80 ARTIST SHOWCASE Ryota Matsumoto

The Extensity of Sferics Counterpoint, 2017, mixed media, 79 x 114 cm

Ryota Matsumoto


itting between art, science and technology, Ryota Matsumoto’s mixed media work visually speculates changes in cities, societies and cultures. He explores the intersection between architecture, social science and urban ecology as an artist. These ideas manifest as towers of colour that branch across in seemingly eclectic configurations, combining both traditional media such as ink, acrylic, graphite, and photo collage with digital media; algorithmic processing,

parametric modelling, and data transcoding and image compositing with custom software. Matsumoto is a principal of an award-winning interdisciplinary design office, Ryota Matsumoto Studio based in Tokyo. He presented his work for the 5th symposium of the Imaginaries of the Future at Cornell University in 2017 and currently serves as an adjunct lecturer of Transart institute, University of Plymouth.

Ryota Matsumoto ARTIST SHOWCASE 81

Still from Cities of Inextricable Velocities, 2016, mixed media, 97 x 80 cm


Willow Warbler, 2017, bronze, 60 x 22 x 13 cm

Crested Tit, 2017, bronze, 58 x 10 x 9 cm

Adam Binder


ecognised as one of the UK’s leading wildlife sculptors, award winning artist Adam Binder creates figurative sculptures of creatures great and small, primarily in bronze with earthy, rich patinas. His signature fluid style of simple lines and flowing forms is collected all over the world. For Binder nature and sculpture are the perfect marriage. His own passion for wildlife is seen in his sculpting process which involves time spent studying his subjects in their natural environment

where possible. As an artist it is the very spirit of the animals that Binder aims to capture; and his observations allow for a deeper understanding of shape, form and character. He considers the emotional connection of his work as importantly as balance and composition.


Crested Tit, 2017, bronze, 58 x 10 x 9 cm

84 ARTIST SHOWCASE Martina Marie Manalo

Martina Marie Manalo


aving begun her journey in the visual arts with abstract textural paintings, a move from the Philippines to Hong Kong in 2015 saw self-taught artist Martina Marie Manalo discovering a new love for photography along the way. Her pensive photographs focus on quiet architectural moments and mysterious urban locations. Dreams, nostalgia and melancholic memories are amongst the photographer’s inspirations, as she seeks out moments of subtle beauty in her surroundings. Using her camera she captures the

moments she describes as ‘Minimal but avantgarde, deep but subtle’. Manalo has found success exhibiting, and has had her work featured in the Philippines, UK and USA. Her first solo photographic exhibition opened in February at the Kulay Diwa Gallery of Philippine Contemporary Art.

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Upcoming artist exhibitions Adam Binder

Fresh Air Sculpture Show, Quenington Old Rectory, Gloucestershire 11 June – 2 July 2017 London, The World’s greatest City, Gallery Different, London 13 July – 30 August 2017 Sculpture in the Gardens, Godinton House and Gardens, Kent 22 July – 13 August 2017

Jessie Pitt

STILLE solo exhibition in the Alpinarium, Galtür, Tirol, Austria. 22 July - 31 August

Joshua Bowe

Biscuit Factory 2 June - 7 September

Krasi Dimtch

Every letter is a sound...every word is an image Gallery Luz, Montreal, Canada 31 August - 16 September, 2017

Maya Ramsay

Countless Aspex Gallery, Portsmouth Until 4 June 2017

Michael Lowers

MGallery – Francis Hotel Bath 3 July - 13 August 2017

Victoria Horkan

George Thornton Gallery, Nottingham Group show 2 July - 26 August

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