Illuminating the Beauty of Science Exhibition Catalogue

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Illuminating the Beauty of Science

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- Suboart Magazine- 3Illuminating the Beauty of Science Online group exhibition curated by Nicole Young Fola Harold & Carolina Castilho Organized by Suboart Magazine May 6th - May 26th 2023 ***


One of the most powerful things about art is its ability to transform the way we see the world. Reading a scientific journal, for example, may not interest everyone, but seeing that same information relayed through an artwork often makes the data more accessible for the viewer. Making art and exploring the realm of science are two inherently human things that require creative minds, and I was curious to see how the two disciplines could interact together.

The pieces chosen for Illuminating the Beauty of Science cover a broad range of topics, from climate change and the flight paths of bees, to works that explore new technologies and are generated from AI prompts.

Many of the works are even taking what might be considered old technology, and using it to explore topics that are relevant to our time. What I loved most about curating this exhibition was that it expanded my view of how we define technology.

It was incredibly hard to narrow the exhibition down from over 200 artists who submitted. I immensely enjoyed looking at all of the submissions, and learning more about the artist’s perspectives on the intersections between art and science. Thank you to Nina, Fola and Carolina at Suboart Magazine for giving me the opportunity to create this exhibition and for curating it alongside me.

As you explore these works, I hope you’re able to take your time with them and consider your own relationship to art, science and technology. These works are at once contemporary and of the now, and at the same time they feel as though they’re sharing something ancient. The illustrative nature behind a pattern of skin cells, the life cycle of plants, and re-imagined medical tools - all things that highlight the beauty of science.

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The Illuminating the beauty of science online exhibition is one that intends to highlight the cross-sectional aspects of science, nature, life on earth and art and creativity in different forms.

The artists’ works cut across several areas of art, from photography, to mixed media, installations and sculpture. What I found most interesting was the sense of familiarity, the sense of shared humanity, and the relatability of some of these works. It was the way that the patterns, shapes, colours and depths of the works were able to evoke both distant and palpable memories and connections to what I want to believe I have unconsciously retained as related to science.

It wasn’t only visual works, or digital works where the format itself was based on science and technology, but even the mediums of creation, the recreation of natural forms and patterns and the way by which nature and science was manipulated to create art.

Nothing is ever really distinct or separate on its own. If we look deeper and objectively, we will notice the interconnectivity and shared relationships within every aspect of the world that we live in.

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Art and science have often been described as two opposites of a binary system that divided the world into emotion and reason, feeling and thought, impulse and order. And yet, a closer look is enough to collapse this system and realize just how intertwined all of these things are. Both artists and scientists work in an attempt to make sense of the world and to question assumptions about what we see and how we perceive it, and although we insist on seeing them as completely different practices, they complement each other in forming our understanding of reality.

Artists have always made use of instruments created by science and given them different purposes, and as technology increasingly permeates our lives, many have decided to incorporate it into their work and show us new, creative ways to use it.

The works presented in this exhibition attempt to shed light on the different ways artists have worked together with science and technology and the results that come from these synergies. From pieces that integrate elements of geology, astronomy, biology or medicine to innovative uses of traditionally scientific instruments, these artworks challenge the border between art and science and offer us new ways of understanding the intimate connection between both.

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Participating Artists

Abigail Brown, Agnes Hansella, Alan Lacke, Alejandro García

Rosado, Ally De Luca, Anaïs Lera, Andrew Rehs, Anna Kakhiani, Ashley Snook, Ashlynd Scavotto, Bethany Pipkin, Brennan Wojtyla, Brian Hallas, Cameron Lings, Casey Lauren Edwards, Coltrane

MacKendrick, Cosmic Bagels, Danielle Petti, David Aquino, Dayna

Leavitt and Meredith Starr, Doha Gad, Doug Schulte, Eleonora Is-

lamova, Eric Charlton, Faazafron Salsabiela, Ginsy Barnes, Hannah

Smith, Hui Yui Ku, James Friesen, Janna Kumi, Jenni Ward, Jessica

Moritz, Jody Rasch, Joha Bisone, Jordan Baraniecki, June Ni, Kevin

McKenna, Langley Anderson, Lea Hoffbauer, Loana Flores, Made-

leine Matsson, Marisa Myrah, Masha Bright, Michael Wagner, Molly

Mavor, Nk, NicoleMaloof, Olga Lamm, Omar Meijer, Ophelia Arc, REM bureau, Rendy Pandita, Robert Matejcek, Russel Scott, Samantha Passaniti, Samantha Lee, Sara Schesser Bartra, Sara Rahanjam, Sara Wiens, Sarah Smitherman, Shea Wilkinson, Shee Gomes, Sila

Güven, Šimon Kučera, Simone Sarmet, Sonhita Chakraborty, Taiwo Omilana, Teresa Leitão, Tina Striuk, Valeriia Burliuk, Vincenzo

Cohen, Yilin Du, Zineb Mezzour

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Abigail Brown


Abigail Brown is a London-based artist exploring the Animal Kingdom across sculpture, painting and print-making. In 2007 from a studio at the renowned Cockpit Arts, London, Abigail launched her first works: fabric bird sculptures, art dolls and paper mâché sculptures, which have been sold and exhibited around the world, featured in magazines such as Vogue, Harpers Bazaar and Elle Decoration, and stocked at Liberty London, Paul Smith, Anthropologie and Takashimaya NY. Most recent exhibitions include ‘Story Tellers: Puppets by Artists’ at Cavin Morris Gallery, NY.

Over the years Abigail has expanded her choice of mediums to include cardboard, wood and ceramics, exploring larger scale works and installation but her focus on the animal kingdom remains constant. Her most recent explorations have led her into the field of ‘bio-art’, building animal head sculptures that fruit mushrooms. This work explores very personal experiences of grief and depression.

Instagram: abigailbrownart


In 2021 I began collaborating with fungi, allowing mycelium to colonize my sculptures. Through the forced isolation of the pandemic, I’d been thinking about my earliest experiences of grief and depression and of how vital communication and community are for wellbeing. The documentary ‘Fantastic Fungi’ led me to Merlin Sheldrake’s ‘Entangled Life’ and watching a time-lapse of mushrooms growing from a copy of his book sparked the idea that I could fruit mushrooms from my cardboard sculptures.

Thinking of mycelium blanketing my sculptures and mushrooms emerging tied in so many threads of thought: networks, connection, communication, of psilocybin’s powers to dissolve the self, create new neural pathways, to heal minds and souls. The animal head form became the vehicle to explore these ideas. As repurposing is central to my work, I love that idea that old materials are the food for new life to grow. My sculptures explore the dualities of life and death, beauty and decay, connection and disconnect in a very real way.

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Mouse Living Sculpture 3, 2023 BioArt, 15 cm height

Agnes Hansella


Agnes Hansella is a self-taught textile artist, focusing on macramé technique. She was born in Banjarmasin, South Kalimantan to a Dayak father and an Indonesian Chinese mother in the year 1992. She holds a bachelor’s degree from Jakarta Institute of Arts for Film and TV, majoring in audio production and Diploma for Sound Design for Film, from Vancouver Film School, Canada. In 2017, she shifted her interest to macramé, and sync herself with ropes and knotting. Her work spans from small wall hanging, sculptures, to a building size knotting.

Artist Statement

I have a mission to make human looks or feel small. Being small reminds me that we are a part of an ecosystem, that everyone has the same rights, opportunities and responsibilities. Macramé works in a similar way by connecting mediums through knotting.

Digital world these days makes me feel things are moving too fast that I often find myself lost in getting too much information. Macrame lets me do things slowly and help me focus.

Instagram: agneshansella

By learning about microorganism I realize breathing is magical. Virus and bacteria enters our body and there are lots of things happening inside every time we breath. In a way, I also sees human as a virus trying to survive in this vast universe.

About this work

During pandemic, I often felt drown in uncertainty and anxiousness whenever I’m reading the news or got news of loss from family and friends. There was one article that were different from the others though, and it sparks new perspective on how I see the virus. It was about the scientist behind some of the best coronavirus images, Elizabeth Fischer in Time Magazine. She stated that “Virus are very elegant, and they’re not malicious in and of themselves. They’re just doing what they do.”

This rises my curiosity about virus and microorganism, of how she sees a scenery that no one else sees. In my frame series (titled Something in the air, First of the gang, and Rise above), I tried to make some sort of scenery that reflects my feeling during that time, borrowing the shape of how I interpret virus and bacteria in a macramé world.

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First of the Gang, 2023 Macrame, 155 x 175 cm

Alan Lacke


I have a degree in Graphic Arts. National Polygraphic Centre. Havana. I complemented my studies of plastic arts in the workshop of the Cuban painter Ernesto García Peña and in the workshop of the sculptor Eduardo Díaz Piñeiro in Havana. Since 2015 I work full time as a visual artist, always focused on abstract art first in my studio in Havana. And then in 2021 I move to Madrid where I continue my work in the visual arts, adding new technological tools such as the Oculus Quest 2 glasses.

From 2018 until now I have collaborated in more than 20 international group exhibitions as well as in two personal exhibitions in Cuba and Spain.

Experience in Graphic Arts, Plastic Arts, Sculpture, Painting and Design.


My art is based mainly on scientific information, mathematical laws, cosmic energies and the history.

I use the simplest elements to represent my ideas, so the most basic forms and above all color are essential in my works. A previous study of the line and gesture is paramount as ways to find that harmony that represents order in the universe and color as an instrument to convey sensations to those who contemplate my paintings.

There is always a search for the essential in my work, of the spirit of things, of what is beyond the surface, of the visible. I try to bring the viewer to a silent contemplation that conveys to him an almost mystical sense of seeing the world.

Instagram: alanlacke

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Sin título, 2022 Acrylic on canvas, 80 x 100 cm

Alejandro Garcia Rosado


Born in 1987 in Jerez de la Frontera, Spain, Alejandro García Rosado studied Graphic Design at the Jerez School of Arts and earned a Bachelor’s degree in Fine Arts at the University of Granada, Spain, in 2014. In 2015, he joined Delta Cultura (Tarrafal, Cape Verde) as a volunteer in the art program, where his work with children had a great impact on the organization and the community.

In 2017, he co-founded the “Nos kausa” association, a meeting point and avant-garde project for cultural and artistic development in Tarrafal. Some of his artistic main projects are “KALA BOKA”, “Mudjers di terra” and “Fractales”, and they have been exhibited in Spain, Austria, Portugal, and Cape Verde. In 2014, Alejandro received the Alonso Cano Artistic Creation Award from the University of Granada.

The artist currently resides in Lisbon, Portugal, where he develops his art.

Instagram: guino_agr


Since 2014, I have been creating landscapes from hand cut, hand died, recycled paper, inspired by the patterns of fractals that can be found in aerial images of the earth’s crust and nature. Approaching the preparation of the paper pieces with a scientific character of experimentation & focus on every detail, it is one of the most important processes in the creation of the work.

Afterwards, I organize and juxtapose the pieces instinctively while appreciating every detail of the papers, creating a puzzle of open possibilities that eventually becomes a painting with sculptural character. I allow the paper fragments (fractals) to establish the artwork’s constructive conditions and to give character to it, letting myself be led by their textures, colours, and patterns. When presented on a canvas in its verticality, the pieces acquire order and meaning, a conceptual restructuring of the forms related to the idea of the aerial landscape and nature.

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Fractal Purple Landscape, 2022 Mixed Media, 144 cm x 105 cm

Ally De Luca


Since my earliest memories, I have been fascinated by creating. The ability to express myself through various creative outlets makes me feel fulfilled and fuels my inspiration. I recall my earliest drawing opportunity with my first magic screen sketch toy.

This childhood experience followed me to an arts high school – ultimately leading me to study architecture in my post-secondary career.

Through my dedication to artistic expression, I have become more attuned to the world around me, discovering a unique perspective that allows me to see beauty in unexpected places. I love expressing my creative side and hope to leave my artistic mark on the world.

Instagram: allyyart


My abstract and digital work highlights the natural world’s sheer magnificence and captures its intrinsic beauty in its purest form while investigating the science underpinning abstract forms and movements.

With a pastel-like colour palette, an organic flowing configuration and line work suggesting motion, I aim to evoke a sense of wonder in the viewer, enabling them to connect with the raw essence of the movement I seek to portray.

My approach is centred on creating an atmosphere that allows the audience to delve into the natural world’s mysteries and beauty while gaining a deeper understanding of the scientific principles underlying abstract forms and movements. This idea is further enhanced by the fact that it’s a digital work, which adds to the overall theme of technology and science.

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Anaïs LERA


Anaïs Lera is a French visual artist currently living in Vancouver, Canada. Originally from the South of France, she spent her childhood between mountains and ocean. As a kid with a passion for biology she explored her surroundings with a microscope. This has profoundly shaped her artistic practice today.

Anaïs paints luxuriant and intricate compositions, filled with flora and fauna elements belonging either to terrestrial and ocean worlds. She grows imaginary ecosystems filled with meticulously detailed elements collected from scientific observations.

Since she graduated in 2011 she has taken part in various gallery shows, residencies programs and festivals such as the Vancouver Mural Festival.

Instagram: anaislera


I paint luxuriant and intricate ecosystems borderline between science and fiction.

My most recent work is inspired by current Nasa’s exoplanet research; science fiction comic books ; 60s/70s psychedelic posters filled with vivid contrast colors; traditional contemplative Japanese painting of nature. I draw in symbiosis these various graphical evocations into unique detailed environments.

Proceeding like a scientist, I sample and collect a large variety of visual datas from my own microscope observations to various images from biology, marine biology, astronomy, geometry etc... Inspired by all the shapes, textures, colors and materials, I capture, trace, stylize and develop a singular vocabulary. Little by little I let my hand slithers from scientific observation to imaginary creation and I grow unique detailed compositions, formed from the accumulation of individual elements meticulously painted.

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Lunar Expansion, 2023 Mixed Media, 12 x 12

Andrew Rehs


Andrew Rehs is a multidisciplinary sculptural artist working primarily in reclaimed wood with rich history. Throughout his process, Andrew incorporates techniques from both of his career paths as a therapist and a builder. His works range from recognizable wooden portraits to abstract depictions of the strange. The majority of his materials are reclaimed from building projects which gives him direct knowledge of their etiology.

Andrew has always pulled the majority of his inspiration from the allegory of human experience. This is an inescapable element woven in from his career as a therapist. Though his clients’ stories are confidential, he finds ways to process them through movement and sculpture. He enjoys working with wood that has already lived a life of its own, adding a sequel to the story being told.

Instagram: __rehs


My most recent sculpture series set out to accomplish two goals: To explore human’s relationship and theories behind UFO Propulsion while testing the limits of wood presentation. In the first goal, I aim to dissect and categorize the human interpretation of unidentified objects seen in the sky. For as long as human documentation has existed, there have been stories of visitors from beyond by means of advanced technology. Without actually having the ability to (publically) research these objects humans have collectively contributed to theories that range from divine intervention to interdimensional travel. We may never know the truth, but that doesn’t stop us from speculating.

For second goal, I test the physical strengths and propertiea of reclaimed wood to reimagine it in various forms. I do this by experimenting with different forms of aerosol, epoxy resin and wood transforming them to resemble properties of marble, glass, stone, gem and gold.

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Sculpture from “Propulsion” series, 2023

Anna Kakhiani


Anna Kakhiani (1991) is a Ukrainian visual artist and curator, working with a range of media, including video, film, text, installations, as well as performance and land art.

Until the war, she lived and worked in Kyiv. Anna has completed the ‘Artist’ course at the Kyiv Academy of Media Arts. Developing her artistic practice largely outside formal art educational institutions, Anna has built up an appreciable body of work that has been exhibited at a variety of venues.

Anna’s work focuses on human emotions and sensibilities, employing a range of media in her work including installation, video, and film. She touches on topics of psychological states, memory, alterations of personal perceptions of public and other spaces and safety.

Instagram: annakakhiani


I believe that art, like science, like religion, explores the parentage of our world. And it has the same potential power, or even better, to build vectors into the future. Art always allows us to look between layers of reality, to find a different bread for daily philosophy for everyone.

I like to operate a semantic layering that brings artwork closer to an audience. The choice of medium always depends on the idea or concept. This is the freedom and responsibility of my multidisciplinary.

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The Traces of Humanity, 2023 Installiation

Ashley Snook


Ashley Snook is a settler interdisciplinary artist and researcher residing in Tkaronto/Toronto, Ontario. In her practice, Snook examines interconnectivity between human and nonhuman animals, and vegetal/botanical life.

Currently, her research and studio work investigate notions of animality. More specifically, her research takes on a historically-informed perspective regarding animality to problematize a spectrum of human-centric, socio-cultural and scientific frameworks. Such frameworks are shown as the hegemonic forces that enabled rampant environmental degradation, racial injustices, and destructive human-animal relationships.

The trajectory of her research aims to reconnect a raw sense of intimacy between the human and animal and the surrounding biosphere through drawing, sculpture, and installation. Ashley is currently a PhD candidate in the Art and Visual Culture program at Western University and recently exhibited her solo show NODES at the McIntosh Gallery.


In my practice, I examine interconnectivity between human and nonhuman animals, and vegetal/botanical life. My current research and studio work investigate notions of animality. More specifically, my research takes on a historically-informed perspective regarding animality to problematize a spectrum of human-centric, socio-cultural and scientific frameworks.

Such frameworks are shown as the hegemonic forces that enabled rampant environmental degradation, racial injustices, and destructive human-animal relationships. This trajectory aims to reconnect a raw sense of intimacy between the human and animal and the surrounding biosphere through drawing, sculpture, installation, and video.

Instagram: intraspeciatedasno

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Sampling Kinship, 2016, Sculpture 3

Ashlynd Scavotto


Ashlynd Scavotto is an interdisciplinary visual artist from the southern Appalachian mountains of North Carolina. Currently residing in Boone, NC, while studying studio art at Appalachian State University.

Her work focuses on the intangibility of memory and our attachment to tangible things and the embodiment of the human experience. She works with found and repurposed material. Mixing common objects and fine art supplies to create her work.



The Majority of my work includes intuitive movement. My comprehension of the idea develops as I progress through the procedure. I appreciate a variety of mediums and the learning of new ones. Throughout the past few years, I’ve been inundated with knowledge of processes and techniques while attending university and I’ve found myself combining them in my process.

I shift between representational and conceptual artwork. I’ve noticed myself coming back to the human experience as a topic in my artwork. Appreciating the observations of individuals and the tendencies they exhibit. Then taking those observations and turning them into observational things. The act of being human is my inspiration, motivating me to visually express the soul and its inhabitants of the physical body.

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Breakingpoint, 2022 3 ft x 3 ft

Bethany Pipkin


Bethany Pipkin lives and works in South Carolina. Her current work relies on the traditional methods of drawing and painting as well as new media, utilizing technologies such as the Scanning Electron Microscope.

She earned a BFA from Clemson University and MFA from East Carolina University. Her work has been included in national exhibitions and international publication.

Pipkin currently teaches Foundations and Drawing and serves as Foundations Program Coordinator for the Department of Art + Design within The South Carolina School of the Arts at Anderson University.


Art and Science both maintain a close relationship with observation. The scientific process is used to translate hypotheses into theories while the artistic process involves communicating visual information to imbue meaning to a subject. I am a drawer, painter, and digital artist who uses the tools of science to translate the unperceivable into the tangible.

Producing these pieces is an act of wondering if we can ever really discern the mysteries of the obscure and an acknowledgement that even the mundane is exquisitely intricatemuch beyond what technology can visualize or our brains can decipher.

Instagram: bethany_pipkin

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Mundane Elucidation 2, 2023 Digitally Altered Scanning Electron Micrograph 20 x 20 inches

Brennan Wojtyla


Brennan Wojtyla is a transdisciplinary artist whose work explores the concepts of context and industry in an artistic setting. Growing up in an industrial city gave him the ability to observe his surroundings and dissect the environment in which he was raised. By utilizing found materials, aerosol paint, performance, and concept-driven works, Wojtyla introduces questions about defining art and blurring the lines of what can hold artistic merit.

Through his practice, he encourages the viewer to perceive these forms outside of their previous, purely functional life. Wojtyla’s current body of work titled, “Cathedral of Labor” is elevating these everyday found forms and practices into a realm of worship and contemplation, bringing focus to these objects, actions, and marks that constantly surround us in a contemporary urban environment. Instagram: wojtyl.a


“Cathedral of Labor” is a transdisciplinary practice that has been in development for the past three years and is based upon the ideas of decontextualizing industrial forms and processes, and introducing them into a fine art context. This introduces an examination of utilitarian form outside the confines of a previous functional purpose, and these everyday objects and performances can be elevated to a point of worship and contemplation.

Wojtyla’s work raises the viewer’s perception of their surroundings in a way that introduces small details of contemporary metropolitan living that can be isolated and questioned daily. This constant attentiveness allows people to observe their surroundings with an artistic eye and broaden their definition of “art”.

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Digital Line Performance Grid, 2023 Digital Performance

Brian Hallas


Brian Hallas is a photographer from New Jersey, whose latest works focus on the flora that decorates his daily life by creating hallucinatory blooms of the imagination. He has been working in the theater since the third grade, and as a sound designer and performer, he’s been an associate of National Medal of the Arts recipient Ping Chong since 1983.

Brian many years ago adopted photography as a serious medium for exploration and expression upon becoming a teacher, where economy of effort to achieve maximum effect is one of the keys to survival. His daily rituals of taking, processing and posting his photographs make for an oasis of peace and creativity in a very troubled era.

Among the multitudes of perks afforded by a life in the Arts, Brian has especially been fortunate to very contentedly feast in many parts of the world where he otherwise would never have dined.


I am an abstract digital photographer, and the iPhone is the main tool I work with to both shoot and manipulate my photographs. Like many artists, my primary goal is to entertain myself, but when others appreciate my images — when it becomes collaboration — it takes the experience far beyond my expectations. As subject matter, I use the flowers that inhabit my life for the basis of creating psychedelic blooms of the imagination.

I utilize layering along with self-created filters and a variety of apps in combination to achieve a final result. By this approach of refining each floral portrait through the screen of “abstract imaginative realism”, I look for mysteries we normally can’t see without wearing a very different set of lenses. The result is often kaleidoscopic and usually quite painterly to give the viewer an intense and enigmatic experience. Instagram: bhallas0909

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Abstract Digital Photography, 24 h x 18 w inches

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la magia dei fiori 97, 2023

Cameron Lings


Cameron Lings is an award winning Contemporary Artist and Sculptor based in the North East of the UK. Recently, in 2021, he graduated from The MIMA School of Art and Design with a Masters Degree in Fine Art.

His artistic practice consists primarily of generating sculptural form from bodies of statistics, information and data sets. Cameron commonly utilizes the mediums of woodwork and metalwork throughout his projects, along with mixed media works when challenging key topics around current affairs.

Lings’ wider practice explores the realm of experimental form, shape and material. By intertwining drawing with sculpture, he questions the boundaries of 2D and 3D art-practices.

About this piece

‘To Whom it May Concern,’ is a suspended sculpture which finds its structure through a process of visualizing data. The UK’s history of C02 emissions - dating back almost 200 years - can be found through visual interpretation of the sculpture. It channels both the aesthetic properties of gradual air pollution and the physical presence it introduces to the wider world.

This piece is visually and structurally driven by statistical scientific data. It offers an audience the chance to familiarize themselves with information that introduces modern day (and future) issues.

Instagram: cameron_lings_

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Casey Lauren Edwards


Casey Lauren Edwards (b. 2000) is a contemporary artist cross-contaminating the disciplines of painting and sculpture. Currently based in Liverpool, UK, she studied Fine Art (B.A. (hons) at Liverpool Hope University (2019-22), where she is now currently undertaking a year-long residency as part of the Artist Benevolent Fund. Casey Lauren was also nominated for the Freelands Painting Prize 2022 and has had her work exhibited as part of ‘The Graduate Art Show’ at Zari Gallery, London which showcased recent graduates from across the country. Casey Lauren has recently curated her first solo show ‘Dimensions Variable’ at Bridewell Studios and Gallery (Liverpool).

Instagram: casey_lauren_edwards


In the same way traditional painting is concerned with the externally flat, two-dimensional surface of the picture plane, Western Society has become increasingly concerned with their external surface too. My practice utilises the notion of deconstructing a painting’s components to communicate these complex and constantly evolving perceptions of our skin in a simplified and minimalistic way. Constructed through a simple process of manufacturing a stretcher in which the cross bars have been purposefully broken and assembled upon their insertion before they are painted and stretched with chiffon (a semi-transparent fabric). This process has enabled me to construct such narratives through the act of revealing the parts of a painting which are traditionally concealed by the canvas’ surface while simultaneously challenging and questioning the fundamentals of painting and its expansion.

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Untitled (X-Ray Painting), 2022 100 cm x 150 cm

Coltrane MacKendrick


Coltrane MacKendrick (American, born 1999) is a post-disciplinary artist wading the waters that exist between audio/visual technology and art. His exploration has him traveling in the realms of performance, composition, audio production, sculpture, and film. He configures technology which may otherwise have only simple, practical significance in one’s understanding of reality.

He isolates the essences of being that exist, hidden underneath that facade of simplicity. His work is complex, definitionally, but not for its own sake. It is complex only as a necessity, a necessity that arises because the experience of existing itself has grown more complex. Coltrane is currently working as an art installer at MOCA in Jacksonville, Florida. He received a Bachelor of Arts in Interdisciplinary Studies with a concentration in New Media, as well as a minor in Sculpture from the University of North Florida.

Instagram: cltrn.m

About this work

Reactions explores the relationship between the body and self through the use of interrogation. The body language and movements of the subjects in the video were incited by a series of hyper-personal questions, designed to elicit emotional responses and physical movements.

Reactions consists of a deconstructed human figure composed of shoes, knees, torso, and shoulders, and a live camera feed for the viewer to stand in front of. The live camera feed allows the viewer to observe their own physicality in relation to the fragmented figure, creating a sense of introspection and reflection.

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Cosmic Bagels


My name is Idongesit Obok, I’m a multidisciplinary Artist born in Nigeria in 1994. I currently live and practice art in Dakar, Senegal. I practice my arts under the moniker “Cosmic Bagels”. I’m a self taught artist who enjoys expressing through various mediums such as; photography, film, digital illustrations and painting.

About this work

The series “Designed Consciousness: Days After You Go Alone” continues a conversation from a previous series entitled “Designed Consciousness: Go Alone”.

In this series, I explore a consciousness of making space for myself to thrive and the magic that awaits the decision to choose myself, choose to go alone despite the uncertainty and embracing all the many versions of me and nourishing them to thrive.

In this series there’s a constant theme of persons carrying umbrellas while navigating undefined spaces. The umbrella is a conscious reminder to be my(our) own first line of défense, support and comfort. The persons are also represented in fours to buttress multiplicity because I’ve learned that when I’m in a space where I’m thriving, I’m often as multicoloured as a rainbow, with each version of me complementing the other to form a beautiful essence. The checkered theme that is prevalent in my practice, represents the constant polarization of existence—to go or not to, to do or not to.

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Instagram: cosmicbagelsart
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Designed Consciousness: Days After You Go Alone GIF (shown as picture in the exhibition)

Danielle Petti


Danielle Petti is an artist based in Waterloo, Ontario. She creates earth pigment paintings inspired by human origins, geology, environment, and the human condition.

She is also a mother of two, a photographer, and holds a BFA. Focusing on how to create art more mindfully and sustainably, she enthusiastically teaches her process to other like-minded artists through workshops in her home town and globally. She has been exhibiting work in group and solo shows for 3 years now and will be starting her MFA degree program in September 2023. Instagram: lightandpigment


For my work, I forage for rocks, soils, and clays to grind them down into a pigment. I often use naturally sourced substrates to make paintings inspired by human origins, geology, environment, and the human condition.

Using earth as paint, I draw attention to the materiality of the medium and to how the pieces of earth are interconnected to all bodies on an atomic level. I am motivated by environmental issues but offer optimism; I evoke a sense of wonder of the natural colours of our planet to inspire change.

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Epoch, 2023 Painting, 28 x 22 in

David Aquino


David Aquino (b. 2001) is a photographer born, raised, and based in Vancouver BC on the unceded and traditional territories of the Musqueam, Squamish, and Tsleil-Waututh Coast Salish peoples. His work investigates the complications of the self, the longing for home, and the privacy of life. He is interested in how these themes coexist and obstruct the feeling of belonging.

His work has been exhibited and published in Capture Photography Festival (2021-2022) as part of the Stranger Than Fiction Exhibition. He also received the Top Photo Student Scholarship (2019) from Artona. He is pursuing a BFA in Photography from Emily Carr University of Art and Design.

What’s Left Behind

What’s Left Behind is a new ongoing series in which I explore alternative process photography techniques. Inspired by Amber Lee, my aim is to expand my practice, interests and step outside my normal conventional staged and controlled photography. I’m interested in playing with different materials, substances, questioning what effect they leave on photographic paper and embracing unpredictability and chance.

Instagram: davidxarts

I see my alternative process photography works as a breakthrough and an advancement in my art practice. Through hands on processing and continuous experimenting, I’ve come to understand and appreciate the land/environment I situate myself in. Art making through a scientific lens has made me realize that not all experiments end up what you hope for but with ambition and tenacity, you can still end up with something beautiful.

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6th and St. George, 2023 from the What’s Left Behind series, 40” x 60” - 40” x 60” tiled wet cyanolumen print made up of 8” x 10” pearl paper - Made with with fallen foliage from the Mount Pleasant neighbourhood, turmeric, gochugaru & apple cider vinegar

Dayna Leavitt and Meredith Starr


Meredith Starr and Dayna Leavitt studied art at New York University in the late 90s and had their first show together, “Objects of Desire”, in 2000. Currently, Dayna is a photographer in London and Meredith is an interdisciplinary artist in NY. Their app, You Are Here VR., is published to the App Store for iOS Devices. They’ve given artist talks about their work for Roaring Artist Gallery and at the SECAC conference in Baltimore, Maryland.

They have recently had work featured at the Target Gallery in Virginia and Gallery 440 and Tomato Mouse in Brooklyn, NY, along with several virtual exhibitions including the Visionary Art Collective, FAYD Digital (formerly Floresta), and print publication Art Seen Autumn/Winter 2021 edition. Instagram: areyouthere_project


Are You There? is a transatlantic collaboration between former roommates Meredith Starr, an interdisciplinary artist in New York, and Dayna Leavitt, a photographer in London. Their conversations over text messages share daily and mundane experiences and are the source material for their work. The project title references the question they ask each other most, with titles of works incorporating snippets from texts.

In their process of digitally manipulating shared photographs, they create an escapist narrative, fabricating artificial landscapes and memories. Their c-prints, sound collages and VR artworks are an ambiguous reflection of observations blurring where one ends and the other begins - creating a constructed alternate reality where they co-exist.

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Are You There_…I Had A Dream You Visited, 2021 Digital Collage, C-Print, 20 x 47 in

Doha Gad


Doha Mohamed Gad is a visual artist born and raised in Alexandria, Egypt where she developed a passion for art at a young age. Doha earned her Bachelor’s degree from the Faculty of Fine Arts from Alexandria University in 2022 and is currently working as a teaching assistant at the Faculty of Fine Arts in Alexandria, as well as a children’s book illustrator. She is also a freelance artist specializing in 2D character design, digital and traditional painting, and illustrations. Doha has participated in several events, initiatives, and exhibitions around Egypt, including “أجيال تواصل ورشة,” at the Mahmoud Said Museum Center, “البداية” exhibition at the Opera House in Cairo, “Landscape” exhibition at the Faculty of Fine Arts in Alexandria, and “عزه حمايتها معرض”” at the Faculty of Fine Arts in Alexandria. She has also participated in “جمعية محبي الفنون الجميلة، معرض الطالئع.”

About this work

“Glitch” is a series of three large oil paintings, each measuring 120 by 180 centimeters. The paintings depict a futuristic world where science and technology have advanced to a point where people have become experiments, their insides transformed into cyborgs without emotions or feelings. However, on the outside, they appear human. The paintings are a commentary on the effects of technology on humanity and the potential consequences of losing our emotions and individuality.

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Doug Schulte


Doug Schulte is a self-taught analog collage artist living and working in Arlington, Virginia. He started making collage in 2017 as an outlet for untapped creative energy. His work reassembles often inconsequential elements cut from vintage magazines and other paper ephemera into non-linear, abstracted narratives that invite interpretation.

He has been featured in Kolaj Magazine, Contemporary Collage Magazine, Cults of Life, the Arizona Collage Collective’s transitional MOMENTS, and several other collage anthology books. His work is held in the Kanyer Art Collection and numerous private collections, and he has participated in solo and group exhibitions in and beyond the Washington DC area.


About this work

Artificial intelligence (AI) is emerging as a disruptor in nearly all facets life and is being greeted with an appropriate mix of awe and fear. The art world is no exception. AI image generation, in particular, raises issues about what role, if any, AI should play in the creation of original works of art.

My work as an analog collage artist is appropriative by nature- decontextualizing images and other paper fragments from magazines and books and forming new compositions. In this series, I have “collaborated” with the DALL-E AI image generator.

I provided commands for DALL-E to generate images from, then printed and cut fragments of those images to combine with other paper fragments in creating new analog collages.

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tried to live that way, 2023 Collage, 7.5 x 5.5

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Eleonora Islamova


Residing in Kazakhstan, Eleonora Islamova’s (b.1986) is a self-taught artist. Apart from being an artist, she has an extensive background in math, science, jyotish astrology, psychology and tarot cards reading. She has a great passion for traveling, photography and art. Growing up in Kazakhstan (Central Asia), Elenora completed her professional degree in Dubai (East) and lived in London (West) for four years. This had a significant impact on her worldview—and in turn her art practice— about core human values and the ONENESS of humanity, these philosophies spill into her art practice.

About this work

The work that I am presenting is grounded in the research of neuroscientist Dr. V. Ramachandran, who, in his book “The Tell-Tale Brain,” formulated a theory of human artistic experience and identified eight laws of neurasthenics that mediate it: the Peak Shift Principle, Isolation, Grouping, Contrast, Perceptual Problem Solving, the Generic Viewpoint, Visual Metaphors, and Symmetry.

It is interesting to consider that our visual system, which evolved to detect potential threats in our environment, served as a primary tool for our survival as a species. When prehistoric humans visually identified a potential predator, their brains released dopamine, a hormone that rewarded them for detecting the danger and increased their chances of survival by helping them hide, run away, or kill the beast. Similarly, when we experience happiness, excitement, or delight, dopamine is released in our bodies. This might explain our general fascination with animal prints, claws, and bright colors, which trigger the release of dopamine by reminding us of the potential danger that our ancestors faced.

My body of work consists of nine canvases, each created using a cyanotype printing method to form the base image, which was then finished with acrylic paint. The stitched canvas measures 90 x 120 cm, but I framed it in a smaller size (80 x 100 cm), which gave it a more dynamic appearance, albeit making it slightly unfitting and out of shape.

Instagram: illustorm

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Fitting In. 2023 Mixed media, 80 x 100 cm

Eric Charlton


Eric D. Charlton is an American artist originally from the foothills of the Appalachian Mountains in Western Pennsylvania. Charlton’s work explores the desire for meaning and the lack of human understanding on a cosmic scale to the minutiae of the everyday. He embraces an open studio practice that centers around a broad definition of objecthood and the absurd acts of humans trying to make sense of the world.

He earned his BFA at Slippery Rock University and his MFA at Syracuse University. Charlton has received residencies, including the Turner Residency in Los Angeles, CA, and Watershed Center for Ceramic Arts, Farmington, ME. He has exhibited internationally, including CICA Museum, Gimpo, South Korea, the 2019 Miami University Young Sculptors Competition at Hiestand Galleries, Miami University, Oxford, OH, Das Giftraum, Berlin, Germany. Charlton currently teaches Studio Art at Millsaps College in Jackson, Mississippi.

About this work

These drawings are produced from relatable virtual environments with overwhelming omnipresent math objects. The scenes are exported from the virtual environment to a CNC router, which plots the files onto paper with a custom-fabricated pen holder. The line drawn landscapes feel familiar and evoke a nostalgic futurism, while the objects loom over them as an eerie and overbearing presence.

The drawings use multiple layers of lines slightly off-register in different colored paint markers to achieve moments of dissonance and conformity throughout each work. These drawings play with the space between mechanical reproduction and the hand of the artist, using a tactile media on a high-quality paper with the mechanical precision of digitally rendered lines and the CNC plotter.

Instagram: ric_charl

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augmented klein with lake

Faazafron Salsabiela

About A designer and (amateur artist) from Indonesia, has a background as a visual communication design student at Semen Indonesia International University, apart from work in design, is also interested in the art world with a track record of participating in several art exhibitions from 2021 until now

Instagram: faazafron

About this work

“The biological life cycle” processes a journey of changes experienced by organisms, returning to their initial state. The concept is closely related to the history of life, the development of which is finally answered by research, where the transition of this metamorphosis of life occurs.

In this work it is represented by a garlic with a rhythm from a portrait of the left side of life, small that is vulnerable and grows to the right, upright and bigger and then progressively to the right until it is fragile and vulnerable again or the aging phase, that’s the biological life cycle in its rotation at its time Those who are born will die, the young will grow old, the strong will be fragile.

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Biological life cycle

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Ginsy Barnes


Ginsy Barnes is a painter from Raleigh, NC. Her work concerns the transformation of the Southern landscape into a surreal environment that reflects her inner world. Interested in the native plants and culture of her home state, her connection to her surroundings are rooted in childhood.

She has exhibited work throughout North Carolina including at the Durham Museum of Life and Science. She was a recipient of the Plemmons Student Union purchase award at Appalachian State University’s Art and Design Expo She is currently finishing the final semester of her BFA degree at Appalachian State.

Instagram: ginsybarnes


My work is focused on nature and its relationship to home and identity. I enjoy painting plants and animals that are native to North Carolina. Location is a huge factor of identity as it informs our surroundings and defines our point of view.

Plants hold so much meaning for us. In my paintings, I use plants to explore my identity as a woman from the south. I am inspired by the many textures and colors I see in leaves, trees, weeds, and even seed pods. Using these plants and natural elements, I create transformed landscapes which have been feminized and distorted into reflections of my inner world.

‘Venus’ features the Venus fly trap, one of the few carnivorous plant species native to North Carolina. I am interested in the visual relationship between the fly trap and the human body.

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Venus Acrylic Painting

Hannah Smith


Hannah Smith holds an MFA from the University of Kentucky and a BFA from Xavier University. Smith is an interdisciplinary artist and educator at the Art Academy of Cincinnati. In 2022 their work was awarded a Future Art Award from Mozaik and they were commissioned to create the installation Big Gulp for the Kentucky Museum of Art and Craft Triennial.

Their work has also notably been exhibited at the CICA Museum in Seoul, South Korea, the Sculptors Alliance of New York, Neukölln Biennale in Berlin, Germany and the Contemporary Arts Center in Cincinnati, OH. Smith’s interdisciplinary artistic practice investigates relationship dynamics and power structures with an aesthetic that balances bleak subject matter with formal experimentation and playfulness.


My body of interdisciplinary work abstracts commercial imagery from our everyday landscape to reflect on the psychological consequences resulting from capitalistic abuse of power, societal expectations, and consumer manipulation.

My work often blurs boundaries between discrete sculptures and installation—an ambiguity that is dually reflected in my representations of identity, sexuality, gender and environment. The resulting symbolic machines in my practice fuse fact and fantasy, resistance and resilience, humor and hope for the future.

Instagram: hanno_doom____

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Pest All Sculptural Circuit, 2022 5 x 10 x 4, (installation view)

Hui Yui Ku


Huiyui Ku is a Hong Kong-born artist currently based in London. With a bachelor’s degree in fashion design and a current pursuit of a master’s degree in photography at Kingston University, Ku explores themes of identity, politics, and the relationship between humans and nature in her works. Contradiction is a key word in her creative process, reflecting the complexities of these themes.

Ku’s artistic approach includes using alternative photographic techniques and exploring various media to expand the possibilities of photography. In 2022, she completed the “KU” project, a personal exploration of her family history through a visit to her ancestral homeland. Her latest project, “disclose,” reflects her reflections on the end of the COVID-19 pandemic in China. Ku has exhibited her works in Shanghai and London.

Instagram: hyui.ku


As an artist, I am constantly exploring the complexities of identity, politics, and the relationship between humans and nature. My work is a reflection of my personal experiences and observations, as well as the larger societal and political issues that shape our world.

I often incorporate unconventional materials and techniques to push the boundaries of photography. Contradiction is a key element in my creative process, as I believe that the complexities of identity and politics cannot be simplified or easily understood.

Through my photography project, “disclose,” I aimed to challenge conventional notions of identity and highlight the ways in which our biological selves are intertwined with our social and political contexts.

I am interested in continuing to explore the relationship between identity, politics, and the natural world. I hope that it can also spark conversation and encourage viewers to question their own assumptions about the world around them.

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James Friesen


With an affinity for all things visual, James began with drawing/painting . Studying Art, Theatre and Set Design in university, he then taught himself photography & photoshop. Photography is his way of engaging with the external, connecting with others and a sense of mutual recognition.

His experience in commercial photography has helped define his relationship to the camera as a tool, and not the mysterious thing it once seemed. The image, not the process, is the sole commanding concern. Therefore he calls himself an “image maker” instead of a pure photographer.

Born in Victoria, BC, he currently resides near Vancouver, BC with his wife and three children, after briefly living in the US and Japan. When I’m not working on commercial photographs of buildings and interiors, he is often out photographing any and everything, or making any other type of art that he has time for…

Instagram: jamesalfredphotography/

About this work

My Robot Bear Series, completed in 2019 (with new additions hopefully resuming later this year), is a series of images of a robot bear in the woods at night. Both the original sculpture and photography were completed by myself.

This project was started with the aim to create a print for a charity auction to support the Great Bear Rainforest Research and , as a creative envisioning of the future of wildlife... I was considering the dual processes of scientists working to create ever more life-like and complex technology, and the increasing challenges we are imposing upon wildlife and their often dwindling numbers. My aim with the robot sculpture was to strike the balance between not being too cool and complex as to glorify the product, but not too clunky and campy as to be too comicaljust basic robot.

A solemn image of contemplation of what a tragic future may hold, but also ridiculous enough to cause the viewer to think for themselves what a serious alternative could be.

I hope to shoot more not only with the bear but also new creatures in the works...

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Artificial Wildlife, 2019 Photography, 24 x 16

Janna Kumi


Janna Kumi (*1949, Netherlands) grew up in Quebec, where she began to feed her curiosity about the world around her in the fields & forest groves surrounding her home. After a year of studying art in Montreal, she went on to earn degrees in geography and forestry in Canada and Germany.

She worked for 35 years in forest research & in executive positions with private industry and public service. Following a major health scare, she decided to return to her first love - first studying at the Emily Carr University of Art & Design and later at the University of British Columbia earning her BFA in 2015. As a keen observer of nature, Kumi is keenly interested in what goes unobserved.

Building upon her years in forestry, she is drawn towards the tree, but unlike most of us as we walk past them she chooses to look more closely at the tree’s skin - its bark. It is here where the complexities of ordinary tree bark become the stars of her work, a portrait of each tree’s genetic code and the ecosystem in which it grows.

Instagram: jannakumi


My practice defies easy categorization, operating instead within formal and conceptual boundaries between abstract modernist, minimalist, and representative art. The consistency across the work is my emotional response to function, form, and patterns primarily occurring in small, overlooked, and seemingly insignificant components of the natural world. Trees and forests hold special interest, with my focus mostly on the micro-level of the shapes, textures and colours of bark and wood and the plant life that it supports. T

he artistic process starts with close observation and is based on many photographic reference images I personally shoot. The work is meticulous and is presented closely cropped, inviting viewers to draw near for a closer look, which allows a more intimate portrait to emerge. Colour, pattern, and luminosity are enhanced to let the complexity shine through. Drawings are on paper or wood panels using coloured pencils and ink and protected under glass (paper) or with several coats of beeswax. (panels) Throughout the creative process, I strive to keep my artistic practice as environmentally sustainable as possible.

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Coat of Many Colours, 2020 Colour Pencil on Wood, 28 x 22 inches

Jenni Ward


Jenni Ward is originally from West Orange, New Jersey but has been based in Santa Cruz, California for over 20 years. She earned her Bachelor of Fine Arts degree from Hartford Art School in West Hartford, Connecticut in 1998. Her work has been shown nationally and internationally since then including the de Saisset Museum, the Santa Cruz Museum of Art & History and the Grants Pass Museum of Art. She has been invited to residencies around the world, and most recently spent 3 months at the Yingge Ceramics Museum in Taiwan.

She has created public art projects in Sweden, Florida, Washington, Taiwan and California. From 2005 – 2018, she owned and operated Earth Art Studio which offered community clay classes for all ages and she continues to share her creativity through philanthropic art projects, which have involved working with local organizations as well as artists and communities in post-earthquake Haiti. Ward has a passion for adventure and travel often finding inspiration through her exploration of the natural world. She currently leads a semi-nomadic lifestyle in her van with her husband and dog, and they spend a great deal of time on their desert property in Baja Sur.

About this work

My current body of work, an expansion on my Bone Series uses very thin, nearly translucent, porcelain clay to explore the unseen world of plankton; I use this subject matter to create both individual objects and site-specific installations. My interest in planktons began with microscopic images of radiolarians (single cell zooplankton) that have intricate and beautiful skeletal structures. In doing more research about them, I discovered just how important they are for the health of the planet.

Plankton are the base of the aquatic food web, they provide half of the planet’s oxygen and they absorb carbon out of the atmosphere, trapping it in the deep oceans when they die. I find inspiration in the fact that even though they are too small to be seen with the naked eye, a bloom of plankton can be so large that it can be seen from space. In light of our changing climate, sharing the importance of these tiny and beautiful creatures seems vital to understanding how we are all connected.

This installation is based on a NASA satellite image from space of a plankton bloom that happened off the coast of Antartica near Mc Murdo Sound. It is made up of hundreds of individually made pieces that are inspired by the skeletal structures of radiolarians.

Instagram: jenniwardart

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Plankton Bloom in Mc Murdo Sound (detail 1), 2022 Ceramic Site Specific Installation, 360 x 96 x 4

Jessica Moritz


French-Israeli artist, lives and works in Tel Aviv. Graduated from the fine arts of Paris,LVMH young artist award 2006, TAKASAGO prize 2008. Her work mainly focus on interactions with colors, figures and patterns.

She explores different media: painting, drawing, printing, wheat paste, graffiti, installation and sculpture. She developed different system of surface, color and pattern interacting with architecture and the viewer. her work aims to create new edges and forms that can be displayed in any shapes, sizes (maximalism). Most of the time, the viewer is included in the conception of each piece, and invited to participate.

Each media allowed her to establish new relations with colors, space an people.bShe creates new values for each of them and also establish new relations and pursuit new theories about colors. The basic idea is simple: create Artwork and expect interactions with the 3 major elements (color, people, space).

Instagram: jeszmo_art


Jessica Moritz believes that order in chaos leads to an equilibrium of harmony. Jessica ’s corpus of art is an infinite voyage. Her calling never discovers a termination. Light is an exceptional commodity for her, the infinite evolution of colors, untangible moment of grace, and interactions with architecture.

Her process starts by translating this reflection and materialize them in shapes, lines and color harmonies. She builds utopian architecture (mindscape) where she unveils impossible geometry. Her art-objects are keys to new dimensions, a new approach of colors. The structures display optical illusion that distract us from rational thinking and logic.

She believes in a sustainable way of producing her art. In consideration of climate change, she reclaims materials to use the existing. She gathers material on her trips and transforms them during a magical process into a new purpose. She tries to avoid a replacement out of senseless consumerism.

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blob when the sun dance 2, 2022 Painting, 40 x 67 x 3 cm

Jody Rasch


Jody Rasch is a New York-area artist. He has primarily been self-taught, but has been accepted for an MFA at Purchase College of new York. He has also studied at the Arts Students’ League of New York and The School of Visual Arts. Rasch has been exhibiting for over 30 years in both solo and group shows.

Recent museum exhibitions include a two-person show at the American Association for the Advancement of Science (AAAS) in Washington DC (November 2, 2018-February 1, 2019) entitled Duality: Art + Science and The World Unseen: Intersections of Art and Science at the David J. Sencer CDC Museum in Association with the Smithsonian Institution (May 20-August 30, 2019), which includes several works on paper. Rasch’s work is in private and corporate collections, including the Pfizer Corporation in New York and Colonial Penn Insurance Company in Philadelphia.

Instagram: raschart


My work uses themes drawn from science− such as astronomy, biology, physics−to make us consider the world around us. I use the scientific images to explore the fundamental patterns in the larger world and to look beyond what we see and explore what is behind our conceptions.

I work with color and design to create art that is both representational and abstract. My goal is to bring the images to a more human scale so that the viewer can relate to the real elements that make up our world and universe. I incorporates gold in many of my works. This is drawn from medieval paintings in which artists painted religious figures with gold halos or utilized a gold background.

For me, the gold symbolizes science taking over from religion as the explanation for why things are the way they are.

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Beauty-skin cell, 2022 Acrylic on canvas, 30 x 30

Joha Bisone


Joha Bisone was born in Menomonee Falls, WI. She grew up in the woods, having nature and wildlife her main entertainment. Moving to Milwaukee for high school, she excelled being surrounded by other creatives. Near the end of senior year Joha was chosen to participate in the National Foundation for the Advancement of the Arts competition in Miami, FL. From there she decided to pursue an art career and completed her BFA in Painting at the Kansas City Art Institute in 2003.

Since then she has participated in numerous exhibits, group shows, collaborations, art/craft shows, and published in a book. Joha mostly paints in acrylic ink and watercolor, enjoying the fluidness and unpredictability of the medium. She creates organic landscapes, infusing patterns from nature among many other inspirations and transforms it into its own world. Joha lives and works in Kansas City, MO.

Instagram: johahaha


My work is inspired by curiosities within the natural world. The paintings tends to lean abstract while hinting at realistic imagery throughout the piece. Luring the eye with bright colors, that play around with patterns and forms; balancing the push and pull of space. Every piece is about exploring and learning something new, whether that be about the subject matter or materials used. Trusting my intuition, letting what feels right happen.

I would love for the viewer to be submerged into my imaginative landscapes.

I think our natural world is so fascinating and a constant inspiration to me. There are so many things to learn from and discover. To be honest if I didn’t choose going the art school path I would have gone into science and biology. So now I keep the love of both intertwined throughout my artwork.

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Propagating survival, 2023 Acrylic ink,colored pencil, mechanical pencil, 30 x 22 in

Jordan Baraniecki


Jordan Baraniecki was born and raised in Saskatoon, but his Bachelors of Fine Art took him to three different universities across Canada where he received scholarships and awards in drawing. His no-so-linear path took him to the University of Saskatchewan, ACAD U and NSCAD U for his Bachelors of Fine Art. For his Masters, Emily Carr University was where he graduated in 2022. Over the course of his travels, Jordan has always held a deep level of respect for introspection, philosophy and psychology. These are the undercurrents for his process and the foundation of his work.

Jordan has shown Nationally, Internationally and most recently in the NFT Marketplace. He was included in an exhibition at the Academy of Fine Art in Krakow, Poland. In addition, he has worked with major companies such as Herschel Clothing and the Vancouver Opera for creative projects. He partnered with the 0x Society Gallery in Montreal developing his NFTs. As of late, he completed a year-long artist residency in his hometown at the historic Bunkhouse property in Saskatoon.

About this work

“Chasing Dopamine” is a series of artworks that explore color, play and stimuli. I’m curious about what artists and viewers gravitate towards after the trauma of the pandemic.

Dopamine is a primary compound in the body that produces pleasure and plays a major role in our life. My goal is to explore the psychology of what that can do for me as the artist, and what that output looks like for the viewer when presented with “dopamine-type” work. This series is an exploration of color, texture and form as their own visual language; by focusing on the fundamental elements, it opens up the work to interpretation.

Instagram: jordanbaraniecki

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Aquatic Bubblegum, 2023 Ink On Yupo Paper, 14 x 18 x 2

June Ni


June Ni is a self-taught digital abstract artist whose works are a seamless fusion of ancient philosophy and modern technology. Born and raised in China, she draws inspiration from her cultural roots and her exposure to the US lifestyle. Her art seeks to bridge the gap between seemingly disparate elements, finding harmony in the tension between tradition and innovation.

Ni’s passion for science and art is reflected in her unique approach to digital abstraction, which seamlessly blends technical precision with an intuitive sense of composition. Her works are characterized by bold strokes and vibrant colors, inviting the viewer to explore the complex layers of meaning hidden beneath the surface. Ni’s artistic journey has been one of self-discovery and constant exploration, driven by her insatiable curiosity and her desire to push the boundaries of what is possible. Her work has been exhibited in galleries, and she has been featured in several publications.

Instagram: nickelight

Cosmic Nexus

A digital abstract painting that transports the viewer to the farthest reaches of the cosmos. Bursting with vibrant colors and intricate patterns, the piece depicts the interconnectedness of all things in the universe. A central energy source draws the eye inwards, while complex patterns radiate outwards, suggesting the intricate connections that bind everything together. Through its color, texture, and composition, “Cosmic Nexus” captures the sublime beauty and complexity of the universe, inviting the viewer to contemplate the mysteries of existence and its place within it.

“My abstract paintings express the nuance and complexity of the world, as I continue to explore new possibilities in this exciting and rapidly evolving medium.”

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Cosmic Nexus, 2023 Digital, 20 x 20 inch

Kevin McKenna


Born in Greenwich Village, New York , I became interested in photography as a child when gifted an old twin-lens reflex camera by a relative. At Fordham University while conducting an anthropological study that involved photographing the garbage of numerous residents in a variety of different neighborhoods throughout the five boroughs of New York, I experienced a ‘photographic epiphany’. Upon reviewing the images, I noticed that many of the images were visually and aesthetically fascinating. It was then that I realized that virtually ‘anything’ could be photographed to produce beautiful images.

During the 80’s and 90’s I freelanced in Miami, contributing to newpapers and magazines and produced work for clients such as Eastman Kodak, PepsiCo, Reuters News Service, Ft. Lauderdale Sun-Sentinel, Holiday Inn, Paradise Island Resort & Casino, StoCorp, Alcoa, Phelps-Dodge, Warner Bros.,.et al. My work has appeared in numerous publications and can be found in corporate and private collections.

Instagram: none


The Art & Physics of Light. Light is a collection of wavelengths between 400 and 700 nonometers that occupy a miniscule segment along the electromagnetic radiation spectrum that are visible to the human eye. It allows us to see, and create and appreciate art. Using a parabolic mirror, a window, a piece of cut glass, a small strip of hand-painted upholstery, an old 35mm film camera and of course light, I assembled them into three different design configurations some people might refer to as art, while at the same time illustrating a few of the more basic and easily observable behaviors of light.

Light Reveals Herself

One afternoon in my living room the setting sun struck a window at an oblique angle and the light was split into its component colors (dispersion) and landed on the hand-painted upholstery of our couch. I ran to get my camera and made this image. By the time I advanced the film to make another it was gone. We can see all the colors of the spectrum from deepest blue to deepest red and all those in between.

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Light Reveals Herself, 1993 Photography, 3000 x 1951

Langley Anderson


Langley Anderson grew up in New Orleans, Louisiana, and received her Bachelor of Arts from Trinity University, San Antonio, Texas. She earned her Master of Fine Arts in studio art, with a concentration in photography, from Radford University in Radford, Virginia.

Langley’s work has been exhibited throughout the United States and internationally. She has served on several art committees and presented at SECAC (Southeastern College Art Conference). Her work has received awards from Jeol USA, Tokyo International Foto Awards, the Nikon Small World Photomicrography Competition, Promega Switzerland, France Bioimaging, and others.

Langley runs Wild ArtRidge Academy, works as a free-lance photographer, and teaches Studio Art and Photography at Southeastern Louisiana University in Hammond, Louisiana. Instagram: langleyandersonphotography


My series, Mutualism, explores a relationship between science and art. Tight imaging of organic specimens and the manipulation of their color and space transform minute matter into archival pigment prints. When I observe objects in our natural world: sinuous scales of snakeskin, withered pods of plants, hairy articulations of arachnids, I see a parallel between the structure of these specimens and the elements of art and design.

Using scanning electron and dissecting microscopes, I enlarge intricate specimens and digitally enhance them with vibrant hues, revealing a world of fascinating form. My work merges actuality and abstraction, allowing unique anatomical attributes to surface. By blending science and art, I wish to share the alluring structures of natural form. My artwork expresses a mutualism between science and art and displays the inherent beauty of nature in a new way.

“BLOOM” is the blossom of Ageratum that I imaged using a scanning electron microscope and colored digitally.

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Bloom, 2015 Microscopy, 8 inches x 10 inches

Lea Hoffbauer


I was born 1998 in the south of Germany. Because of my love for drawing I began my studies at the Academy of Fine Arts Dresden in 2017.

I quickly discovered painting as the technique in which I could process the best my observations of the organic world around me and started to experiment with my own ways of layering and binding pigment.

With a scholarship I was also able to spend one semester at the Accademia delle Belle Arti Roma in 2022, where my interest for biology, anatomy and scientific discoveries manifested into my way of working today.


With my paintings I collect and examine the recurring patterns, color combinations and basic structures in nature and organisms, searching for the connecting points of different phenomena.

My painting technique is built on the interaction between oil and water-based media. A combination of uncontrollable chemical reactions and thoughtful decisions during the painting process creates organic compositions, layers and forms. Motivated by a deep interest for biology and and the latest scientific discoveries, life and its evolution, I gather my inspiration with the help of microscopy or popular scientific publications. Instagram: lll_ealll

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Collision, 2022 Oil paint and chalk ground on canvas, 90 x 70 cm

Loana Flores


Loana Flores develops tangible and intangible textiles by researching different ancestral and contemporary textile techniques, biomaterials, 3d printing and applied electronics. University professor and mentor, she has collaborated with different universities in Argentina, Mexico, Spain, Italy, giving classes, lectures, and workshops.

Recently she was awarded the Talente 2023 recognition for her Bio threads work by the Munich Chamber of craftsmanship Creator of Ocloya Studio, conscious textile lab that emphasises new ideas, languages and possible solutions for the textile and fashion present that involves thinking about the past at the same time as the future.


I develop as a multidisciplinary artist. I work with weaving as a way to establish a link with the ancestral. What I look for are metaphors. To go from the smallest to the biggest. The forms that I reproduce represent cells, something as small as a cell has to represent the skin, and something as small as the spots of a giraffe represent nature, for this, I base my work on mathematical diagrams and molecular biology.

About this work (extract)

Material languages is an artistic research around materials that shows a huge range of possibilities and qualities of a material manufactured at a home lab.

From different organic waste collected from own consumption, and neighbouring premises, a natural drying process is carried out, selection and processing to convert this discard into useful matter, giving it a new use and a new meaning.

The manufacturing process started with base recipes with gelatine, starches and algae, and organic material such as eggshells, banana skins, turmeric, onion skins, and potato skins.

From this material, a process of drying and crushing is carried out to pass to the manufacturer by means of a recipe as in the traditional kitchen. It is left to dry while observing its transformations.

On the basis of this research, the development of a bio colour palette based on natural pigments applied to different biomaterials is started, and continues under development. |

Instagram: ocloyastudio

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Bio innovation Material languages, 2020 Experiment with organic waste, natural pigments Pieces from 10 x 10 cm to 30 x 30

Sara Rahanjam


I was born in 1984 in Iran. 2007 BA of sculpture From Fine Art, Tehran University, Tehran, Iran. I have participated in 4 solo exhibitions and 60 group exhibitions in Iran and paris.

The main theme in my works is about women and their social identity and position in traditional societies. As a woman who was borned and grew up in Iran I have experienced lots of problems, limitations problems and difficulties which are rooted in cultural and traditional beliefs in eastern countries specially in Iran as my home country. Instagram: sararahanjam

About this project

This project is about the experience of pain and suffering. Wounds that are inflicts on us not only through the body, but also through the soul and spirit, and whose effects remain in our body and mind for a long time. Wounds that turn into embroidery or paper flowers that come out of us. The wounds that make us grow, but their place remains like a beautiful pattern in our soul and spirit, covering us.

Bruising is a medical-scientific phenomenon that occurs as a result of hitting an object or as a result of a physical injury. People whose faces are symbolically bruised due to the experience of suffering and pain, but they are growing and flourishing from within. Today, science has proven that nature and people’s closeness to nature can heal their mental and psychological problems.

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Bruises Series Photography

Madeleine Matsson


Madeleine Matsson was born in Sweden, grew up in Massachusetts, and received her BFA from Concordia University, Montreal, Canada. Since moving to NYC, in 2012, she has exhibited in group shows across the boroughs. Internationally, she has shown up in Canada, Sweden, Austria, Mexico, and Guatemala.

Matsson recently completed her MFA at the New York Studio School of Drawing, Painting & Sculpture where she was the recipient of several scholarships including from the Milton and Sally Avery Arts Foundation, Jonathan and Barbara Silver, Dita Amory, and the Vera List Scholarship.

She has exhibited in group shows across the NYC boroughs and attended many residencies including three months on Governors Island via the Lower Manhattan Cultural Council. For the past year, she has focused on painting in and gaining inspiration from Green-Wood Cemetery near her home, in Brooklyn, NY.


I am a plein air oil painter and environmentalist. Whether it be in a city park or in a vast forest, I study the abstract forms of how tree branches frame the skies like veins pulsing through the air.

No matter the season, I go into the landscape, hunter of images, to capture a moment in my pictures with brushes instead of arrows. My mind, body, and spirit are at their best when the only roof above my head is the clouds, endless sky, or darkness pierced with stars.

My oil paintings are more than just representations of trees and landscapes - they are a tribute to their resilience and a reminder of their crucial role in our ecosystem. Through my art, I aim to inspire others to appreciate the outdoors and to work together to protect them for future generations. Instagram: matssonarts/

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Bjork, 2022 Oil on cboard, 7 x 5

Marisa Myrah


Marisa Mary Myrah was born in Regina, Saskatchewan, Canada and studied Fine Arts at Emily Carr College of Art and Design in Vancouver, graduating in 1990. She completed a Post-Baccalaureate in Painting at the Cyprus College of Art in Paphos, Cyprus in 1994. She has had a number of solo and group exhibitions in Canada and abroad and was an Artist-in-Residence at the Ucross Foundation in Wyoming, USA in 2000 and at the Fundación Valparaíso in Mojácar, Spain in 2002. She works and lives in North Vancouver B.C. with her Husband, their two Children and their two dogs.

About this work


My perpetual exploration of nature has been a constant in my work. Considering myself a contemporary natural image painter, I strive to express a romantic feel for the history of painting through my keen observation of nature and elegiac imagery. Through new evaluations of landscape painting I am investigating the changing and threatened environment around us. Nature is carefully observed but not always directly depicted and it always retains a kind of visual instability, thriving on the permeable border between representation and abstraction.

My artwork has always had a underlining element or story behind the beautiful depicted landscape, for example. My two tondos paintings/collage works are an invitation to experience the mysterious natural world of the Birds of Paradise. These ‘miracles of evolution’ are living textbooks on adaptation and sexual selection. I want to show the utter beauty of this species that is unique to only one part of the world, and its habitat, but also reveal a fragility. Climate change is our most pressing scientific issue of our time. The issues of globalization and human development that ultimately causes some destruction and loss are all topical ones. The threat of species loss is just another one. By depicting these Birds of Paradise through my art, I am sensitizing the public regarding the precariousness of planetary equilibrium, and the fragility of our environment

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Instagram: marisamarymyrah
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Bird of Paradise I Collage canvas, 8, HRes round

Masha Bright


She worked as a teacher and ran a building business. Studied resin and acrylic on my own. Founder of an online drawing school. Six months ago we emigrated to Serbia.

About this work

I strive to bring meaning to abstract art - I show the colors that I saw in this or that country, my emotions. I do not just create a painting - I invite you on a journey.

“Online” - in the modern world, technology controls people. My work is like a big green button, like on a TV or computer unit, which lights up when turned on. The online world is colorful and multifaceted, it seems to draw us in and the colors are already disappearing, we are “drown” in the Internet and cannot get out.

Because the Internet has everything - sports and entertainment, music and science. The tubes are located towards the center, drawing the eye inward, and the colored edges symbolize the invisible barrier that keeps us inside this rainbow world. Instagram:

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Online, 2022 Acrilyc, resin, 100 x 100 cm

Michael Wagner


Works of art reflect the world. My works are also mirror images of today. However, it is not a reflection of the external appearance, not an abstraction of the mimetic world, but a reflection of the inner constitution. My works arise from sensations. They reflect the sense of time, so to speak, and represent ciphers for today.

Thinking and feeling, geometry and colorbetween these poles I explore my artistic possibilities, although with all seriousness playful and poetic components are always involved. In this way I develop a visual world that has its roots in the strictness of the constructive and concrete, but at the same time is also based on individuality and spontaneous intuition.

Instagram: malermail


Born in Heidelberg in 1953, Michael Wagner used every free minute for artistic studies during his studies of social work at the Mannheim University, and then concentrated entirely on the fine arts after completing his degree. Since 1981 he lives and works as a freelance painter, graphic artist and photo artist (self-taught) in Heidelberg.

While Michael Wagner initially worked in the representational field, depicting landscapes and people, he gradually developed an artistic conception that focuses on color and its manifold possibilities. On this path Michael Wagner opened up the world of the constructively concrete. Geometry joined color, became an equal partner and provided stability and continuity. Thus color was not given an expressive quality, but rather a purely visual meaning. It does not “jump” into the space, but it has a high presence, a great impact potential. Michael Wagner designs his works on this basis, trusting in the power of color and geometry.

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Ereignisfeld (Tangerine dream), 2019 Acrylic on canvas, 95 x 95 cm

Molly Mavor


Molly Mavor (b. 2002), as primarily the subject of their own work is able to unite their artistic self with their human self, whereby the artist introspectively questions what it is to be human through the methodology of photographic self-portraiture. This artistic questioning of their human-self functions and exists as a lab-like, scientific, and methodological approach, which is amplified though the linear repetition of the artist’s image within their work.

About this work

I-CONTACT, as a series of nineteen self-portrait photographs of the artist’s eyes encased in agar jelly, proposes the phenomenon of the living photograph. Whereby, each photograph bacterially evolves throughout the duration of the exhibition. As a result, the visual outcome of the biological photograph is both unknown and infinite.


As an output of their creative action, Molly Mavor uses fragments of self-portrait photography, transparent materials, and the colour blue. All of which are visually encapsulated in a series of photographic and sculptural works. The act of binding the photograph with transparent and voluminous materials grants the photographs three-dimensionality. Therefore, an element of transformation occurs during the artist’s construction process, where the photograph is able to extend its two-dimensional form and occupy space sculpturally. Within this context, the photograph can be approached and understood as a sculpture that enters the dialogue of interactivity and physicality. This static state of the art object is exceeded when the artist encapsulates the photograph within agar jelly, so that the image is biologically and bacterially charged. Thus, the animate, bacterial breathes life into the self-portrait in resuscitating the static self-portrait.

Instagram: mollymavor

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I-CONTACT, 2023 Living Photographic Sculpture. 176 x 12 x 13cm

Nicole Maloof


Nicole Maloof is a Washington, DC based artist and recently graduated from American University with her MFA in Studio Art. She graduated from Boston College in 2019 with degrees in both Studio Art and Psychology. Her art practice engages themes surrounding the abject body, seduction, and perception. Maloof was diagnosed with Type 1 Diabetes when she was four years old. As someone with an autoimmune disease she is constantly aware of the inner workings of the body. She hopes to bring this level of awareness to the viewer through material exploration.

Maloof also works at HEMPHILL Artworks in downtown Washington, DC as the Gallery Associate/Social Media Manager. While in school, Maloof received the Babs Van Swearingen Memorial Award from American University. She was a remote Artist in Residence with GlogauAIR based in Berlin, Germany in Fall 2022 and recently participated in Collective Worlds at Hera Gallery in Wakefield, RI. Instagram: nicolemaloof_art


My practice engages themes of assumption, expectation, seduction and the abject body. I investigate my relationship to my body and its implications in the world through material exploration and abnormal forms. I was diagnosed with Type 1 Diabetes when I was four years old. By working with homemade hard candy, Jell-O and spent medical supplies, in combination with resin, I seek to challenge the audiences’ expectations as I create bizarre sculptures that are humorous, ironic, childlike and disturbing all at once.

The sculptures, comprised of molds of my used Autosoft 90 Infusion Sets, are simultaneously playful and twisted, seductive and repulsive based on their outer appearance and deeper meaning. Candy is a humorous material wrapped up in irony, dependence and resent. The degenerative forms that are entangled amongst the sculptures parallel the way that the insulin I administer breaks down sugar in the blood.

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After she got the insulin she felt so much better! 2022 Sugar, corn syrup, water, food coloring and resin on wood panel, 31 x 23 inches

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Nk is a young Afrofuturism artist from Ghana, Accra. His work is centred around the expression of development in the Black experience and in the Black culture. His art aims to change the narrative and how Africa and our creative scene are seen.

As a young new generation artist He is trying to push a positive narrative about Africa and what lies in our future. He wants Africans to be able to insert themselves into his art and imagine themselves in these realities he envisions. Instagram: conceptbynk/


As a young new generation artist my aim is to push a positive narrative about Africa and what lies in our future. I wants Africans to be able to insert themselves into my art and imagine themselves in these futuristic realities i envision.

About this work

Empowering the African woman with the technology that surrounds her. Women in technology are real agents of change and they can contribute massively to development by providing solutions and new persepctives to existing challenges.

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Unleashed By Technology II Digital art

Olga Lamm


Olga Lamm is a New York-based artist. After graduating from the School of Visual Arts in NYC, where she majored in graphic design. Lamm freelanced at publishing houses, magazines, design firms and ad agencies. From store interiors, billboards, logos and packaging to websites, books and magazines, she has worked on a variety of graphic design and advertising projects.

Lamm’s commercial work has long intersected with her fine art and multimedia practice, the latter of which takes the form of digital collage, text-based installations, and animation. Lamm began her commercial career as a graphic designer and art director, and as she became more interested in the real world application and functionality of design, her experience with design implementation from start to finish gave her a bird’s eye view that is reflected in her multimedia fine art practice where dreams and research fuse in fantastical explorations of self and identity.

Instagram: olga_lamm_projections

About this work

Sunset by Proxy considers that our experience of nature is often a mediated one, something we experience increasingly through images and photos that are often filtered with effects.

The series explores how digitized imagery will affect our faculties and shape our sensory perception of the natural world. How will we evolve in the symbiotic continuum? Will we become so seduced by artificial reality that it will be more stimulating than the natural environment?

The work questions how virtual experience with nature might impact younger generations, and their spatial relationship with the natural environment when they spend so much of their time looking at the screen vs being in situ. How will this affect the hippocampus in the brain - shape spatial awareness and navigation, and the thalamus with visual cortex while processing light?

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Sunset by Proxy 9, 2015 Digital Collage 30 x 20

Omar Meijer


Omar Meijer was born in Erba in 1998. He graduated in 2022 in New Technologies for Art at the G. Carrara Academy of Fine Arts in Bergamo. Among the artist’s exhibitions and projects, we mention: the independent collective “Hot Well” Exhibition in Bristol, UK (2023), the photographic collective Canova Reinterpretato at the Galleria Accademia Tadini in Lovere, IT (2022), the presentation of Hypothetical Tribalism during the World Anthropology Day in Milan, IT (2021), FARE PRESENTE with Teresa Prati at Spazio Giacomo in Bergamo, IT (2021), and the participation at the Kanoon Open Kunst Festival in Ghent, BE (2020).

He is part of the Lecco collective Teste d’Idra participating in various group exhibitions in the Lake of Como area and various art and music festivals with numerous installations. He currently lives and works as an artist and graphic designer between Lecco, Como, Bergamo and Milan.

Instagram: omarmeijer/

Embryos, 2022 (extract)

In December 2020, a study conducted by Antonio Ragusa and carried out by the Fatebenefratelli Hospital in Rome and the Marche Polytechnic University was published where the tissues of 6 placentas of women who had just given birth are analysed. Out of the 6 placentas analysed, 4 of them contained traces of microplastics from artificial polymers used in cosmetics, paint, plasters, adhesives, and personal care products.

Microplastics are particles smaller than five millimetres deriving from the degradation of plastic objects present in the environment. These microplastics can move from the environment to living organisms, including humans, and this was one of the first pieces of evidence.

With this photographic work, I tried to recreate placentas using non-recyclable plastics also used in the field of children’s toys. Going to generate images that live in the balance between a scientific and science fiction aesthetic, which recall organic fabrics and membranes but which in reality are highly harmful and polluting plastics and solvents but still on the market.

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Embryos 9, 2022 Hexachrome Print on Fine Art Epson Paper, 22 x 28cm

Ophelia Arc


Ophelia Arc is a multidisciplinary artist based in New York City. Using sculpture, video and installation Arc investigates psychoanalytic themes as they relate to her personal experiences and memories. Ophelia has shown pieces at galleries such as No Format in London UK, Whitebox, Atlantic Gallery and Westbeth gallery in NYC and will be exhibiting at the Woman Made Gallery in Chicago Illinois this spring, and Collar Works in Troy NY.

She has just completed a fellowship with the Chrysalis Institute for Emerging Artists and has an upcoming 2 person show at Atlantic Gallery.

Instagram: Cease.and.perish


As an artist, I strive to challenge societal norms and question the boundaries of acceptable subjects in art. Through the use of crochet as my primary medium, I aim to subvert traditional notions often associated with craftwork and to question the viewer’s preconceptions of “women’s work”.

My pieces explore taboo subject matter often delving into themes of mutilation, body image, and vulnerability. Using a combination of home footage, latex, and other materials, my work creates a sense of abjection, to provoke a visceral and psychological reaction within the viewer.

My choices in subject matter and materials are purposefully chosen to spark reflection and challenge societal norms. Through my art I encourage others to confront their own beliefs, biases and inner turmoil.

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Mother shaped space, child shaped wound, 2022 Crochet, 24 x 18

REM bureau


REM bureau was established by Agata Murasko and Eduardo Andreau in 2022. The interdisciplinary duo comes from a background of art, film and architecture with a shared interest for crafting imaginary, fictional worlds and exploring the role of technology as part of a creative process.

REM bureau was established to operate as an experimental laboratory, using digital as well as analogue techniques to craft unique collections. Through the work, the collective aims to investigate the interplay between the real and the imagined, and to create visual experiences which emulate the fragmented and surreal qualities of a dream. REM bureau does so using bespoke algorithms, which are continuously refined to reflect the narratives that are being crafted.

REM bureau collections coalesce the physical and digital realms, where a computer can become an active participant of the creative process rather than a passive instrument. Instagram: rembureau

About this series

Unassuming Cuboid began as a set of handdrawn patterns that examined ideas of regularity, repetition and order. The intention was to start with a modest set of rules based on the geometry of a simple geometric form. This early attitude gave the collection it’s name. The first set of rules were limited to rotation, scale, repetition, subdivision, and colour. By breaking those initial sketches into smaller pieces, and adopting some of these fragments into rules, a first set of important primary and secondary components was defined. From the early stages of the process, great importance was placed on colour which was incorporated throughout. A nuanced colour scheme was developed, retaining the benefits of complimentary contrasting colour, but with a rich variation.

The final collection is a limited series of 96 artworks which started with the initial set of 1000 outputs generated by a final bespoke algorithm. Numerous interactions involved tweaking the parameters of the algorithm, adjusting the rules, and experimenting with different inputs to see how the design changed. Each output offered a glimpse into the code’s playfulness over the modest geometric cuboid that was used as a starting point of every iteration.

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Unassuming Cuboid No 705, 2022 Algorithmic Digital Media, 3311 x 5887 px

Rendy Pandita


An artist from Bogor Indonesia, currently active as an illustrator and also faculty member and researcher at a private university in Bandung. He studied Masters in Fine Arts at Institut Teknologi Bandung and graduated in 2015. He has been actively creating artworks since 2013. His works are inspired by social phenomena, film, technology music and pop culture. His previous works discuss a lot about crime on the streets and social terror. Besides actively working in the world of fine arts, he is also active in the world of independent local music by starting Somnium, his band which has been active since 2014 and has produced an album titled Black Campaign. He has also been actively working in the band Gaung and produced an album titled Opus Contra Naturam which was released in 2017. All of his songs are available in Spotify.


“Perayaan runtuhnya batas imajinasi” translates to “The celebration of the downfall of imagination boundary”. Through this artwork I represent the progression of science, art and technology. We see many simulations today through games, movies, even architechture and it seems that our live is being disrupted by our imagination. Imagination today is a part of our reality, and all of this occurence is thanks to technology.

I used photograph and digital drawing to represent the presence of something imaginative in our reality. We might be unaware of this occurence because we embrace it, because it embeded in our mundane life.

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Perayaan runtuhnya batas imajinasi, 2023 70 x 39,38 cm

Robert Matejcek


Originally from North Dakota, Robert Matejcek obtained his BA in Art, Magna Cum Laude, from Fontbonne University in St. Louis, Missouri. Robert’s work, a combination of traditional and new media, has been exhibited nationally and internationally. Robert and his wife, Anna, currently reside with their dogs, Willow and Indy, and their guinea pigs, Honeysuckle and Poppy, in La Junta, Colorado.


While much of my work remains intentionally vague and relatively obscure, many of my pieces indicate unrest amongst banality and imply a potential for an unusual and significant occurrence. Specifics, however, are often dependent upon individual interpretation. I am particularly interested in establishing a dialogue between societal norms, mores, expectations, technological advances, and the more traditional aspects of my artistic practice.

About this series

Phototrophs is an experimental, mixed-media piece that imagines documentation of simulated interactions between biological specimens and an analog light source. The piece also incorporates anaglyphic elements in an original frame animation.

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Phototrophs, 2021 Mixed Media

Russel Scott The Sunsmith


The Sunsmith is a nature-inspired creator who produces unique and awe-inspiring works of art and decor. Using a magnifying glass to harness the power of the sun, the Sunsmith meticulously burns lines and shapes into the surface of wood, creating a lasting image that captures the raw energy of the natural world.

About this work

Using science, I use a magnifying glass to focus the sun’s rays to create all of my art. Light leaves the sun over 92 million miles away, and around 8 minutes later I focus some of it with a magnifying glass. Included is both the photo and the time lapse of me creating ‘Harnessed,’ by far one of my favorite pieces. Please check out the time lapse of me creating this piece outside! I can send it via email, it is also available on my Instagram but I am unable to upload it in the file limits.


Using the power of the sun, I burn my designs into different types of wood, capturing the raw energy of nature in every piece. The blank canvas of each piece of wood provides endless possibilities to explore the infinite potential of light and shadow. I find a meditation on the balance between light and darkness, creation and destruction, beauty and decay in the process of creating my artwork. By harnessing the power of the sun, I am reminded of our place within nature and the immense power it holds. My hope is that my artwork inspires others to connect with the natural world and appreciate the beauty that surrounds us every day, especially in the most unexpected places. Each piece is a reminder of the untamed power of nature and the beauty that can be found when we take the time to see it.

Instagram: thesunsmith

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Harnessed, 2022 Magnifying Glass And Sunlight, 31 x 24

Samantha Passaniti


Born in Grosseto in 1981, Sara lives and works between Monte Argentario and Rome, Italy. Graduated from the Academy of Fine Arts in Rome, in 2015 she attended a postgraduate course at the Slade School of Art in London. In 2018 she was selected by the international organization ReArtiste for a group show at the MC Gallery in New York. Among the numerous group exhibitions in Italy and abroad, she participated at the exhibition Athens Open Art at the gallery Art Number 23 in Athens in 2020. Her artistic research is focused on the experimentation of natural materials collected in the environment that become the object of reflection & investigation into the complexity of human relationships & experience existential experience. Her paintings and installations are born from a continuous relationship, dialogue and exchange between dialogue and exchange between inside & outside, between intimate world & environment, between man & nature, between existential experience and natural cycles. Instagram: sama_art_studio/

About this work

This sculptural work is made from materials collected in nature and processed using innovative techniques that respect the environment. The leitmotif is the use of organic materials such as branches, and bark of plane trees and eucalyptus, which, combined with other materials such as natural waxes and earths, evoke a balance and harmony that evokes the structures and sensations of the natural world. My research stems from the observation of nature, the study of materials and the innovation of techniques that are in line with the principles of eco-sustainability. The objective of my practice is to raise public awareness of the love for nature by showing the beauty of the environment linked to certain territories in the world where I have collected materials. My work being in line with the principles of eco-sustainability regarding the use of natural and recycled materials fits into the current issues of art in the era of environmental crisis.

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Samantha Lee


Born to Korean relief aid workers, Vy Zorja Ly began painting as a dormitory bonding activity in 2006. Until the abrupt passing of both her beloved grandmother and mother in 2014-2015, painting served as a reconciliatory act of deciphering disparities across neurotypical versus neuroatypical conceptions of time, memory, sensation, conversation, and relating. Since sharing her previously private works in 2017 via Instagram, her abstract musings grew less experimental and more purposive hoping to give spotlight to overlooked beauty in objects, emotions, events in isolation, tandem, competition, and symbiosis. The brushstrokes now manifest hopes and unrelinquished adoration in the wake of tumultuous realities, the haste of metaphysical uncertainty, and paradigmatic unrest.

With the fine-tuned narrative, Vy has since received unprecedented positive responses resulting in exhibits and publications with Brick Lane Gallery (2023, coming soon), Envision Arts in ‘Love’ (February 2023 ), and many more. Vy continues to share for coy, mute implorations back to holistic visions of mirth, beauty, and love in the wake of harrowing adversity and/or crepuscular tragedy.


Exploration of mitochondrial organelles, the source of energy formation at the sub-cellular level;

Exploration of gravitational/topographical geography of the moon.

Microscopic view of bird feathers/insect wings.

Science braves optimism both forging and pioneering our tomorrows. As hope fuels such endeavors, some of my works indirectly explore with scientific rigor the foundations of our being, energy, hope--life in continuity; while, others directly envision environmental conditions not quite accessible to most in light of the possibility of inhabiting other satellite rocks or planets with unknown creatures.

Instagram: seamless musing

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Microscopic Peek, 2022 Acrylic, 16 x 20

Sara Schesser Bartra


Sara Schesser Bartra is born in Argentina. She lived in many countries around the world and for the last 20 years in Miami, USA. She worked as a scientist in the field of Molecular Biology and Microbiology for 20 years at the University of Miami in the USA. She recently retired to fully dedicate herself to the arts. Dr. Schesser Bartra holds a PhD in Molecular Biology and Microbiology and often incorporates science and the microbial world in her creations. She believes that microbes are beautiful and that it is important to forge a deeper public understanding and awareness of science. Sara is currently an artist in residence at Art Serve in Fort Lauderdale USA. Sara’s work represents a variety of techniques, mediums and themes. Particularly oil, acrylic and mix media. In her recent work she is combining her scientific background into her art. Accordingly, she presented her first sole in October 2022 at ArtServe in Fort Lauderdale. The solo was all about microbes and the impacts that microbes have in our lives. In the exhibit “The Good, The Bad and The Beautiful” she used multimedia to represent everything from beneficial bacteria to diverse pathogens, all of which display a complex visual diversity in their unseen abundance. In that way she made visible the amazing world of what is invisible to the human eye.


My work represents a variety of techniques, mediums and themes. I particularly enjoy mix media because I can use all my imagination and creativity utilizing materials that sometimes I buy but most times I found and collected from the most unlikely sources. The combination of these techniques and materials produces interesting and compelling pieces of art.

In my recent work I am combining my scientific background and art to elucidate actual nature and social themes. It mostly focusses on the natural world starting with the tiny, microscopic inhabitants of it and even some that has a more general approach, it does not pretend to illustrate the natural world, but rather shows a representation of it to instigate curiosity about it in the eyes of the audience. I like to research my subject and find ways to present my ideas. Instagram: schesserbartrasara

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I can not live without you, 2022 Oil on canvas, 48
inch x 36 inch

Sara Wiens


Sara Wiens is a contemporary artist based in Salmon Arm who works in oil, acrylic and mixed media. She has her BA in Studio Arts and a Bachelor of Arts Education from UBC, Vancouver. She has shown her work at various galleries in her home province of British Columbia, starting with The Ferry Building West Vancouver graduates show, and followed by Place Des Arts, Gallery Vertigo, Peachland Art Gallery, and the Salmon Arm Arts Centre among others. Her work can be found in private collections throughout North America. Sara has taught art for many years in the private and public school system. Her contributions to art in her community include a public mural project in the summer of 2020. Sara is currently represented by Gallery Odin at Silverstar Mountain Resort, British Columbia, Canada.

Flight Paths

I have based these mixed media paintings on the flight patterns of honeybees as they forage to and from their hives. Scientists affixed transmitters to the backs of honeybees to determine how they orient themselves in the landscape and what factors affect their homing abilities. These incredible creatures demonstrate exceptional abilities to learn and communicate.

The lifespan of a single bee may be only 6 weeks in the summer, yet these tiny, fleeting insects have a profound impact on the ecosystem. The complexity of layered lines and colour patches in the artwork remind us that over time, the layers of different bee individuals overlap repeatedly to create an indispensable imprint on the survival of all species. Instagram: sara.wiens

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Flight Paths III, 2023 Mixed Media on Cradle Board, 36 x 48

Sarah Smitherman


Sarah Smitherman is an interdisciplinary artist from Miami, Florida. She has participated in group exhibitions within Canada, Europe, and the United States. After earning her Advanced Diploma in Interior Design, she began her career as a graphic designer. She is now pursuing an Honours Bachelor of Fine Arts in Visual Arts at the University of Windsor in Canada. Her work combines disciplines to explore place and impermanence.


My work combines science, photography, sculpture and painting to share my experience of place and impermanence. A place can be a memory, it can be a physical location, or it can be a combination of the two. Memories and locations are like grains of sand on the beach. The waves of time wash over them, taking some into the ocean and leaving others a little different than before. This moment, this feeling, this place is not permanent. There is only the experience of now.

Instagram: sarah.smitherman_

Pigments under the Microscope

My bioart series Pigments Under the Microscope (300x) explores microcosm-macrocosm by documenting microenvironments that I have constructed on microscope slides. The painted slides were photographed at 300x under the microscope. I was very inspired by Leonardo da Vinci’s studies about smaller structures being repeated at larger scales throughout the cosmos. In each photo, there are structures which evoke the memory of a landscape.

I find the structural properties of paint pigments to be very interesting because they resemble elements found in landscapes. In the making of my paintings, I included loose pieces of dry paint so that the same photos could not be retaken after. While photographing my paintings, I recalled memories of watching the Star Wars movies as a child. I remembered the swampy planet, the icy planet, and the fiery planet. This series of images represent my memory of these places when I watched the movies for the first time.

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Pigments Under the Microscope (300x), 2023 Photographic print, 42 x 42 inches_05

Shea Wilkinson


Shea Wilkinson, a Nebraska native, has been sewing since childhood. She earned a degree from the University of Nebraska at Omaha. She is currently earning a degree in Fashion Design from Altai State University in Russia. She has exhibited widely in national juried exhibitions, such as Craft Forms, Materials: Hard & Soft, Focus Fiber, and The Artist as Quiltmaker. Shea has received numerous awards, including the James Renwick Alliance’s Chrysalis Award for a distinguished emerging artist in 2016. Her work has been published in books, magazines and catalogs, both in the USA and abroad.


I create stitched works using free motion quilting and hand embroidery, drawing with needle and thread. I enjoy immersing myself in topics that I find visually and intellectually exciting. While quite fluid and shifting, the stories that I tell through my work are related to imagery from science, imaginary worlds, and mythology, portraying only a thin boundary between the real and unreal. My goal is to elicit a sense of fascination in the viewer, preparing them to delve into nature and myth, where everything is permitted and new worlds spring up instantly.


“Frutex” (Latin for “stem”) takes a studied look at plant cross-sections, a hidden world of intricacies and puzzles. After studying and processing these natural formations, I’ve extracted various patterns from many plants and put them together in ways that don’t exist in nature. Within these plants, everything is stable and as it should be, yet is not rigidly defined as it is in man-made structures. How can we emulate that strength for our own architecture, in a world where we have largely turned against nature’s ways? These works are created by stitching cotton fabric with polyester thread.

Instagram: shea_wilkinson_art

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Frutex-affinus, 2014 Stitching, 28.5 x 30

Shee Gomes


Born in São Paulo, Brazil, with a degree in Digital Design, Shee Gomes began her work in visual arts the same year she graduated from college in 2009. Shee has been showcasing her work in a variety of exhibitions, collaborations and projects, with curated works featuring international books and magazines. Instagram: shee_arts/


Non-objective painting soon became part of the processes, with expressive colors and brushstrokes that seek harmony and a certain sonority in each composition as a way of translating her perceptions of the world. Side by side with the painting are the drawings made with different materials in contrast to the acrylic paintings. For Shee, art transcends cultures, concepts, ideals and time itself, connecting us with all that we are. Her purpose is to unveil the new, and expand this connection.


“...a junction between two nerve cells, consisting of a minute interval through which impulses pass by diffusion from a neurotransmitter.” Synapses is a poetic exploration of the mechanisms involved in the connections of the central nervous system.

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Synapses 514, 2020 Acrylic on canvas, 50 x 60 cm

Sila Güven


Born in Ankara, Turkey, in 1982, I moved to Strasbourg, France in 1993, and studied and lived in France during 10 years. I graduated in Fashion Design from MJM, Paris, and after that, I decided to develop my studies in Visual Arts area. I worked as an Art Teacher, and also as a Fashion Designer in İstanbul. I studied Illustration at the University of Wolverhampton in 2012, July and I finished MA Fine Art Digital/ Visual Art courses at the University of the Arts London in 2015, July. As an artist, I am participating group exhibitions and have opened solo exhibitions in Turkey.


My artwork is questioning our place in nature and meaning of nature culturally. We’re made of star stuff,” Sagan famously stated in one episode. His was saying the fact that the carbon, nitrogen and oxygen atoms in our bodies. I am questioning what we are made off ? And development of livings in time. My artworks present beings and meaning of time with natural materials.

Instagram: silaguvenart

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Sunset, 90 x 120 cm Linen and oil color on canvas

Šimon Kučera


Šimon Kučera (1996) is a Slovakian visual artist known for his expertise in painting, graphics, and sculpture. He received his degree from the Academy of Fine Arts and Design in Bratislava, Slovakia, where he explored various visual representations before settling on the language of geometric abstraction. Kučera’s work is inspired by the digital environment, focusing on composition, color, shape, and optical illusion. He is constantly seeking new ways to transform these imaging resources into new display options. Kučera has showcased his work in numerous domestic and international exhibitions and is one of the most promising young artists in the Slovakian art scene, with his pieces included in private collections worldwide.


My latest artworks explore the intersection between traditional art forms and the digital world. As a geometrical abstract painter who works on specially designed wooden frames, I am known for my use of traditional painting processes like acrylic on canvas. However, I have recently shifted my focus to the digital environment and the concept of digital space. Through my abstract paintings, I raise questions about the shape of the digital space and its invisible corners, examining the ways in which our online lives intersect with our physical ones. The result is a fascinating exploration of the relationship between traditional and digital media, and how they can be combined to create new forms of expression. / Instagram: simon__kucera

The concept of “Illuminating the beauty of science” is one of the main factors that inspires my work. In recent times, I have shifted my artistic focus towards exploring this enigmatic and ever-evolving realm. Through my abstract paintings, I strive to challenge the viewer's perspective by raising poignant questions about the intersection of our physical and digital existences. By utilizing captivating visualizations sourced from the vast expanse of the digital realm, my art represents a unique fusion of the traditional and the modern. I use state-of-the-art technologies and techniques to create a captivating aesthetic that harmoniously intersects two distinct yet interconnected worlds - the digital and the real. The result is a mesmerizing and thought-provoking hybrid that invites the viewer to delve deeper into the beauty of this intricate relationship.

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Untitled, 2023 Acrylic on relief canvas, 113 x 60 x 11 cm

Simone Sarmet


Simone Sarmet was born in Brasília, Brazil and had several individual and collective exhibitions in Brazil and in the USA, where she lived for 20 years. There she developed, among other works, an abstract series based on satellite photos that generated the solo exhibition ‘AERO’ shown at the Consulate General of Brazil in San Francisco/2014 and at the iconic Três Poderes Square, in Brasília/2022. One of the AERO pieces was also selected in 2020 for the group exhibition “Open” at the DeYoung Museum in San Francisco.

Simone studied art at the Museum of Montclair/New Jersey; at The Art Students League of New York; and at the Pacific Art League of Palo Alto/California; and participated in training sessions with artists Stella Zhang and Sérgio Fingermann. She is currently researching materials to explore Nature and the dialogue between contemporary art, nature and technology.

AERO series

Inspired by satellite photos, the AERO series traveled across the continents, exploring the poetics of space. The satellite images from space agencies across the globe were translated using mixed media in acrylic paint, with carefully chosen textured elements, revealed the malleability and rusticity of each photograph, and indeed, of nature itself. The AERO series was first exhibited in 2014 at the Consulate General of Brazil in San Francisco, California.

In 2020, one of its canvases was chosen for the “Open” exhibition at the De Young Museum of Art in San Francisco. Allow your imagination to guide you through these pieces, as if traveling through space, with the eyes of an explorer, perceiving the nuances of each location and the dialogue between the image and nature itself. Bon Voyage! Instagram: ssarmetstudio

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Aero5, 2021 Mixed Media, 30 x 48 in

Sonhita Chakraborty


Sonhita is a Toronto-based plant biologist who seeks new and interesting ways to meld two of her biggest passions – science and art. While completing her PhD in plant molecular biology, Sonhita took to making whimsical watercolour and digital paintings of cells.

Replication Dream - Double-stranded DNA unwinds so proteins can help copy it to produce two identical DNA strands again


Sonhita seeks new and interesting ways to breakdown complex biological concepts into simple playful renderings, while also showing you the beauty of the biological systems she’s passionate about. To achieve this, Sonhita tries to use pastel colours and bold shapes. Her work has been featured in undergraduate biology laboratory manuals, science journals, international synthetic biology conferences, and sciart guides to plant families. Instagram: cyberabbit

Illuminating the Beauty of Science

Scientists create breathtaking images of things all the time that remain an enigma and almost inaccessible to most people. I believe that my works can be used to explain complex scientific concepts in a way that is easy to understand and visually appealing. Making science more accessible through art is inherently beautiful as it might also inspire people to learn more about science and even pursue careers in scientific fields.

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Replication Dream, 2023 Digital art, 2.6 MB

Taiwo Omilana


Taiwo Omilana (b.2000) is a self-taught artist based in lagos Nigeria. His work was featured in CON spring edition’23 group show, London, United Kingdom.


My practice explores the body that gives hope to self reliant ,works in free-will.

Instagram: Taiwowaterz_

“Basquiat in space” shows the beauty in surrealism. My work shows how science can be featured in freewill and not just programmed… which is the beauty in everything, “freedom”.

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Basquiat in space, 2023 Acrylic on canvas , 36 x 42 inches

Teresa Leitao


I grew up in Évora, a small town in the south of Portugal. My most vivid childhood memories relate to the physical and emotional experience of natural elements, from stones to trees. In high school, always curious about the natural world, I dabbled in the social sciences and visual arts on my own, starting to do my first work around that time.

I graduated in Medicine in Badajoz, Spain, and currently work in Évora as a general practitioner in the making and as a self-made artist. My daily life involves and mixes the narratives of my patients, my relationship with their bodies and illnesses, and an inevitable and growing connection (especially post-pandemic) with the non-human world, with special emphasis on plant forms and fungi.

About this work

“These are the principles for the development of a complete mind: study the science of art. Study the art of science. Learn how to see. Realize that everything connects to everything else.”. This Leonardo da Vinci’s quote is often what keeps me going, remembering that once all disciplines were part of the same practice and that they can’t be complete without each other. My artistic practice is born from this innate belief, and is based in a way of living that combines both seeing the world through a scientific, highly specialized lens and an emotional, intuitive, human way of looking at nature around and inside me.

All of my work is definitely a way of learning “how to see”, integrating the multiple and often apparently disconnected stimuli I get from my everyday life. This work reflects that as it places vegetable forms near anatomic drawings and photographs, separated by a thin layer of paper that remembers us of its only apparent separation. At the same time, I believe it exposes the beauty and complexity of human and vegetable forms and allows us to imagine a common source or, at least, a way of looking at them side by side.

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Instagram: _teresalenc
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Nascor, 2022 Digital photography, 2362 x 3330 pixel

Tina Striuk


A fiber artist from Ukraine. Previously worked privately. Using hand-tufted soft textures, I address such themes in art works as self-awareness, discovery of inner strength, admiration of nature and exploring questions of existentialism. The yarn turned to be the perfect language to share stories about digging inside ourselves.

Being a self-taught artist, I combine various techniques, including punch needle embroidery, classic embroidery, knitting, needle felting. Vibrant colors and soft textures helps to create a tactile and organic feel to each piece.

About this work

The work depicts personal reflection on the impact of neuroscience in understanding a human being behavior. It helps to dig into the roots of the relationship between the mind and body as well as to build an integrative bridge between inner world of a human and outside environment. Instagram: tinastriuk/

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Acceptance, 2023 Punch needle embroidery, 24 x 28 cm

Valeriia Burliuk


Valeriia Burliuk (09/20/1993) is an Russian artist-researcher. Valeria began her career as an artist by studying academic art.

In 2013 she started her first experiments in new directions such as performance, technology and contemporary photography. Now Valeria Burliuk’s experimental work is at the intersection of performance and bio-art. She is inspired by photography as a tool for contemporary communication. She is currently a fellowship researcher at Bauhaus University. Instagram: valwhynot


These ice like sculptures clearly illustrate nature’s resistance. Everything man has invented will not stay inside. Nature will push the alien elements out of itself, transforming them into something new and unlike the original essence.

About this project

An experimental project about the mutation and speciation of salts in contact with water, which are used in everyday human life. These objects were created from different types of salt and kept in a freezer until new shapes and growths emerge. They clearly show not only how the structure of water changes depending on the type of salt, but also how ice is fouled with new forms of salt. This project is still at the experimental stage.

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Bio Art 3

Vincenzo Cohen


Vincenzo Cohen is an Italian multidisciplinary artist. He graduated in Painting at Fine Arts Academy and then he achieved the degree in Archeology from La Sapienza University in Rome, Italy. The path of the artist is mostly focused on the theme of nature and related environmental issues, since childhood, when after a trip to Kenya he suffered from a strong pain of Africa (Mal d’Africa). At the age of eleven, that first contact with African nature arouses emotions that will deeply affect the artist’s existential perspective.

The artist is in fact involved in nature conservation and collaborates with different Associations committed in the fight against climate change. His production ranges from figurative arts to writing and consists in reworking of life and travel experiences by exploring different social themes. Over the years his art has opened up to new experimental languages through an eclectic production with different media and styles.


The creative process of my artistic production comes from life and travel experiences. My artistic path is like a long jouney in search of myself and existential answers.

I travel a lot looking for sources of inspiration for my artistic repertoire. Over the years my artistic practice has passed through different stages and evolutions due to personal and professional experiences.

During my artistic activity, painting, writing and photography are closely connected, since in my imagery, the creative process is a flow that sweeps towards different artistic forms merging in a poetic vision of existence. My artistic production is characterized by the representation of social and environmental issues, human and animal figures, historical and unconscious contents. Instagram: vincenzocohenartist/

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Sterility of the land, 2019 Mixed media on canvas, 100 x 70

Yilin Du Jello


Yilin Du is a London-based digital artist and character designer with a diverse background in creating multimedia content. Her creations aim to provide insight into how digital technologies, new materials and aesthetics could change our approach to design and thinking. Through versatile practices, she explores how identities are continually being shaped through our interaction with media platforms.

After graduating with a MA degree from Central Saint Martins, Du’s works have been showcased at Tate Britain, Dutch Design Week and London Design Festival.

Instagram: yilin_futures_du


My project constantly explore How are digital technologies shaping our sense of identity and how will we evolve online? The series of design provocations intended to explore how our identities are continually being shaped through our interaction with Artificial Intelligence (AI) and technology.

Jello, Swallow Me

The project “Jello, Swallow Me” is a digital artwork that explores the metaphor of humans being overwhelmed by the fast development of ai technology. The artwork portrays a digital human being submerged and trapped in a sea of jello, which symbolizes the overwhelming and suffocating effects of technology on human beings. The project aims to raise awareness of the impacts of the rapid development of technology on human lives and encourages people to reflect on the current relationship between humans and technology.

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Swallow Me, 2023 Digital, 1973 × 3508

Zineb Mezzour


The Swiss-Moroccan artist Zineb Mezzour (b.1996, Rabat - lives in Marseille) is a selftaught visual artist. She studied business and computer science. Her mysterious universe, where the expression of nature comes first, focuses on the exploration of self-generated shapes. Her scientific, yet poetic work is an ode to the natural world and its spiritual teachings.

Zineb’s art journey began with the birth of the Manifesto, an unannounced creation on a piece of paper. These few words, poetry of divine nature to the artist, translate her attachment to water and her search for serenity. Following this feeling of aquatic escape, she draws invisible forms in the water that she reveals by dropping ink on them. The action of this drop that spreads over the water like a fractal, genuine tree of life, makes her aware of Natures’ creative force.

Since then, she explores different mediums as photography, ceramic and ink put a light on Nature’s beauty.

Instagram: zinebmezzour


My work examines the science behind Nature’s creativity, its mathematical and spiritual aspects. While experimenting ink on paper, I observed that the same pattern would appear again and again : a dendritic cell. A symbol that is actually well known by the eye as soon as you pay attention around you. Indeed, I started to observe it everywhere in Nature: corals, roots of trees, neurons, liquen, aeral views of coastlines, cells, etc.

In science, this symbol is called a fractal, “a geometric shape that can be separated into parts, each of which is a reduced-scale version of the whole”, like a brocoli for exemple. ( Mandelbrot ‘s definition) . Fractal geometry was invented inn 1980 by Benoit Mandelbrot. Thanks to the early-stage access to computer graphics, Mandelbrot was able to run simple fonctions a high amount of time, and observe complex designs. Today, fractal science is used to describe and understand Nature.pattern.

Fractals became the center of my research and key connector between art, science and spirituality. My work is gentle invitation to observe harmony in Nature and experience the power of the present.

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Simplicity-of-being, 2022 Porcelain, 5 x 10 cm

Image credit cover

Lea Hoffbauer, “Collision”, 2022

Oil paint and chalk ground on canvas, 90 x 70 cm


Suboart Magazin: Exhibition Catalogue “Illuminating the Beauty of Science”

Copyright artists, authors, Suboart Magazine. All Rights reserved.

Suboart Magazine is produced and published by Suboart Magazine in Lisbon, Portugal. No part of this publication may be reproduced or transmitted in any form by any means digitally or manually, including photocopying, recording, online publishing, or otherwise without prior written permission form the publisher, Suboart Magazine. All images have been provided by the artists.

Interviews, edition and graphic design: Suboart Magazine

May 2023, Lisbon, Portugal.

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