Suboart Magazine #5, April 2023

Su boart M aga zi ne

Seeing yourself improve is an awesome motivator. Keep going even if the art ends up being just for you. Your house can become the best gallery you have.

- Shari Phoenix

Lourdes Gonzalez Osnaya - 6 -

Maalik Abdul-Rahim - 8 -

Amy Yoshitsu - 10 -

Dior Thiam - 12 -

Destiny Kirumira - 22 -

Kelly McCallum - 24 -

Hillerbrand+Magsamen

- 26 -

Robert Frankel - 28 -

Anna Guyton - 30 -

Martryce Roach - 32 -

Elizabeth Rose Polvere - 40 -

Welcome to Suboart Magazine

*** Randal - Tabea Fuhrer - 42 -

Heidi Brueckner - 44 -

Ernesto José Fernández Arias - 48 -

Amy Moon - 50 -

Emily Pascale - 52 -

Olivier Mboma - 54 -

Annabel Perrigueur - 56 -

Dr. Aba Otoo - 58 -

Zhenming Kwan - 62 -

Rene Garza - 64 -

Jingting Ma - 66 -

Anna Ekre - 68 -

Ana Bathe - 70 -

Jay Daugherty - 72 -

Shari Phoenix - 74 -

Kevin Katoto Kitenge - 84 -

Nengi Uranta - 86 -

Luciana Liraz - 88 -

Chloe Maguire - 90 -

Polly Pincott - 92 -

Katie Braid - 94 -

Helen Onufer - 96 -

Gingerpotter - 98 -

Lourdes Gonzalez Osnaya

Lourdes González Osnaya was born in Mexico City. She holds a Master’s degree in Fine Arts in Crafts-Textiles from Konstfack University of Arts, Crafts and Design, Sweden, a Bachelor’s degree in industrial design from the Industrial Design Research Center of UNAM in Mexico and a Technical Research Stay in Modern Design and Traditional Crafts through the CONACyT-JICA Grant at Kyoto Institute of Technology. Her work includes fiber sculpture and installation, where she articulates traditional as well as experimental techniques: such as onion epidermis textiles and crystallized paper sculpture. The concepts she works with are based on the materiality of rituals and the characteristics of spaces and objects in a ceremonial context. By diverting our perception of ordinary materials, she seeks a point of convergence between the spiritual and the emotional within an everyday good, delving into the physical qualities and the unique language of materials extracted from unpacking a traditional practice around commemoration and mourning. Touching on topics such as the transitory and fragile nature of the body and matter.

She has received recognitions such as the Vasakronan Scholarship for Art in Stockholm, Sweden; the Anna-Lisa Thomson Foundation Scholarship for women artists, Sweden; the Global Swede Prize of the Swedish Institute and the Ministry of Foreign Affairs; the Sister Dennis Frandrup artistic residency in Minnesota, USA, among others. Lourdes has participated in exhibitions in Mexico, Japan, Sweden and Portugal, among which: The Paradox of Tears: Nature, Body and Rite in Contemporary Textile at the University Museum of Science and Art muca-Roma, Absence / Frånvaro at the Montern Gallery at Odenplan Station, Sweden, the 2016 Contemporary Textile Art Biennale Contextile, Portugal and the 8th International Banner Biennial, Tijuana, Mexico.

www.luluosnaya.com

Instagram: @luosnaya

Fossil, 2020, Crystallized Paper, 20 x 20 x 12 cm Hanging Lines II, 2022, Hand Cut And Sewn Paper, 70 x 55 x 40 cm (page 7)

Swaying Lines, 2022, Hand Cut And Sewn Paper, 50 x 60 x 40 cm

All pictures by David Osnaya

Sit in the hurt, 2020, Analog Photography, 60 x 39.78 cm (up) // Untitled, 2019Analog Photography, 54.51 x 36.13 cm (down)

Amy Yoshitsu

“I am a sculptor, designer, and socially engaged artist deconstructing the interconnections between power, economics, labor, and race. My goal is to illuminate these systems’ foundational impacts on personal schemas and interpersonal relationships. The concepts, imagery, and materials of my work are informed by infrastructure, which encompasses the act of supporting, the undergirding for creation, and the workforce maintaining our unsustainable global practices. The objects I make embody how systemic forces are driven by economic and social incentives in power structures, which play greater than acknowledged roles in our individual material, cognitive and emotional conditions. The intersecting histories and consequences of omnipresent apparatuses—from taxation to electrical grids to the maintenance of “racecraft” (Fields and Fields)—are foundational to the tapestry of human existence. I employ sewing and textiles to interweave the effects of entrenched systems on the body, the delicate, the intimate.”

Mountain Arrange, 2022, paper, ink, thread, 10 x 12 x 5 in Right column: Unresolved, 2022

Paper, ink, thread, 10 x 8 x 4 in

Amy Yoshitsu (b. 1988), she/they, is a sculptor, designer, and socially engaged artist living and working in her hometown, Berkeley, CA. Yoshitsu has been honored to be in residency at Esalen Institute, the Artist Residency Project at the School of Visual Arts, Kala Art Institute, and will be a resident at the Vermont Studio Center in Spring 2023. Yoshitsu’s work has been shown across the US and internationally. Yoshitsu’s debut solo show, Hedges and Ledgers, opens in Spring 2023 at Stachel Projects (Chelsea, NY). In 2010, Amy received an A.B. in Visual and Environmental Studies from Harvard University and then attended the MFA Art program at California Institute of the Arts. In 2020, Yoshitsu co-founded Converge Collaborative, an artist-led BIPOC workers co-op, digital creative agency and arts collective.

Amyyoshitsu.com

Instagram: @amyyoshitsu

No Right Way (Carquinez Bridge Toll Plaza), 2022 Digitalimage of sculpture (paper, ink thread), 36 x 36 in

Dior Thiam

Drawing inspiration from historical events and occurrences, as well as from personal experiences, poetry and prose, interdisciplinary German artist Dior Thiam (b. 1993) raises questions around memory, remembrance and the localities of knowledge. Dior’s works have been exhibited internationally in galleries such as Goodman Gallery Johannesburg, South Africa, Kunsthalle

Leipzig, Germany, and Galerie Cécile Fakhoury, Abidjan, Ivory Coast, to name only a few. Last year, Thiam participated in two exhibitions in the 14th edition of the Dakar Biennale 2022, the city she’ll return to at the end of 2023 for a residency with the organization “Archive”. In our interview with Dior we talked about her process-based approach of working, the importance of rituals to commemorate events and sites, and her projects “Sight In/ Visible Site” and “The Wet Eyes of the Sentimentalist”.

by Nina Seidel

Hello Dior, while preparing for this interview I had a look at your work and website where you write that you “explore untold histories, exoticism and the specific historical knowledge held by social and individual bodies.” Could you please tell me more about that?

Absolutely. What I mean by “untold histories” are histories that are historically marginalized and, referring to arts, I also mean visual histories. Exoticism is somehow intertwined with this, especially when you look at colonial history and feminist history. I many regards I feel that exoticism happens on a visual level and that’s why I’m artistically interested in it. When it comes to “knowledge held by social and individual bodies”, I am talking about different kinds of knowledge and how this knowledge can be “embodied”. It evokes

the question whether there are parts of us that hold knowledge that we don’t access easily. I think that visual knowledge is such a type of knowledge. We look at things and we see them in a certain way, so that presupposes a form of knowledge already, a knowledge that is not rational and not happening within language. I also talk about intergenerational knowledge, knowledge than can be related to trauma or joy, to many different things.

My work also raises questions around the localities of knowledge as well as memory and remembrance. This can also be the knowledge of nature, for instance, it doesn’t have to be a human body. I’ve made works that look at the sea as a body, and that, in turn, has to do with knowledge held somewhere in the sense of an archive, an organic archive. Where do we look for knowledge, where do

Dior Thiam photographed by Emeka Okereke

we think to find knowledge? Is it in the basement of a museum or can it be a forest, a human body, a group of people or art? And in what way is that knowledge being contained. My work revolves around all of these questions.

I wanted to talk with you about your work “The Wet Eyes of the Sentimentalist”.

“The Wet Eyes of the Sentimentalist” is from 2021 but I’m currently working on a continuation of it, a new series that is visually related to that first one. Generally speaking, this project took me quite long in the making, as it conceptually started in 2020 already. I finished it by the end of 2021 for the exhibition “This Bridge Can Get Us There” which I was invited to by Archive. It took place at Savvy Contemporary in Berlin that December.

It’s a series of large scale portraits based on ethnographic and colonial photography, photography that visually holds a violent history but that also contains a specific aesthetic and elements of nostalgia - colonial nostalgia. To explore these visual codes and portraitures, especially the portraiture of non-white and female bodies was very interesting to me. I had been looking for a way to work with these photographs for a long time and at the same time had also been asking myself if I could work with them at all. I had wondered how to visualize what the material holds, the representation of the people in the pictures themselves, as well the specific gaze through which those images were taken, the colonial gaze. Nowadays, these pictures are still looked at through the colonial gaze and I believe that that translates into other parts of society that aren’t necessarily related to the arts.

The weaving of the pictures happened during the process, and I didn’t want to intentionally symbolize anything with it- I feel that a viewer should be able to read the piece differently than me- but weaving as a human art form in all its ancientness is very fascinating to me, for instance in the sense of feminist histories and how weaving has been associated with either female or male artistry, how it has been very gendered throughout history. In addition to that, I found it interesting that parts of the images are hiding each other thanks to them being woven into each other and that, on the level of a micro and a macro structure, working with canvas, a woven material, brings out the structure of the image on different levels.

Right now, I am working on a new series of portraits. Instead of weaving, I’m now playing with cutting and sewing, thus fragmenting the image in a different way. I’m currently in the middle of that process and I feel that I’m becoming a bit more daring when it comes to evaluating how much of the image I can and feel comfortable to show. For me, it’s also a question of how much intervention there needs to be to break the gaze I mentioned before.

How do you choose the images you use?

I work with images from books, online archives, documentaries, with screenshots I take on the internet. I don’t only use portraits but also “snapshots” where more than one person appear in the picture. I can say that my criteria is emotional on a certain level. I feel drawn to pictures where I feel people looking out of the camera, beyond the picture, where there is certain defiance and

resistance in how they take up space in the photograph. Images where I feel that I don’t only see the photographer’s gaze.

Could you please share some of your creative process with us?

As I work in different mediums, my process depends very much on each project but there are similarities in all of them. I work research-based and mostly in series, and there is often a narrative element. So, I might come upon an image or a scene or some other visual input and then go into a conceptual research phase. I oftentimes research the etymology of words, for example, in order to know more about the “actual concepts” as opposed to what I think to know about the concept, and then I reflect on that and ideas can come up. This process then leads to a moment of fragmentation of that idea and then there’s a moment of recovery, which becomes the material work. I feel that what I do has much to do with extraction - extracting and fragmenting, and then reassembling everything to the final piece.

Could you say what is important for you in a piece of art?

At the risk of sounding generic I’d say that I usually look out for the intention of communication. The content is something that we can differ on but for me, a piece doesn’t touch me solely or even mainly in the brain, I also need something sensual or sensitive. I also need a feeling of beauty. In my own work you’ll find harmony, too, and I don’t talk about prettiness, but rather a sense of aesthetic beauty, of sense. Those are the works that I connect with the most. Beauty can give you a sense of calm, can make you rest for a moment. It doesn’t have to

make you feel comfortable but a beautiful thing can make you actively look at it. And I’m most inclined to art and artists that tell a story.

In your work “Sight In/Visible Site” you retrace the architectural shapes built for the human zoos in 1896 in Berlin’s Treptower Park with black spray paint and ask, among other questions, “what remains when history is made invisible. How do we remember what?” Nowadays, this is a big topic, digging into our past and proposing to take down certain statues, for examples. What is your take on that?

I feel that it’s a very big question of our timerevisiting sites, archives, digging up and putting something out into our world, into the chaos. The work you mentioned was really interesting to make because it was performative and very different from what I’d done up to that point. I think my main interest was exactly this: what is a site? In Treptower Park there no statues to commemorate that event, that violence, it’s not a visible site, so the question is, do we then say it is not a historical site? What does a “site” mean?

When it comes to statues, for example, my approach is that yes, I think it is a necessary step in many cases to take statues down but there needs to be a next step as well. For me it’s the idea of sites as rituals. How can we remember where something happened and what happened there, and how can the telling of that history stay in movement? I think that a historical site has to live, people need to put their time into it or otherwise, it will be directed towards the past again, telling the same story as the monument was supposed to tell when it was

still there. So, for me it’s not only about the visual aspect but also about a performative aspect. If the place isn’t alive, it can’t really continue to tell a story that reaches us and at the same time, putting up a bunch of new statues everywhere wouldn’t really solve the problem. I feel that we need a format that can be retold as we go on, retold by next generations as well - that, to me would be worth saving. And it remains in any case - the idea of that artwork was that if nothing is built to commemorate, the soil still remains, commemorating, remembering. And even though that memory might not always be visible to us, it is still there. That history has happened there, whether we know it or not.

You work a lot in installation and also performance. What do you like about it and how do you think the ephemeral character of this technique adds value to it?

Performance to me hasn’t mainly been something I do with my own body. The value that I believe it can add is what I mentioned before, moving along through history. The performance that I directed in the piece “Sight In/Visible Site” was rather about how to move with and beyond the space instead of just putting an artwork there and fix it forever in that space. I’ve worked a lot with site-specific installation as well as sound installation and there is this ephemeral character in many of my works. That makes me think that maybe it’s the process itself which lasts and not that much the art piece itself.

strategies of how to approach topics- not only visual ones, but all kinds of topics. It proposes a kind of process, and I believe that this is what almost every artist does, right? Look for a process that makes sense to them and how they think about the world. So, I hope that there is a good proposition in the process that I’m trying to refine. I hope to propose something that transcends the art space, that people can apply in other spheres of life, that makes people feel something. I would like for us all to change how we look at things and realize that when looking at something we’re actually doing something. How do we see art, people, ourselves, our role in society? I do want to bring up these “big” questions but in ways that allow moments of rest and beauty, not only of hardship.

Any advice that you’d like to share with fellow emerging artists?

My advice is one I have to give myself over and over again and that is to really stick with what you like in art, not what you think is “contemporary” or does well at the moment. Be sure you like your own work and be sure to do it because you mean it. Any of the projects that have been in some way successful were the ones that I found important to realize. Whenever I would think too much of the outcome, however, I would get too tense and I believe that this tension can always be seen or at least felt in the final piece. So that would be my advice, don’t be too tense about the final outcome. But I don’t always manage to follow that advice either.

What would you like people to remember from your works?

What I really love about art is that it can propose

And last question, what are your hopes for the future?

In inelegant terms I’d say I hope that we can get our shit together soon. (laughs) It’s about time. It’s a simplified way of saying it because I know it’s not that easy but at the same time I think it’s not that hard either- it shouldn’t be that hard. Most of us know what the right thing to do is in serious situations but still we don’t do it. So, I hope for the world to change in a more positive way, cause we’re not going in the right direction on a big scale at all. At a closer look, of course, positive things are happening, too, but they need to happen on

different levels, on all levels, really, and we should be more decisive in getting us all there - that, at least, would be my wish. But I’m also a very impatient person (laughs).

https://diorthiam.com

Instagram: @dior.thm

“Sight In/ Visible Site” was brought to life with contributions from: Black Art Action Berlin, Naomi Boima, Landouma Ipé, Kang Sunkoo, Nils Mojem, Fatima Njoya, Savannah Sipho, Demba Tall, Alicia Wenzel and Joachim Zeller.

The Myth of Emptiness-Mirrors, 2022, Inject print and oil on poplar wood, 50 x 40 cm

Page 18: The Myth of Emptiness-Matrix, 2022, Inject print and oil on poplar wood, 60 x 40 cm (up)

Page 18: The Myth of Emptiness-Mosaic, 2022, Inject print and oil on poplar wood, 60 x 40 cm (down)

Sight In /Visible Site, 2021, Cray Spray Paint and Performance Dekoloniale Festival, 2021 (pictures by Daniela Incoronato)

Stick with what you like in art, not what you think is “contemporary” or does well at the moment. Be sure you like your own work and be sure to do it because you mean it.

- Dior Thiam

Destiny Kirumira

“My art poses questions surrounding race, gender, and politics to create a space for honest reflection. My work discusses themes of identity and representation by inserting contemporary portraits of Black people into inhumane yet realistic depictions of everyday life. All my pieces work to dispel the myth that we live in a utopian world. I often take everyday things, things that we see, things that we dismiss as peaceful and passive, and expose them for their violent acts. I use realism and abstraction as tools to focus the viewer’s gaze onto and away from specific figures and subjects. At times, I attempt to reconcile misrepresentation or underrepresentation of Black women in art by embedding myself into my work. I am then directly portraying how I think I, and other Black women, should be painted. This assertion not only places the contemporary portrait as the focal point but also challenges and questions the depiction of Blackness in art.”

Home, 2021, Oil on Board, 10 x 10 in Next page: The Cost, 2021, Oil, 55 x 73 in

About

Destiny Kirumira is a Black visual artist and architect. After receiving a Bachelor of Arts in Mathematics and Physics from the University of Alberta in 2018, she completed her Master of Architecture at the University of Calgary in 2021. She is pursuing her Ph.D. at McGill University, which centers on the architecture of Black settlements in Canada. As both an architect and artist, Destiny’s work attempts to uproot and reconcile the roots of racism in both fields with a current emphasis on Black spaces and narratives. Ultimately, her art poses questions surrounding race, gender, and politics to bring attention to some of the world’s most grotesque injustices.

Opinions of white men keep me up at night, 2021 Oil on Canvas, 42 x 54 in

destinykirumira.com

Instagram: @destinykirumira

Kelly McCallum

Kelly McCallum does not want to tell stories. Rather, she invites you to tell stories. Her pieces offer a “Once upon a time…” and then leave the rest open. Her sculptural works cry out to be part of history, but despite their innate materialism – their claim to be witness – they place no demands on the truth of, or even the shared experience of, that history. By breaking the essential narrative of the animal - nature, idyll, tranquility - memories are broken and subverted. There is no option but to reconsider and re-understand.

www.kellymccallum.com

Instagram: @kelly_mccallum

Her latest series “Totems” sees a shift to works on paper, evolving her practice of taking inspiration from the natural world in order to reflect further psychological landscapes. The abstraction of these pieces is overlaid with echoes of snails, insects, and strange, ruminating animals. They operate in the interstitial space between conscious and subconscious, a hinterland which is neither fully real nor entirely dreamt. Totems embody relationships between individuals, but, for McCallum, their creation was a reflection on the loneliness she was then experiencing in rural Portugal. This paradox — a relationship defined by solitude — again leaves open the role of the observer in the continuing construction of these pieces. By bringing their own stories and meanings to “Totems”, these observers join a widening ‘kinship group’, imbuing the works with a deepening sense of connectivity.

Reflecting pool, 2011 Mixed media sculpture, 130’’ x 60’’ x 16”

Totem, 2023, Watercolour & ink on paper, 18” x 24”

Totem, 2022 Watercolour and ink on paper, 18” x 20”

Hillerbrand+Magsamen

ReAction Biotic, 2021

Hillerbrand+Magsamen are a collaborative husband-wife team who have worked collaboratively for over 20 years on videos, photography, installations, and interdisciplinary performances. Hillerbrand+Magsamen’s work has been presented at festivals including Ann Arbor Film Festival, Fusebox Festival (Austin, TX), CounterCurrent Festival (Houston, TX) and Diffusion Photography Festival (Wales, UK). Exhibitions include the Grand Rapids Art Museum (Grand Rapids, MI), Everson Museum (Syracuse, NY), and Center for Photography Woodstock (Woodstock, NY). They have received grants from Sustainable Arts Foundation, Austin Film Society, Houston Arts Alliance and Experimental Television Center and participated in residency programs: ower Manhattan Cultural Council (New York, NY), Experimental Television Center (Owego, NY), Wassaic Projects (Wassaic, NY), Vermont Studio Center (Johnson, VT), I-Park (East Haddam, CT), Lower Manhattan Cultural Council (New York, NY), Experimental Television Center (Owego, NY), Elsewhere (Greensboro, NC), Lawndale Art Center (Houston, TX) and Santa Fe Art Institute (Santa Fe, NM). Stephan Hillerbrand is a recipient of two Fulbright Fellowships (Germany) and MacDowell Colony (Peterborough, NH) residency.

Hillerbrand+Magsamen explore the relationships between home (house and family), histories, memories, and the mise-en-scène of daily lifestyle and consumerism. They have made a rocketship in their backyard, tunneled through holes in their home, constructed over 200 devices from household objects to help with life’s challenges, and used electricity to burn photographs with fractals. In the “ReAction” series, Hillerbrand+Magsamen are taking everyday objects and actions and playfully transforming them with photography, painting, drawing, and sewing. Like alchemists conjuring, they react in the studio, mixing up materials and memories and creating new interactions, stories, and objects. There is a sense of play, abstraction, and chance combined with physicality and control through the process of making as they take the photographic image and directly manipulate the surface by sewing into it, spraying paint on it, or drawing with charcoal.

ReAction Spin, 2021

Archival Inkjet Print, thread, acrylic paint, 24 x 24 inches

www.hillerbrandmagsamen.com

Instagram: @hillerbrand_magsamen

Archival Inkjet Print and spraypaint, 24 x 24 inches

ReAction Necklace, 2021

Archival Inkjet Print and thread, 24 x 24 inches

Robert Frankel

“I am a storyteller who creates tales using paint and canvas. My work is intuitive and connects and resonates with the subconscious part of our being. I try to create energy and motion on the canvas by contrasting bright colors and unusual shapes and patterns with the aim of making an emotional connection with the viewer. Many of my paintings have a dreamy surreal feel to them. My goal is to make the world a happier place one painting at a time.”

As a self taught artist, Robert has spent over 20 years exploring painting and wood sculpting, his abstract works featuring bright colors and unusual shapes and textures. Robert has participated in countless exhibitions and art fairs, among others, the Venice Biennale in 2022, as well as World Art Dubai (Saphira & Ventura Gallery, 2022).

RobertFrankelArt.com / Instagram: @robertfrankelart

Alternative Reality, 2022, Acrylic on Canvas, 24 x 24 x 1,5” Diptych #1, 2022, Acrylic on Canvas, 24” x 24” x 1,5”

Multi-verse #3, 2022, Acrylic on Canvas, 24” x 24” x 1,5” Spring!, 2022, Acrylic on Canvas, 24” x 24” x 1,5”

An afternoon at the aquarium Acrylic on Canvas, 24 x 24 x 1.5”

Anna Guyton

“My practice employs art as a means of representing the embodied self, reclaiming space, and fat queer liberation. Growing up fat during the so-called “obesity epidemic” infused my psyche with stigma. From a young age I was made to understand my body as inherently flawed, something to change, and a threat to my own well being. By making art with and about my body, I have discovered a genuine love of my form that once seemed impossible. I am inviting you to shamelessly connect with your flesh and re-examine your assumptions of fatness as an image, word, and experience. The weaving process is heavily concerned with negotiating how space is distributed and policed, forcing the photographic prints into extremely tight circumstances. By weaving two prints together, I imitate the physical discomfort of forcing a fat queer body into spaces constructed without us in mind. These spaces– school desks, skinny jeans, plane seats, church pews– both highlight and erase bodies that do not conform; the woven images similarly obscure one another’s legibility while simultaneously generating new meanings. The act of weaving gives a literal weight to the print, its physical presence heightened as it literally grows heavier. The depth created through this method resists the presumption of an image as something flat or static, which is reflective of fat bodies transcending an idealized flat or fixed physique.”

Anna Guyton is a photographer and fat activist who was born and raised in Fayetteville, AR. They recently completed their undergraduate degree in studio art from Reed College. Anna’s art practice emphasizes photography’s materiality through physical manipulations of prints and employs photography as a means of representing the embodied self, reclaiming space, and fat liberation.

Translation, 2022, Handwoven Print, 13 x 19 in Containment, 2022, Handwoven Print, 13 x 19 in (next page)

Transfigure, 2022 Handwoven Print, 13 x 19 in

Martryce Roach

Through her colorful, energetic pastel drawings, New Jersey artist Martryce Roach constructs art stories that speak to the human experience, particularly as it relates to African American culture. Incorporating elements of music, education, geometric shapes, and environment into her pieces, Martryce’s current, fresh, and cultured works strive to create a kinesthetic experience for the viewers. In her conversation with Suboart Magazine, Martryce spoke about her deep connection to her drawings & their stoires, the importance of music in her creative process, and having found her own artistic way to be a social advocate.

By Nina Seidel

Please present yourself shortly and tell us how you got into visual art.

I am a visual artist from New Brunswick, NJ (USA). I earned a Bachelor’s Degree in Public Health and Africana Studies and a Master’s Degree in Social Work from Rutgers the State University of New Jersey. Working with people, resolving problems, advocating for change, fighting against injustice, teaching coping skills, and inspiring resilience have shaped a lot of the context for my work. With the exception of one figure drawing elective in college, I don’t have formal training in the arts; I have always just created from my experiences and passion.

You studied Public Health, Africana Studies and

Social Work. How did you “become” an artist, coming from a different professional and academic background?

Creating art is something I’ve done since childhood to escape into my imagination, and as a social worker, it became a very therapeutic way for me to unwind from the demands of my career. My coworkers encouraged me to think about exploring a professional career in the arts, so, I introduced my work professionally in 2014 at The House of Art in my hometown. When I first started creating, I mostly accepted commissions to create pastel portraits for individuals and families. In doing so, I was never satisfied with plain backgrounds. None of us have plain backgrounds. I became very interested in the twists, turns, blocks and waves

Know more about Martryce: https://martryceroach.com Instagram: @martrycetheartist

National Medical Fellowships (NMF) Gratitude

Gala in Miami, Fl. A generous portion of those proceeds will benefit the organization’s efforts of reimagining healthcare. For more than 75 years, NMF has provided over $45 million in financial assistance to talented Black, Indigenous, and People of Color (BIPOC) students underrepresented in medicine. My art has enabled me to contribute to that.

Who are the people in your paintings?

Not every single time, but mostly, my work is filled with figures of people I actually know and love, my family, my friends, other local artists and musicians. I have also referenced my own image in works at times. Doing that makes the creative process feel more personal. One self-portrait, pastel drawing I created in 2021, “Unseen”, is currently on view through Woman Made Gallery in Chicago, IL (USA) as a part of a virtual group exhibition entitled, “Windows to the Inside: Expressions of Mental Health”.

An art mentor and dear friend of mine, Kortez Robinson, was referenced in the creation of “Liberation Night”, a pastel drawing created in 2022. It depicts a scene layered within a large high-rise project community and surrounded by old rusted, metal, chain link fences. This house music maestro, Kortez, remixes the entire atmosphere. The turntables, the musical instruments, the people, the elements of the city are all moving together as one under the sounds of the conductor as the vibrations break the chains of fences. It’s about how liberating music can be.

Together,” is all about the restlessness and uncertainty of the world, while also portraying the reassuring, peaceful energy of a sisterly support. It was created with my own line sisters of Alpha Nu Omega Sorority, Inc. in mind. Digital images of this powerful piece are currently on display in the brand new, world-class Terminal A at Newark Liberty International Airport (EWR) where it’s positive energy will usher millions of people along their travels.

Would you mind sharing some of your creative processes with us?

Music is an ESSENTIAL part of my creative process. My ideas stem from my experiences, my perspectives on social challenges and environments. Art is a way for me to communicate the complex way my mind process everything. Music is a conduit for me. When the music is right, the ideas flow out of me like water.

Nowadays, many artists work digitally. Could you put into words how painting manually makes you feel and what it offers you that working digitally can’t?

Another pastel drawing, “Facing the Future

Recently, I’ve gotten into painting. However, I work mainly with pastels – no tools. So, the process involves me using my hands and being covered in pigment. By the time I am finished with a piece of art, I am a part of it in a very physical way. My whole energy is all over it, and it becomes a part of me. It makes me feel very connected to my work, to the stories. I’ve never worked digitally, so I really can’t compare the experiences. I think some digital art is absolutely breathtaking! It’d be interesting to learn from digital artists how they feel when they

create.

Is there any current or upcoming endeavor that you’d like to talk about?

Chicago, lets go! I can’t wait to get back to the city I am so in love with this upcoming Spring. My art will be on view at The Other Art Fair Chicago, April 27-30, 2023 at Artifact Events. I will be debuting my first oil painting there. It is a massive 6ft tall landscape of surrealism depicting the story of my near death experience and my real-life hero. I will also have another massive original pastel drawing and lots of limited edition prints for sale.

Any advice that you’d like to share with fellow emerging artists?

I am so careful with dishing out cookie-cutter advice. Everyone’s journey is so unique. What works for one may not necessarily work for the

next. One thing’s for sure, it’s always good advice to stay prayed up. I truly feel like I have a purpose in what I do, and it is my relationship with God that aligns me right where I need to be.

Any emerging artists you’d like to recommend?

Yes, Heather Williams (@heatherwilliams.art), Demarcus McGaughey (@demarcusmcg) and Dawn Stringer (@art_by_dstring).

And last question, what are your hopes for the future?

I have been applying vigorously to different residency programs abroad. I would love to learn more about the African diaspora and experience our culture in different environments. I hope to expand my practice internationally in the next five years.

Camouflage, 2022 Pastel on paper

When the Sun Goes Down, 2022 Pastel on paper

It’s the MD for Me, 2022 Pastel on paper

By the time I am finished with a piece of art, I am a part of it in a very physical way. My whole energy is all over it, and it becomes a part of me. It makes me feel very connected to my work, to the stories.

- Martryce Roach

Liberation Night, 2022 Pastel on paper

Randal - Tabea Fuhrer

Artist Statement

I incorporate organic elements into the artworks which resemble a reflection of my inner thoughts and metaphors. It’s like looking into the corners of my mind – abstract ideas that sometimes lack words to explain them. I try to capture these feelings through composition, colors, and textures within each piece; creating something unique from what originally inspired me. The viewer is invited to create their own interpretation of the images and feelings that they provoke. I am deeply connected to nature, which is also my main source of inspiration. I feel a strong synergy between its shapes and materials and the human circle of life. Nature helps me to translate my inner world into the language of art.

Biography

Randal is the creative alter ego of Tabea Fuhrer, a German painter and multimedia artist based in Portugal. Her journey began at a young age but she has only recently decided to share the work publicly. Her expression knows no boundaries. She works with acrylics in an abstract way and natural collages, combining scanography, physical natural elements, and digital enhancement.

https://ta-bea.com/art/ Instagram: @whoisrandal

Seedlings, 2022 Natural collage

The Egg, 2022 Natural collage

When it’s spring in your mind but autumn in your body, 2022, Natural collage

Heidi Brueckner

Biography

Heidi Brueckner is a Professor of Art at West Valley College in Saratoga, CA where she has taught painting, drawing, and design for almost 23 years. A native Californian, Brueckner studied at the University of Heidelberg and The Goethe Institute in Germany in the late 1980s. During this pivotal year, she visited the major museums of Europe and found herself heavily influenced artistically by 20th century German art. Brueckner received a BA in Fine Art and a BA in Art History from University of California, Santa Cruz in 1991. She received an MFA in Painting from University of Kansas in 1997. Professor Brueckner’s work has been shown at museums, galleries, colleges, and in publications nationally and internationally. She has received several awards and scholarships for her work.

heidibrueckner.com

Instagram: @heidi.brueckner

Statement

Inherently, we are interested in observing others as a way of understanding ourselves. My work is inspired by this curiosity and allows the viewer to participate. These works are individualistic narratives which explore personage through self-presentation, facial expressions, and gesture. They often inspect the under-revered, and appreciate the subject’s presence and dignity, giving pause to honor the person. The aesthetic is assertive and the color is divorced from naturalism. Skin color is therefore eliminated which for me this is metaphorical for the hope that society aspires to, and achieves equality among races and other kinds of human differences. With some of these works, I’ve been experimenting with texture and the physical quality of the surface through using alternative recycled materials such as pieced-together bubble mailers and paper bags. I’ve found them to be exciting and sturdy surfaces and believe these media add a uniquely interesting and environmentally friendly component to the work.

Page 45: Big Beatty Board Boss Brent, 2021, Oil and Yarn on Recycled Amazon Bubble Mailers, 78.5 x 48 inches

Page 46: Waiting to Wait, 2022, Oil and Paper, Dichroic Film, Tile, Thread, Tulle, Ribbon, Sequins on Recycled Amazon Bubble Mailers, 72 x 45 1/4 inches

Page 47: Squatters Club, Cuba, 2021, Oil and Paper on Recycled Poly Bubble Mailers, 78.25 x 46.5 in

- 44 -

Ernesto José Fernández Arias

About

Ernesto José Fernández Arias, born August 15, 1997 in Havana, Cuba. Study at the “National Fine Arts Academy San Alejandro”. Initially interested in video art and video installation, he takes a remarkable turn in his artistic interests and concentrated on painting. Currently and for some years has been developing his pictorial work, accumulating pieces of art until he feels comfortable and satisfied with the level reached. This is why none of his art works have been exhibited. Actually, resides in Madrid, Spain.

Statement

Everything we see now, existed before as a possibility. This is why I believe that the artist is a bridge from which creation reveals itself in the physical world. In my painting process new possibilities are always arising, that suggest ideas for the upcoming work. Not knowing were my next painting can lead me or what aspect to investigate is my greatest motivation. Following this work philosophy has unconsciously led me to study the human body, delving into its shapes and details, also using it as a tool to compose on the canvas. Another aspect that is fused with my current work has been a previous fascination about vegetation, which has evolved to blend with my actual study of human anatomy. By accumulating work and developing these ideas, I am recording my experience with these subjects and finding new interests in painting.

Instagram: @e.jota.f.a

Camila & Ernesto, 2022, Oil on canvas, 100 x 60 cm / Next page: Embrace, 2022, Oil on canvas, 126 x 96 cm

Amy Moon

Amy Moon (b.1999) is an artist based in New York City. Constructing surreal-like compositions embedded with personal narratives, she seeks to blur the line between fantasy and reality through her paintings and find harmony with clashing images. Many of her paintings reference everyday, mundane scenes integrated with juxtaposing elements and objects that are taken out of their normal spatial contexts.

Her process usually involves digitally creating collages of images both from her own photos and from the Internet then using them as preliminary sketches for her paintings. While her sketches on Photoshop are flat and disorderly, she aims to show spatial depth and harmony in her physical outputs. Her main artistic medium has always been acrylic paint; however she has also experimented with materials she often encounters in every-day life such as cardboard, plastic, and clothing fabrics as she seeks to reinterpret the purpose of these everyday materials. As of late, she has been interested in working with images of domestic objects, such as fermenting pots, reminiscent of her childhood in South Korea. While they point to her own particular childhood memories, these objects are also associated with female labor in South Korea, pointing to the country’s lasting gender norms.

Website: https://www.amy-moon.com/

Instagram: @by.amymoon

Bloom, 2019, Acrylic on canvas, 15 x 20 inches

Next page: Mexico, 2021, Acrylic on wood panel, 24 x 36 inches

Emily Pascale

About

Emily Pascale (B. 1998, Jingdezhen, China) is an oil painter based the Greater New York City Area. She is an alumna from the University of Oregon, School of Journalism and Communications, where she discovered her passion for visual storytelling. Emily’s paintings are greatly influenced by her identity as an Asian adoptee and reflect the experiences she faces culturally and socially as she navigates young adulthood. The common themes throughout her work revolve around individuality and self exploration. She expresses this through narrative figures and portraits, using a colorful palette to convey a specific feeling relating to the emotional realities of self-discovery.

I use oil painting as a tool to process the experiences I’ve had as an Asian adoptee growing up in a predominately white neighborhood. These experiences often revolve around the complexities of identity, belonging, and bridging the gap between two cultures. My process has become therapeutic for me in many ways because it encourages me to connect with the wounds of my inner child and find a sense of healing or deeper connection with myself while I paint. Using a vibrant palette and a mix of fine detail and exaggerations, I depict single narrative figures as a representation of isolation while the subjects grapple with a pride, resentment, anxiety, and vulnerability. My subjects portray a variety of female Asian faces for all the Asian adoptees on the journey of exploring their identity.

www.emilypascale.com

Instagram: @emilypascale

Indulge, 2022, Oil Painting, 18 x 24 in Next page: Everything is Fine, 2023, Oil Painting, 30 x 40 in

Growing Pains, 2022, Oil Painting, 24 x 24 in

Annabel Perrigueur

French native, Annabel Perrigueur is a Philadelphia-based painter and mixed media artist oriented towards sustainable renewable resources. Graduated from a Business school, she had a long training program at Ecole des Beaux Arts (the school of Fine Arts) in Paris. She launched her own creative business when she moved later to the USA. Inspired by Fashion, Pop culture and travels, Annabel shapes volumes and colours to create modern and sculptural artwork. She is constantly seeking surprising effects and textures by incorporating unexpected materials into her paintings. Following her strong affiliation to craftsmanship, she is playing with crystals, metals and feathers.

While she brings Joy and Happiness along with her radiant LOVE or Pop art work, she succeeds as well to raise awareness about fragility and ephemeral side of our environment by upcycling wasted recycled materials into Art such as Nespresso caps Annabel customizes Unique art pieces for stores and collectors worldwide. She collaborated with multiple Institutions, corporations such as Forbes Travel Guide, Doctors of the World USA, the National Liberty Museum and the Neon Museum in Philadelphia. She also, has been regularly holding exhibitions in different Art galleries in the greater Philadelphia area and New York City. In 2022, her paintings have been selected for being part of the Penn Medicine and The Black Doctors Covid-19 Consortium’s permanent collection.

LOVE in St Barth, 2022

Mixed media painting + recycled Nespressocaps 24 x 24 inches

Sweet LOVE, 2022

Mixed media painting + recycled Nespressocaps 12 x 12 inches

Glass LOVE, 2023

Mixed media painting + recycled Nespressocaps + glass 20 x 20 inches

Dr. Aba Otoo

With a doctorate degree in Pharmacy, Accra based contemporary artist Dr. Aba Otoo (b. 1997) creates conceptual mixed media compositions on canvas that explore skeletal anatomy within the concept of the beauty of humanity. As the first female Junior Fellow at The Noldor Artist Residency in 2021, Aba began to use her art to talk about discrimination, inequality, and racism. In her interview with us, the artist spoke about her beginnings in the arts, her fascination with the skeletal anatomy, and why before anything else, we are all bone.

For those who don’t know you: please tell us who you are and take us back to your beginnings in visual art.

I am Dr.Aba Otoo, a contemporary mixed media artist and clinical pharmacist. Wow! This journey begun with someone posting a sip and paint in their Insta stories about three years ago. My need to create was Immediately aroused! It took me running away from home on Friday night, (I got in trouble for that, FYI), catching a bus to a restaurant 2 and a half hours away from home just so I could partake in an organized, sip and paint activity. There was a very intense need to just give painting a try. I had no idea why or how to paint and I could not shake of the idea for days. I went alone. I didn’t care that I knew no one. I enjoyed myself so much. People thought I was already an artist. It was the best most pivotal night of my life so far. I knew

something had clicked within me.

You have a doctor degree in pharmacy & you explore your acquired knowledge of the skeletal anatomy in your works. How did that come about and are you still working as a pharmacist?

I am still actively practicing as a clinical pharmacist as my 9-5. Over the years I have had to learn how to properly balance them in their respective proportions. I believed they complement each other beautifully. My fascination with the skeletal anatomy come way before I met it academically on a tertiary level. Although my field did not focus too much on skeletal anatomy, one class in my first year did it for me. It sparked my interest in viewing human beings as their core framework, which is bone as opposed to seeing them through the lenses of Societal segregation and external descriptions.

Find Aba on Instagram: @dr.abaotoo

It was no surprise to me when I started doodling bones for fun and felt a strong connection with it in my heart.

In your statement you write: “Before I am black, before I am woman, before I am young or old, I AM BONE”. You also use your work to speak on issues surrounding discrimination, inequality, inequity, and racism.

We live in a world where the very first opinions that’s a most likely lasting are all based on, external factors, or things that meets the eye immediately: the colour of a person’s skin, the texture of hair, the accents in their speech, gender, height, weight, age. I think that people never take the time to learn people for their capabilities. We tend to forget that when we peel away the many layers of description and tools sometimes used as racist weapons, we are all blood and bone from within primarily and way before the layer of flesh and its characteristics come to light.

For example, it is a known fact that female artists make 23% less than male artist off for creative output. I ask this: why should the value of arts be based on the gender of the creator? I’m absolutely convinced that if someone were to chance on my art in a museum, the last thing they would guess correctly would be “ oh a woman painted this”. Unless they were told, of course. This works the other way round too. If a man excels in a female dominated work field, for example, being a nanny, I see no reason why there should be any mental restrictions or barriers to allow him to explore that.

I love that the viewer can neither tell the gender nor the age, occupation, race, etc. of the subjects I paint. That is the message.

Would you mind sharing some of your creative process with me?

Before I start with an art piece, I first have a strong feeling of what I want to communicate. That is the beauty of conceptual art! It does not live by rules of aesthetics. The art form is first the message it carries. Then, I find suitable human references; poses to convey the kind of emotion I’m going for. And then the magic begins, I begin to superimpose a hypothetical but bear accurate bone structure and how they connect in that pose. I easily enter a state of flow at this point. I draw the framework unto a primed canvas and then layer with white paint. Finally, I apply my Crimson red ink, a metaphor for erythrocytes or red blood cells that lay in the bone marrow of a human.I then clothe my subjects with their skin- the pantyhose. I express their divinity through golden halos and celebrate the African woman through household pegs. The specific placements of these elements are solely dictated by my peaceful state of flow and serendipity.

You live and work in Accra, Ghana. How is the art scene there?

The art seen in my country and city is one that I would describe as growing and vibrant. There is a recent hunger for the arts, and more and more young artist, as well as curators and collectors, have come to realise the massive potential that the Art scene in Accra has. I am excited for the feats yet to be reached.

What are you currently working on?

I am currently working on two projects. The first is a three-piece series, 1st of its kind in my studio,

where I simultaneously present the whole human: flesh and all, along with the bones beneath. I think it would be interesting to now visually pair what I have been saying in my artist statements about peeling back layers side-by-side with my regular work with only bones and panty hose. It would be interesting to see how the art lovers make sense of that.

I am also laying groundwork to a very exciting project, where I, along with a curated team of artists, visit some high schools to tell our stories as artists, and to begin to tackle the stigma and prejudice that African parents have about art, where it is generally viewed as a struggling Man’s work. Ultimately, it’s meant to ignite excitement and passion in the hearts of children and to eliminate foundational fear of pursuing your passions.

What are your hopes for the future?

I am hopeful about my art carrying more substance and weight pertaining to the message I preach. That it would breed love among all kinds of races and genders and strike up conversations. I am personally very curious to see where all this grit, resilience, and talent that God has placed inside of me will take me. It’s definitely NEVER to be mediocre. Museums and art fairs should probably start booking me now. Hahaha

Any emerging artists you’d like to recommend?

Yes, I’d like to recommend Joshua Oheneba, Abdul Rahman Mohammed and Araba Opoku. I think they’re creating amazing work that the world needs to hear about and experience.

The Hijabi, 2022, Mixed Media, 100 cm x 100 cm

Soul Community, 2023, Mixed Media, 150 cm x 100 cm (up) / Soul Sister, 2023, Mixed Media, 150 cm x 100 cm (down)

Zhenming Kwan

Jazz speaks

Jazz Speaks uses font design as a method to discuss what modern jazz is in a contemporary context. The geometric abstraction of this typeface demonstrates the conflict between Europeanization and de-Eurocentralization of jazz in the process of modernization. Each letter changes its shape following different letters, to express the significant core call-and-response pattern in modern jazz.

Instagram: @zhenming_kwan

About the Artist

Zhenming Kwan is a visual artist and visual communication designer based in London. His interest is in exploring the workings and potential social meanings of nonverbal communication systems in different social structures. He experiments with different design methods and visual generation methods in his works. His work is often inspired by multiple disciplines and practised in his main fields — typography, publication design and more.

Jazz Speaks, 2022, font on sugar paper, 29 cm x 672 cm (both images)

Jazz Speaks, 2022, font, no size

Jazz Speaks, 2022, font on sugar paper, 29 cm x 672 cm (The same work is shown on page )

Rene Garza

Biography

Rene Garza, is a multidisciplinary artist based in Houston, TX. Garza spent over 15 years as a fashion and celebrity stylist traveling the world in a business ruled by visceral aesthetics. Garza tends to work with found or sustainable materials that would otherwise end up in landfills. Garza’s biggest achievement was the exhibition of a drawing on paper at The Metropolitan Museum of Art in NYC. Another highlight was a site specific sculpture made of up-cycled PVC pipes chosen to represent Houston and greet guests at the Entrance to the 2018 Texas Contemporary Art Fair. Garza’s largest site specific public art installation covered an entire buildings’ facade measuring 25ft x 100ft and was meant to inspire calmness in our busy lives. CraftTexas 2022 at the Houston Center For Contemporary Craft recently showcased one of Garza’s sculptures. 2023 will end with a solo show at The Brownsville Museum of Fine Art.

Destined To Repeat, 2021 Textile, pvc, paint, cardboard, 13’ x 14’ x 17’

Bursting Bloom, 2021, Textiles, metal rods, paint, 21’x32’ (p65)

Artist Statement

The unifying theme that connects throughout my work is intent. My process is multidimensional: Creation, reflection, and activism. I deconstruct meaning by reusing textile waste. The process & materials used are often the reason for the works. My art is minimalist. I use simple shapes & lines and a limited color palette to clearly deliver my ideas. I explore the divide between high end aesthetics and the discarded residue of our world. My fashion design background is used to explore a three-dimensional vision. In fashion, a person’s shape informs the fabric, now I use textiles to inform shapes. Many of the lines in the structures mimic those of the human body, of sensuality. Working with recognizable fragments such as sleeves and deconstructed jackets assembled in an orderly stacking, the works dissect not only the suit but also its meaning. Knotting and braiding of fabric are other repetitive techniques used.

https://www.renegarzafineart.com

Instagram: @rene_garza_art

Bestowed Upon, 2021 Textile, metal rods, monofilament, 7’ x 15’

Jingting Ma

About this project

There are people (especially womxn) ashamed of having stretch marks and trying to erase them. But to me, these natural stripes are beautiful and worth praising. Stretch marks stand for the growth of the body, the change of our shapes, and the birth of life. They speak for our bodies and sing hymns of life. My purpose is to express the beauty of stretch marks through weaving and textile design. With the created texture and three-dimensional effect, I highlight the marks that nature rewards us as humans. Who said we need to hide it? We can embrace and show its beauty bravely and proudly. With Yujie Zhou, a photographer located in Helsinki, we created these photos together to add to the value these woven textiles present, as we found that nature has its own stretch marks as well. For example, how the sunlight reflects in the water and the ripple created by the wind, the annual rings of the tree, the wrinkles on the bark…

Jingting Ma is a textile designer born in China and is now in Nordic Europe (Finland and Sweden). Her major interest is weaving. Having a background in textile engineering and now textile design, she is fascinated by digging into woven structures to create special textures on textiles. As a part of a Chinese ethnic minority group, she grew up finding the tight relationship between textiles and women when she noticed women in her village always making textile products with folk techniques. And as she got older, she found that womxn have the characteristics of textiles, soft, calm, loving, strong, and unbreakable. Womxn are textiles, and textiles can be the perfect carrier to show femininity. Therefore, she decided to focus on the relationship between womxn and textiles when createing work.

https://jingting.cargo.site/ Instagram: @ jingting_textile

Stretch marks, 2022, Woven textiles, 5400 × 3600

Stretch marks, 2022, Woven textiles, 5400 × 3600

Stretch marks, 2022, Woven textiles, 5400 × 3600

Anna Ekre

Born in Stockholm, Sweden, where she still resides, Anna Ekre works with painting and drawing exploring beauty through nature and femininity. She has studied design at Parsons School of Design in Paris and New York and holds a BFA in Fashion Design from Beckmans School of Design in Stockholm. Working as a designer and illustrator in the fashion industry affects Annas work in the way she sees and conveys shape and color, her work often contains symbols and ornamental elements. In her paintings she is inspired by great female artist like Georgia O´keeffe and Maruja Mallo amongst others. Her work is a tribute to the essence of beauty in ourselves and the world around us. She confronts through her art the feeling of separation in society today, where the poetry of beauty and the mystery of creation and the notion that everything is connected is lost. By capturing a moment in time, putting objects in new contexts and using color and composition, Anna’s paintings highlight the beauty of ourselves and the world around us. The exploration of female beauty, nature and how everything is connected are main subjects in her work. Through her art Anna explores her own femininity and her experience of being a woman today. The aim of her work is to represent a universal femininity and sisterhood, to convey a feeling of strength, connection to each other and nature, and the feminine power naturally inherited to us from ancient times. By portraying female beauty she wants to convey a feeling of sisterhood and urge women all over the world to unite and support each other.

www.annaekre.com

Instagram: @annaekrestudio

Secrets, 2022, Oil on Canvas, 100 x 81 cm Colour Me Colour My Soul, 2021 Oil on Canvas, 80 x 65 cm (next page)

Sensibility, 2022 Oil on Canvas, 65 x 54 cm

Ana Bathe

The artist constructed sets, elaborate in nature. She sculpted masks, incorporated prosthetics as well as special effect pieces and hand painted each individual item separately. By playfully blending them with mythology, she summons glimpses into other realms of possibilities. Those arcane glances she refers to as her own Portals. Scientific magic’s ever-present aura surrounds each and every one of us. It is the process of change that occurs in our earthly nature and beyond in the endless depth of the universe. These continuous developments represent the driving force for the artist’s desire to create. By playfully blending them with mythology, she summons glimpses into other realms of possibilities. Those arcane glances she refers to as her own Portals. Hereby the project aims to fuse photography, performance and other visual arts into one, ultimately resulting in an ongoing assembly of imaginary worlds. Yet the unknown remains strangely familiar.

Ana Bathe is a multi-disciplinary autodidactic artist currently living and working in Berlin. Drawing inspiration from various forms of art and by assuming the roles of subject, photographer, painter, sculptor, set and costume designer in her work, the artist is able to produce works which give her philosophies a visual body – often unconventional in form and matter. While being irrevocably shaped by childhood experiences of war-trauma and subsequently as a refugee, her works do incorporate these aspects but move beyond them and address societal issues like ever-present consumerism, the conception of gender or the psychological consequences of an expanding technologically interconnected life. Aiming to intrusively stimulate the audiences emotionally and cognitively, the artist’s objective is to directly evoke a lasting communicative exchange.

http://anabathe.com / Instagram: @ana.bathe/

Fertalizer, 2021, Photography, 45 x 60 cm Oracle, 2021, Photography, 60 x 90 cm (next page)

Secon Portal, 2021, Photography, 60 x 90 cm

Jay Daugherty

Biography

Jay Daugherty (b.1985) teaches art history at a posh boarding school in Connecticut, where his most popular class is on the history of Buddhist Art. While viewers need not have any familiarity with this subject to appreciate his abstract surrealist dreamworlds, he earned a Master of Philosophy in Tibetan and Himalayan Studies from the University of Oxford, and esoteric Buddhist philosophy forms the secret backbone of his oeuvre. Vajrayana Buddhism, Dzogchen, the phenomenology of pictorial space, and theories of perception remain his most consistent sources of inspiration, alongside a wide variety of interests within art history.

Statement

“For me, every painting I create functions like a metaphor, and just as words stand in place for the objects we mean by naming them, painting shows us there is no essential essence found within real objects any more than there is within the alphabet.”

jsdaugherty.com

https://www.instagram.com/nyonpa_art/

Lucky Me, Lucky Mud, 2021, Oil on canvas, 16 x 20 inches

Ginsberg’s Transient Domicile, 2023, Oil on canvas, 20 x 16 inches

Shari Phoenix

Confronting and battling against the representations of women and People of Color through her highly detailed watercolor paintings, Barbadian artist Shari Phoenix (b. 1997) seeks to deconstruct and interrogate societal views on the Black body, ideas of perfection & beauty, and the recurring use of the caricature. In our interview with Shari, we spoke about her beginnings in the arts, questioning and rejecting the norm, and art as a tool for change.

Hi Shari, to start with, I’d like to take you back to the beginnings. How did you get into art?

My origin story in art is simple and possibly really similar to those of other artists. I was drawing from a really young age, my cousin would even say she got me started with drawing, but I come from a creative family and would say it is in my blood. I always wanted to be an artist but somewhere along the line, I changed career goals and wanted to become a veterinarian. Well, fortunately, chemistry was beating everything out of me, and I failed the class so I was like, “well back to plan A”, and I changed my focus to an art based career and now here I am.

For people who are not familiar with your work, could you please talk a bit about it?

It can be hard to talk about my work at times because

sometimes it comes from such a personal space. For example, the “Are you offended” series was born from the George Floyd murder and all those other innocent Black people who were murdered in cold blood, as if history was repeating itself with no change. I was angry, I was livid.

I want my work to offer alternate spaces, to be different than the norm, to question the norm and to reject. That is what I seek to do with my work. As an afro Caribbean woman, Barbadian to be exact, I am deeply interested in history as well as appearances. The idea of appearances, the question what is acceptable and what isn’t within today’s society, as well as my own personal battle of wanting to be pretty by societal norms/standards.

I love to portrait what makes people different and unique, so representation is a major part of my work. This is where the “Grotesque Eve” and “Pin Up Rebel” come from.

Let’s talk about “Grotesque Eve”, as well as “Are you offended” and “Not your Nigger”.

“Grotesque Eve” is a series that was born out of my BFA studies at the Barbados Community College (BCC). It focuses on rejecting the idea of perfection through carnival. Carnival as Mikhail Bakhtin theorizes, becomes a free space to transform Eve’s image, to present it outside of her traditional representation. The idea of Eve embodies dualistic features in which she is perfect and became flawed as a result of the fall of man; through this dualism, the costumes created in this series occupy the inbetween space between being perfect and being different. Using features of the human body in an over-exaggerated form which becomes grotesque. The work itself looks to question what is acceptable within today’s society.

The “Not your Nigger” series as well as the “Are you offended” series follow along the same premise. They deal with the use of the caricature as a means to belittle Black individuals. The works of the “Not your Nigger” series seek to reclaim those features by saying, “Yes I may have big lips or a big and broad nose but that doesn’t make me your nigger and those are not things you can use against me any longer. I have accepted my appearance as such and I have come to love myself.” Caricature itself bred a lot of hatred within the Black community, hating their features, wanting to look different or be someone else.

“Are you offended” seeks to make the viewer question the use of the caricature as it was traditionally used to poke fun at Black people and it’s still used for this purpose to this day. For example, there was a caricature drawn of Selena

Williams when she broke her racket at an official tennis match, or the monkey photo of Obama that can be easily found on the internet.

This series seeks to use the caricature and blackface on revered paintings of the renaissance era, to ask the simple question, “If I do this to your heroes, images you deeply respect, would you be offended?” Hence the name of the series. The goal is to make the viewer uncomfortable. I want them to feel how I feel when I watch the censored 11 cartoons released by Warner Bros which feature heavily racist images and ideologies of Black people in the 1930s/1940s. The reason is that I hope that it would raise questions in the viewer’s mind about what is wrong, and they would possibly educate themselves on the history of the Caribbean and Black America. On what things were done to black bodies for solely being who we are as black individuals.

At the very end of your “Eve” statement, you write about Adam, “The figure Adam becomes a prop; a part of the background which acts as a reference, or he becomes the embodiment of the male gaze. A figure which is to be destroyed or ignored before we celebrate the liberation of the female body.”. Have you ever thought about not incorporating Adam in the work at all or asked in a different way, why have you decided to incorporate him in the work if he could have also been ignored?

Originally, he was ignored within the work. To be honest, the idea of Adam in this pretext relates more to the idea of creating my own carnival. There was a tradition here in Barbados’ carnival called “Burning Mr. Harding”, which was a large sculpture of a white man in a tuxedo, a sculpture which was set ablaze to signify the burning away of hard times-

hence the name Mr. Harding. This dates back to emancipation in a time when money was scarce and jobs were hard to come by in Barbados.

I want to take that idea of burning away something to achieve the idea of rebirth, similar to the idea of carnival as theorized by Mikhail Bakhtin. where carnival becomes a free space for the body to be transformed and renewed. This is why I created a little white character who will be burned at the beginning of my carnival to liberate the female body from the male gaze and the haunting of perfection. That is the only reason that Adam is incorporated in the work, to take away that male voice which seems to want to tell women what to do with their bodies or how to live their lives, for example the Roe v. Wade overturning in the USA.

Can you please share some of your creative process with me?

To be completely transparent, I just jump right in, head first. Some artists do sketches and colour studies and all of that good stuff- not me. An idea would pop into my head and I would go on Pinterest to search for some references and then I jump right in. I don’t plan anything; I hope for the best. Most of the time it works out the way I envision it I my head, other times I have to go through trial and error on the actual artwork. It’s a journey, and all of this to say that I hate redrawing anything.

You work with watercolour as well as threedimensional (Eve costumes). What would you say does each technique offer you and do you have a preference?

and graphite pencils for drawings. What I will say is that my preference comes from a disability I have within my dominant hand, which makes it more difficult to make the three-dimensional works myself or even do graphite drawings and sometimes acrylic paintings. Not saying I do not seek assistance, but sometimes, doing simple drawings is difficult. However, despite of that, my love for watercolours is unrivalled.

I would say that each technique offers me a different texture, a different response. Each technique comes with its own quality, which is why it’s visually interesting to see these different techniques weaved together. For example, for “Are You Offended” and occasionally for “Pin up Rebel”, I use both, acrylic and watercolour. It makes the paintings pop with the contrast of the two mediums and how differently I paint them.

Do you believe that art can be a tool for change and have you noticed that at some point in your work?

I believe that art can be a tool for change, I believe that art can evoke strong emotions from people - I have noticed it. I want my work to make the viewer question things. Question the way things are, the way they are seen, the differences and similarities. I want to make the viewer think about something from a different angle, a new perspective. I may not always be successful in that regard, but it is my intention.

Is there any current project that you’d like to talk about?

I am in love with my watercolours, I also use acrylic

My current project is building a solo exhibition of the “Are you offended?” and “Pin up Rebel” series,

which I have been working on for the last year and a half. Both of which I would like to have either later this year or next year.

You are from and live in Barbados. How is the art scene there for emerging artists?

The art scene here in Barbados is definitely hard to navigate and it is a bit depressing to be quite honest. Artists here are trying to advocate for a National Art Gallery, which is hard because there is a big collection with many pieces that we as artist and the public doesn’t see. In terms of art shows, there has been an improvement in the number of shows, but there aren’t many contemporary galleries here. There has been a big effort here amongst the people to put on art shows wherever, though. Recently, there was one in a barber shop and another one on the boardwalk in the south coast, which I think were amazing and great initiatives. So, it is definitely hopeful for the emerging artists living here.

Any advice that you’d like to share with fellow emerging artists?

I guess the same advice that I was given, keep going. It’s going to be tough, God knows it’s tough, it’s tough and rough and everything in between. There will be times when you want to say, “Man I done with this, Imma go look for a 9-5”- my exact words. My biggest piece of advice is to make your work for you, make it so that it is hard to sell, make it so you enjoy it no matter what. As they say, the sales will come, though I am still waiting for mine…but nonetheless I am enjoying my artmaking journey. Seeing yourself improve is an awesome motivator. Keep going even if the art ends up being just for you. Your house can become

the best gallery you have.

Any fellow emerging Barbadian artists you’d like to recommend?

The list is quite long but I’ll name a few amazing Barbadian artists I quite enjoy: there is Kraig Yearwood, his iconography and symbolism in his work is really strong visually, it pulls you in to tell stories about events, feelings and the like. Another artist is Gabrielle Moore, her work is quite jarring, and it explores the connection between the psychological and the physical, using different materials and mediums to contrast the difference. Sade Phoenix is my twin sister, and an artist as well, she works on extremely detailed portraits in coloured pencil, which I have a lot of respect for because I don’t have the patience to even attempt that. Actually, the same goes for all the artists I have mentioned so far, I have a deep respect for all of them. The last artist I want to mention is Anna Gibson, her works feature detailed paintings which explore and expose vulnerabilities women have about their differences to each other, and how they seek to physically mask or morph their bodies.

And last question: what are your hopes for the future?

I have big hopes for the future. I hope to become well known, have a successful career and a happy life, full of peace and prosperity. In the near future I hope to have my first international show in a physical space, solo or group- that doesn’t really matter to me- it is definitely a goal for later 2023 into 2024.

https://shariphoenix1.wixsite.com/shariphoenix

Instagram: @shariphoenix

Are you Offended yet, 2020 Watecolour and ink on paper, 11 x 13 inches

I’m not your nigger, 2020 Watercoloron paper, 11 x 13 inches

I believe that art can be a tool for change, I believe that art can evoke strong emotions from people. I want my work to offer alternate spaces, to be different than the norm, to question the norm and to reject.

- Shari Phoenix

Revenge of Eve, 2021

Watercolour on paper, 11 x 13 inches

Grotesque Fashion Double Bodied, 2020 Watercolour on paper, 13 x 11 inches

Kevin Katoto Kitenge

His creative journey began with fine art drawing, but his path took him away from drawing. Reclaiming a space for his creative practice, Kevin chose photography to express himself and tell stories. “It became a way to do painting and drawing”. By manipulating images, color and light, Kevin began to create works that fall somewhere between painting and photography. Ultimately, he wants his work to be an invitation to think and discover. He wants people to see it as a doorway to another world, where boundaries do not exist. He was one of the six winners of the Africa Here competition organized by artist Nigeria Osinachi in collaboration with the NFT Makersplace platform, which allowed him to be exhibited at the international event SCOPE ART SHOW in Miami in 2022. But he also participated in the exhibition FIRST FREQUENCY organized by the Amadlozy gallery in Miami in 2022 and in the event NFT Tallinn 2023 where he will be exhibited.

Instagram: @kevin3k_photography

Kevin Katoto Kitenge known as Kevin 3K is a contemporary photographic artist (*1997, Lubumbashi, Democratic Republic of Congo). He lives and works in Lubumbashi, in love with artistic drawing and painting, however his history with photography began at a young age, influenced by his father (Mwembo Kitenge) who was also a photographer in the communication department of his company at the time. Kevin has taken many courses in photography and visual arts but was also mentored by Congolese photographer Billy Gate. He studied design and multimedia. He is inspired by ancient art paintings and his photographic approach is naturally influenced by his desire to tell stories through his photographs. For Kevin, art is a means of communication. It is a way to speak without the need for words. His work reflects his thoughts and emotions.

Black Skin Story, 2020, Photography, 48,64 x 28,98 cm Urembo, 2020, Photography, 50,94 x 34 cm (page)

Handa II, 2022, Photography, 59,95 x 39,97 cm

Nengi Uranta

Nengi Uranta is a multidisciplinary artist primarily practising String and Digital Art. Her String art is multi-dimensional, as she utilises nails and thread to create intricate three-dimensional effects, bringing her works to life. Her Digital Art comprises illustrations and surrealistic paintings. Her practice explores the ‘within’ and the ‘around’. The ‘within’ for her is where she examines the internal— her subconscious, our inner voices—through themes of self-awareness, identity, and existentialism. On the other hand, the ‘around’ is where she explores her external reality—the intersectionality of being a young black woman; the joy, the beauty and the pain. She enjoys observing both the homogeneity and diversity of black cultures with a focus on women. At the centre of her thematic explorations is her perception of human beings as vessels. Her depictions of humans as colourful glass-like figures, enable her to explore this concept of humans as vessels of the thoughts, memories and emotions that accompany our experiences.

https://www.nengiuranta.com / Instagram: @nengusarts

Rose Tinted, 2022, Digital Painting, 12 x 15 inches

Nowhere To Hide, 2022 Digital Painting, 12 x 14 inches

Grace In My Darkest Hour, 2022 Digital Painting, 25.6 x 31.1cm

We Haven’t Met Yet, But I Know You, 2022 Digital

Painting, 12 x 14 inches

Luciana Liraz

My work explores and celebrates the incredible vibrancy and beauty of an art form that is rarely given its respective value and appreciation in the art world - Graffiti. My photographs aim to capture the abstract and unique compositions that graff tags produce. I believe that Graffiti is the most unfiltered and honest form of art within an environment where access to art space can be increasingly exclusionary.

These spray painted landscapes bring to mind questions regarding legality, public and private space, and copyright. How can certain 2D panoramas be viewed by some as vandalism and by others sublime art? Consequently, one has to ask: who decides what is (or isn’t) beauty and art?

Next page: #CD81E3, 2021

Digital photography, 85 × 127 cm

https://lucianaliraz.wixsite.com/photograffi

Instagram: @lucianaliraz

Digital photography, 85 × 127 cm

Digital photography, 85 × 127 cm

#FFC600, 2021

#9ACB7A, 2021

Chloe Maguire

About Chloe

Chloe Maguire is an Irish researcher and artist-curator. Her practice predominantly deals with alternative forms of exhibition making and artist publishing. Apart from realising research around Irish contemporary lens-based practices for PhotoIreland, and working with the Cavan Arts Festival, her curatorial practice mothering spaces aims to contextualize and publicise perspectives of motherhood through contemporary exhibition making and collaborative projects. This is established by researching a multiplicity of maternal works extended by various themes including, early representations of maternity, realistic representations of the pregnant form, and the issue of feminine identity that may arise with not being able to, or wanting to be a mother.

Close Your Eyes and I’ll Close Mine

Close Your Eyes and I’ll Close Mine (2023) is an artist publication which explores some of the experiences of motherhood from a personal narrative. Everyday perspectives of motherhood are represented in this work through the process of de-constructing found imagery taken from home photographs and are displayed in an independent publishing or zine style. Close Your Eyes and I’ll Close Mine is the first project under the emerging curatorial practice, mothering spaces.

www.chloemaguire.com

Instagram: @chloemelinda

Polly Pincott

“I want these portraits to be entirely recognisable but not constructed through concrete representation or traditional ideals of portrait painting. With each piece I am playing and pulling with colour, form and texture. My portraits rely not on apparent narrative but mood and sensitivity. As a person heavily influenced by nostaglia, emotion and sentiment, I like to quietly reflect this within my work, searching for a wistfulness or sense of yearning within my subjects. I like to obtain a gentle hint of bittersweet as a feeling of calm and groundedness is combined with an air of pensive melancholy. Many of us, no matter how happy, settled or satisfied, have a part of them that is torn or quietly grieving something, be it a specific person or place, a moment in time or state of being. I try to find the beauty in this and see it as a strength and ultimately an integral part of being human”

www.pollypincottart.com / Instagram: @pollypincottart

About the artist

Oxfordshire (UK) based Portrait Artist Polly Pincott works in a variety of media, predominantly charcoal and oil paint. Within her portraits she aims to achieve a boldness and strength of character, alongside an offering of contemplative vulnerability. In 2013 Polly completed a Fine Art degree and now creates her work alongside motherhood from her home studio. Polly’s recent work has taken a strong shift from predominant charcoal and revisits a long lost love of oil paint, exploring colour, value and flesh tones. It is an exploration whereby realism meets expressionism, intending for precision and abstraction to align. Memory and the human psyche are common themes within her paintings, ever the observer and self professed ‘people watcher’, her work now takes on a particularly reflective attitude.

Kayoon, 2021, Oil On Board, 8 x 12 in In The Grassland, 2022, Oil On Canvas, 8 x 11 in (page )

Untitled, 2021 Oil On Board, 8 x 12 in

Katie Braid

Katie is an Edinburgh based Fashion Illustrator who has spent the last decade working within woven textiles and fashion. Producing illustration and creative work for Scotland’s oldest artisan tartan mill, as well as working with brands such as Ashley Williams, Charles Jeffrey, Arbikie Highland Distillery, Rolls Royce and Celine. A champion of British textiles, heritage woven fabrics and knitwear feature heavily in her drawings. Katie’s research and illustration investigates emotive drawing for fashion, exploring both projection and reflection of own mood. Often reactive to how a fashion event or show impacts her emotionally, she makes marks to record her personal experience responding rapidly, inspired by the pace of the music, attitude, movement and cut of garment. Katie’s work has become synonymous with quick, frenetic and often dark mark making. With ‘Grimy’ textures and marks influenced by her memory as a teenager in an ex-pit village in Tyne and Wear, describing her use of charcoal and conte as the nearest thing to coal. The nostalgic smell of coal fuelled fires and industrial deterioration are themes she revisits in her drawing.

Rib and Stripe, 2023, Mixed media on paper, 21 x 29.7cm Loverboy Red Stripe, 2022, Mixed media on paper, 29.7 x 42cm (left column)

Vivienne Westwood Tribute, 2022, Mixed media on paper, 29.7 x 42cm (full page)

In 2022 Katie was awarded ‘Commended Artist’ at the 6th FIDA - Fashion Illustration and Drawing Awards and exhibited at the National Arts Club New York, With Love Halston Exhibition. Her work has been openly supported by brands including RIXO, Charles Jeffrey Loverboy, Matty Bovan, Elena Velez, Cambridge Satchel Company, Laura Thomas Co. and Fashion Scout. With drawings featuring in publications such as all/WITHIN Magazine, Amelia’s Magazine and How Scotland Dressed the World - Lynne Coleman, Luath Press. Katie is a visiting Fashion Illustration tutor for the School of Fashion at Edinburgh College of Art. (Edinburgh University)

www.katielbraid.myportfolio.com

Instagram: @katielaudraws

Helen Onufer

I create to commemorate, to communicate, and to celebrate. My work aims to emulate the modern, ever-evolving experience of femininity, contrasted with the foundations and escalation of a digital, progressive society. Mixed media allows me to explore print of the past, it’s messages and goals, and juxtapose those ideas with a contemporary take on pop art and a revolutionized imitation of commercial printing techniques from the 20th century. As we age as a society through the tribulations of the 2020s, I want my art to both stretch and condense time in the viewer’s eye; I strive for my art to instigate the complex feelings about the passage of time and amplification of globalization. My biggest inspiration is without a doubt the strong women in my life and in the world. I want to celebrate the beauty, love, and culture of the modern woman and her diversity, and share a piece of that world with anyone. Lastly and unmistakably, my art en to revel in color and fun.

Helen Onufer is an undergraduate student at Wake Forest University, where she studies psychology and studio art.

www.society6.com/helenonufer

Playboys, 2022

Digital Illustration (next page)

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Gingerpotter

About

Painter, animator, illustrator, GINGER. Professional artist since 2018 and NFT artist since October 2022. Sold out multiple collections and featured all over the world in Turkey, France, India, UK, and soon will be featured on Times Square Screen as well as NFT NYC Tickets in April. Tackling different themes around current events and daily life, turning mundane objects and situations into surreal visuals that comment on the human condition and mind.

https://foundation.app/@GINGERPOTTER

Instagram: @gingerpotter21

The watcher plays a game Digital painting

The watcher shows his scars Digital painting

Chew me up and spit me out. Digital painting

Sonia Ben Achoura

Sonia Ben Achoura originates from Paris, France. A multidisciplinary artist, she was inspired by Leonardo da Vinci from an early age. With a background in psychology, she depicts her insights into the human psyche onto canvas. Art and science converge in her paintings, manifesting in insightful explorations of mind and nature. Her career in fine art spans over two decades, with a distinctive body of work characterised by a vivid chromatic palette, a detailed execution, and a futuristic edge. Her visual art practice focuses predominantly on geometric abstraction. An elaborate art vocabulary allows her to bring to life powerful conceptualisations of natural and psychological phenomena, informed by thorough research and synthesised through visionary imagination. These manifest in psychological icons, blueprints of the mind, in a wide variety of media. Her inspiration nevertheless emerges from a meditative place.

Captivated by abstraction, her art lies between the abstract and the figurative, with an undeniable spiritual quality. A colourist at heart, the artist shapes light as the basis for her compositions. Like intimations of perfection, her paintings manifest to reflect an inner world of chromatic intensity, dynamic forms and geometric perfection. Her ground-breaking approach to geometric landscape recently resulted in two awards. She uses a wide range of mediums to weave her emotive tales into an intense chromatic experience. These include acrylics, oils, spray paint, LEDs, projections, and video mapping. Her concern for the environment transpires in her work. She contemplates future outcomes for our world in her futuristic, yet timeless creations. Patterns of perfection emerge over the fabric of robotic geometry. Sonia regularly exhibits her work at galleries and art fairs in Europe. She sells her paintings and prints internationally.

www.soniabenachoura.com / Instagram: @soniabenachoura

God Within, 2015, Acrylics on canvas, 61cm x 91 x 4cm Optics of happiness, 2021, Acrylics on canvas, 87 x 62 x 4cm (p. 101 up) Movements of life 2021, Mixed media on canvas, 92 x-87 x 4 cm (p. 101 down)

Art is a continuous learning curve. Never stop learning and never hesitate to knock on doors. You never know which would open.

- Dr. Aba Otoo

Maalik Abdul-Rahim

Destiny Kirumira

Dior Thiam by Emeka Okereke

Amy Yoshitsu

Martryce Roach

Heidi Brueckner

Dr. Aba Otoo

Amy Moon

Rene Garza by David Agbodji

Elizabeth Rose Polvere

Emily Pascale

Annabel Perrigueur

Ernesto José Fernández Arias

Anna Ekre

Olivier Mboma

Sonia Ben Achoura

Helen Onufer

Ana Bathe

Shari Phoenix

Kevin Katoto Kitenge

Nengi Uranta

Katie Braid

Polly Pincott

Randal - Tabea Fuhrer

Chloe Maguire

Gingerpotter

Dear artists, thank you for allowing us to share your beautiful, intriguing, and meaningful works in our magazine.

Yours, The Suboart Team

***

www.suboartmagazine.com

Instagram: suboartmagazine

Image credits for full page images

Page 12: Dior Thiam “The Wet Eyes of the Sentimentalist_3.1” 2021, Acrylics and Charcoal on Canvas, approximately 140 x 125cm

Page 20: Dior Thiam “The Wet Eyes of the Sentimentalist”, 2021, Acrylics and Charcoal on Canvas, Installation Views

Page 55: Olivier Mboma “Mikubu, study of cobalt blue I”, 2022, Mixed Media on Canvas, 60 x 80 cm

Page 76: Shari Phoenix “NEGRO in Black”, 2022, Watercolour and acrylic on paper, 19 x 15 inches

Image credit cover

Destiny Kirumira, “The Cost”, 2021, Oil, 55 x 73 inches

Editorial

Suboart Magazine Issue #5, April 2023

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

April 2023, Lisbon, Portugal.