The Purposeful Mayonnaise Volume 1 Issue 4

THE PURPOSEFUL MAYONNAISE A LITERARY & ART JOURNAL VOLUME 1 • ISSUE 4 DECEMBER 2021 / JANUARY 2022

Art • Words • Ideas

Cover art: April Winter, Self-Portrait from the series Hide and Seek (2020, film photograph)

The Purposeful Mayonnaise Journal is intended as an online journal that anyone with an internet connection can access from anywhere in the world. www.thepurposefulmayo.com

@ 2021 The Purposeful Mayonnaise Copyright for all published content is held by the authors/artists. All rights reserved.

WELCOME A short note from the editor

Welcome to our fourth issue of The Purposeful Mayonnaise Journal!

The theme of this issue is "ESSENCE," and we want to thank everyone who entrusted us with their work.

Again, we left this theme entirely open for interpretation, and we were delighted to explore all the different approaches. Issue 4 presents the works of close to fifty artists and writers from over twenty countries exploring the theme of essence through images or words.

For the artist interview, we have with us April Winter, a film photographer living on a small island on the West coast of Canada. She talks about her self-portraits shot on film in her studio. She lets us in into her world, where she builds her own sets and makes her own props and costumes to explore themes such as space, utopia and isolation. We revel in images and words from Ioana Andrei, Adele Evershed, Juliana Gagné, Sarah Jansen, Anastasiya Krokhmal, Izya Lebtahi, and many more accomplished artists and writers.

Our mission is to bring you a new issue overflowing with art, words, ideas. We hope we have succeeded.

Anda Marcu @andamarcuart Co-Founder and Editor-in-Chief

CONTENTS Art

Words • Ideas

Gioia Albano 6 Stuart Smith 8 Artist Interview: April Winter 10 Ioana Andrei 20 Kristen Stephen 24 Ana Lagidze 25 Vivid group exhibition presented by TPM Gallery 29 Juliana Gagné 55 Emma Hayes 57 Anastasiya Krokhmal 61 Ana Maria Guta 68 [ART] The Messdeck 72

Märtha Custis-Miranda 23 Izya Lebtahi 27 Adele Evershed 53 Stephen Mead 59 Meredith Bass 62 Sarah Jansen 63

Art & Words Judy Young & Nora Kalabokas 60 Caroline Golden & Derek Owens 69

* regular contributor

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ART: GIOIA ALBANO

Orgasmic World, 2021, acrylic, inks, pen, markers, collage, 60 x 60 cm

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I'm Gioia Albano, an Italian artist living in the South of France.

I've always thought that we're here in this world to discover our deep true essence.

I knew mine, but I lost myself for quite a while despite doing Art school in Italy in my early years.

I believe that we walk our path here in this life seeking evolution.

In my work, I try to follow this thin thread through shapes, colours and lines, to find that path toward the soul.

Website: www.albanogioia.com IG: @gioia_albano_art Above: Trees, 2021, watercolour, pencils, markers, pen, 10 x 15 cm Left: We Need Some Tenderness, 2021, acrylic, pen, markers, collage, 30 x 30 cm PAGE 7 | THE PURPOSEFUL MAYONNAISE

ART: STUART SMITH

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I make drawings and print plates outside in remote rural sites. Continually returning to the same places, I forge a close familiarity with each particular location.

Physical elements of the landscape are used as part of the process (and often as the medium for the work). I draw with pigment extracted from the earth and make stains and dyes from wild plants. Mud and organic plant material are stuck to the paper or printing plate. Sticks and stones are used to scratch and incise the surface. This use of natural, native materials to create the work helps establish a direct physical and empathetic relationship with my environment.

In my working practice, I aim to stay true to a philosophy of minimal intervention, conscious of my activity's impact on the environment. The imagery is developed due to this sensitive interaction with natural elements. It is also determined by an instinctive and spontaneous response to variations in weather and light and to seasonal temporality: the transience of nature. My work is simply an expression of my experience of being in these places. Not only is it specific to place but also strictly specific to time.

Website: www.stuartsmithartist.com IG: @stuart._smith PAGE 9 | THE PURPOSEFUL MAYONNAISE

ARTIST INTERVIEW

APRIL WINTER

April Winter is a photographer living on a small island on the West coast of Canada. She primarily focuses on taking self-portraits shot on film in her studio. She builds little sets and makes her own props and costumes to create tableaux like worlds, exploring themes such as space, utopia and isolation.

Website: www.aprilwinter.com IG: @aprilbluewinter

Tell us a bit about yourself...

I'm originally from Hamilton, Ontario, in Canada, when it was just a run-down industrial city without much cultural spark.

I moved to St. Catharines (near Niagara Falls) at age 15 to attend a boarding school, where I had the most wonderful art teacher, then moved to Toronto to attend OCADU. In 2015, my husband, dog, and I hitchhiked west, where we still find ourselves today.

I live on Mayne Island, a small southern gulf island with 1,000 permanent residents.

The residents are mostly retirees looking for a quiet life. I love the quiet island life, when I can find it. Don't let small towns fool you, though; gossip runs wild, forest parties run wilder, and sometimes it seems like the island never sleeps. My guilty pleasure is having copious hours of quiet alone time, but having such lively characters around can be inspiring. Which is also why I chose my day job to be so different than my creative side. I co-own a marine and diving business maintaining the island's marine equipment. It gives me time to reset my creative mind, keeps me active and inspired.

I've always been creative, but so are most children. Maybe the difference is that my family is very creative in different ways and has always been extremely supportive of my creativity. My father makes miniature sets of run-down cityscapes with graffiti and scrap cars, my mother has a passion for fashion and landscape design, my grandmother is a musician and loves interior design, and my grandfather is a portrait painter.

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Calling oneself an artist is one of those tricky things. I would say I started calling myself one in 2017 when I started actively making bodies of work and have kept on it since then, finishing one or two projects a year. Of course, I did plenty of work before that. As a child, I was constantly creating or drawing to keep myself occupied or to ignore social situations around me. I was extremely shy and would much rather draw than play with other kids. This stayed the same until high school, where I had an incredible art teacher and art program. A small class of like-minded students, a nurturing teacher and a supply closet full of new materials for exploring. He taught us how to not only make a single piece of work but how to make a cohesive body of work with an idea behind it and also focused on keeping a sketchbook which has been essential to my creative process. There was even a photography darkroom, but back then, I was highly focused on learning how to paint and only took photos when I was bored, usually bad selfportraits.

During this time, I also was very passionate about music, but I had to choose to concentrate on one or the other; I chose art. I still reminisce about the wonderful feeling of being in the middle of an orchestra. The vibrations running through the body and the feeling of being a part of something larger than yourself.

In retrospect, I believe I made the right decision. I loved making music with a group, but I always felt exposed practicing alone when I knew neighbours could hear. Now I listen to a great deal of music while brainstorming ideas and making my props and photographs.

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What themes or ideas do you pursue in your work?

The themes of my work always seem to show themselves to me only in retrospect. I rarely set out for a theme, I usually start with a mixed bag of images, feelings, facts, and materials, and the theme comes to me when I do a final write-up. Some of the themes in my past work have been: Utopia Depression The Voyeur Space travel The Future of Humans History vs Future

Cabin Fever - Space Station - Celestial Body - paper mache mask

Cabin Fever - Perverse Cow

How did you choose your medium, film photography?

Growing up, I was attracted to drawing. I took to my sketchbook very seriously, but I always had access to a camera when I was bored. The earliest self-portraits I can remember were made when I was about 9 years old. I posed with huge mushrooms and other things I found in the forest behind my grandmother's house. These selfportraits are sprinkled through my life until university. At OCADU, I focused on largescale self-portrait oil paintings. I would take photos of myself, then distort them in photoshop and paint them in pastel colours. An interesting mix of unattractive or revolting painted in innocent pastel.

When I finished art school, my husband and I hitchhiked west and started tree planting with a company there. During the season, our dog Muli got pregnant and had her puppies. After the season, we settled in a small cabin, got a job making candles in a tiny mountainside factory and raised the puppies.

When I left Ontario, I had a Nikon Fm2 film camera to document my trip, and when I PAGE 12 | THE PURPOSEFUL MAYONNAISE

finished planting, I bought a small amount of oil paints and canvas. When I started my first painting, I was happy to be back at it after a 6-month rest. I went to work at the factory, came back and found my canvas on the ground and hundreds of puppy prints running through the wet paint and through the entire house. I realized then that my life was too hectic and transitory for painting. I took some dejected time away from creating until, too bored to function, I turned to my camera. I started taking self-portraits around the house, using the limited space and materials I had available. These inconsistent self-portraits persisted until 2017 when I moved to Mayne Island, where I finally had a small studio. Instead of starting painting in the 8x12 ft space, I took photos.

Photo by Mauro Abhül Woodstove Winter - my first self-portrait after the failed painting

Those first couple years on Mayne were difficult. We lived in a poorly insulated trailer and didn't have running water. But washing my hair in a bucket didn't get me down; I was ecstatic to have a space of my own, even if it was only a tiny shed. We bought two acres with a 200 square foot bare-bones log cabin on it two years later. We lived in the cabin while we built up the property. Again we didn't have running water, and now we also didn't have electricity. We worked on getting solar power and a generator and refurbished the well and hand pump. We bought power tools, picked a spot in the forest and began to build my studio.

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Can you tell us about your process?

The very first seed of a project usually starts somewhere out in the world. For example, in Introvert Enlightenment, I used a lot of hand-made concrete props.

Around that time, I joined a construction crew building houses. I was just a labourer, but I learned a lot of things. I learned how to make forms for pouring concrete, and I became obsessed. I started pouring concrete into everything. I filled glass lamps, plastic cups, 30 rubber gloves and made my own forms out of wood. I also began building fences for people, which inspired me to build the Chromatopia picket fence.

Chromatopia - The Tortoise and The Hair

Sometimes, it starts with a little thing I read or something someone tells me. In Perverse Cow, I remember reading about a king who became mentally ill, believing that he was a cow.

Then I usually work out the project in my sketchbook. Everywhere I go, I bring my sketchbook. I make thought webs, colour palettes, drawings of how ideally the projects pan out and lists of materials and props. Many potential projects get rolled together or dropped to a later date.

During this whole process, I'm always on the lookout for props. The absolute favourite of my photographs called 'Celestial Body' includes a paper mache mask that a friend found at a landfill that he gave to me. The more people get to know me, the more people bring me really strange things. I've received 100 industrial size PAGE 14 | THE PURPOSEFUL MAYONNAISE

egg cartons, a bubble-shaped skylight, a yellow rain suit and five giant wooden flowers, to name a few.

Living on a small island can be trying when it comes to getting supplies. I take a ferry to a larger island once or twice a month for the day. But 5 hours of travel reduces the time I have to find the things I need to do my work. Conversely, I have a lot of things mailed to me. I always wonder what the post office people must think of me. My last few orders have been an industrial size, flexible ventilation pipe, peacock feathers, and an LED electronics kit.

Unfortunately, I don't develop my own film, and it comes down again to space. As well as ventilation and clean water. I've been going to the same photo developers for the past five years, and I've established a good relationship with them, and I trust them to always do great work.

Can you tell us a bit about your cinematography projects?

I've only really incorporated video into one of my projects, Cabin Fever: Space Station.

I recorded using an old VHS camcorder someone had given me. I think I don't do it more because of archiving. I love using 35mm and 120mm photography films. The most rewarding feeling of my entire artistic practice is when I slide those strips into the archival sleeves and label everything. I can't do that as well with video, so I'm less inclined to use it.

Cabin Fever - Blue Zoo

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Do you actively search for inspiration or let inspiration find you?

Like I said, a lot of inspiration just hits me, but I think it's because I actively observe my environment and understand that anything can be an inspiration. But I also do a lot of research on far-reaching topics. At the beginning of my project 'Exodus to Europa', I made myself a reading list.

Light: Science and Magic by Fil Hunter 20,000 Years of Fashion by Francois Boucher Expedition: Fashion From the Extreme by Elizabeth Way From Antarctica to Outerspace These books really shaped how the project unfolded.

s ei p p u P s'i l u M d n a s a k u L d n a b s u H y M

s o t o h p t h gi n g ni k a t e m f o s a k u L y b t o h s A

How did your practice evolve or unfold over the years?

In the beginning, when I stopped painting and focused on photography, I set up a very simple set, for example, putting tinfoil over the walls. I would set up my Nikon Fm2 on my husband's old tripod. I would stand in front of the camera, thinking of a pose, then put something in my place, go behind the camera, focus on the thing, remove the thing, put the self-timer on, then run back into position, attempt to look composed, then do it all again. With time I developed new techniques. For example, I learned to tape a flexible measuring tape into the hot shoe to measure the distance from my eye to focus. Then I bought a long shutter release cable with a ball, which allowed me to stay in position before the photo was taken, but I still needed to get up and wind the film.

My setup changed a lot last year when I bought a Nikon f5. It has automatic winding and a wireless shutter release with programmable settings. Now I can be in front of the camera the whole time without too much moving, which allowed me to focus on more elaborate costumes and props.

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How does a typical day in the studio look like?

Working in my studio

My ideal day, which happens often enough, starts at 6:30 when my husband wakes up and starts a fire. When he comes back to bed (which is sort of a loft bed), he tells our dogs Muli and Haza to jump up and we all cozy under the covers for another 15 minutes. Then we get up. I go for a run to clear my head. We have breakfast and have coffee. I feed the chickens then go up the hill to my studio.

If I have the materials I need, I can work away for four to six hours without noticing any time going by. Everything just flows. Some tasks might be sewing, painting, cutting, sanding and gluing wood.

The studio is divided in two, the making side and the shooting side. If I'm doing a shoot that day, I clean up the studio to maximize space. I let down a white fabric divider so the making side doesn't reflect in any props. Then I adjust the lights on a series of brackets on the wall, I set up the tripod and choose film and camera for the project. This year I upgraded the Nikon Fm2 to the Nikon F5.

With the set ready, I turn on some music, put makeup on (if applicable), do my hair and put the costume on. I take a few deep breaths. Working in such a small space with hot makeup and costumes can quickly become overwhelmingly claustrophobic.

Keeping my mind on what's in the frame, envisioning the composition, trying to control my facial expression, staying still, hiding the shutter release control, trying not to smudge my makeup, keeping my helmet from falling off or fogging up. It's a miracle any of the photos turn out.

The later afternoon consists of chores and playing with the dogs outside. In the evenings, I focus on office work or research and reading. Then I end the whole day with a movie and dog snuggles on the couch.

The secret ingredients to the whole process are enough coffee and dogs.

You do a lot of self-portraits. How do you draw the line between yourself as a subject of your own work and personal life? Do they overlap? Is this line blurry or strong?

I like to draw a very distinct visual line between the two parts of me. I wear neutralcoloured clothing in public, and I don't wear makeup. I'm not flashy. I'm quiet, and I just try to blend in. If I could choose one superpower, it would be invisibility.

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In my head is a different story. I'm constantly on the lookout for interesting colour combinations, strange shapes and patterns, characters, hair do's, free stuff. My second self is constantly on my mind, but it is also my little secret inside of me, propelling me forward.

Hide and Seek

Tell us a bit about your project Hide and Seek.

In early 2019 I was thinking about a theoretical space where someone could go, completely isolated and how that person might change once they got there, knowing they were free to be whoever they actually felt they were. The narrative in my head revolved somewhere between space travelling and travelling your psyche to find this place.

When I started constructing my false floor for the project in February 2020, I realized the expanded meaning of the work when mandatory mask regulations began rolling out. I was creating a series about the figurative mask people put on every day to be around others and a refuge to isolate themselves from that pressure. The parallels between the project and society's change in 2020 felt significant to me.

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Would you say other artists or art genres have influenced your practice? If yes, how?

I definitely look to artists working in other genres than myself for inspiration, mainly to see what kinds of materials they use and how they put them to use. It helps me evolve as an artist to constantly learn new techniques and test new materials that I might not know existed if not for following other artists. One artist that comes to mind is Polly Morgan, a sculptor from London who works with taxidermy. I find her new work using mould-making techniques especially interesting.

What is your dream project? (let's say, in an ideal world where money, time, space were not a constraint) I would love to transform my own two-acre property into something like the Tarot Garden by Niki de Saint Phalle but in my own style.

Creating an otherworld funhouse. I would put a 30-foot sailboat in my 40-foot pond and make a treehouse

Cabin Fever - Introvert Enightenment

library in the shape of a spaceship. I would surround the property with topiary (sculpted hedges), remove the culvert under my driveway, and replace it with a draw bridge.

Tell us a bit about the future (any plans, upcoming projects, news).

In 2022 I'll start a new project thinking about humans far, far in the future and how their lives may evolve. Focusing on how they may rely on science, expertise and minimalism to survive. I think humans of the future will manipulate the power of biology and microorganisms when fossil fuels become increasingly inaccessible.

With this in mind, I'm going to build my own Photobioreactor, which essentially is a clear container (of unlimited shapes and forms) full of microalgae. Algae, a source of protein and nutrition, fuel, fertilizer, bioplastics and wastewater treatment, will be a stepping stone to get humans to the future. My next project will also include LEDs, simple electronics, prosthetics, lab equipment and, of course, self-portraiture.

*** PAGE 19 | THE PURPOSEFUL MAYONNAISE

ART: IOANA ANDREI

#9

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#13

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#5

#18

Ioana Andrei is a final year MA student at the University of Arts and Design ClujNapoca, arts and textile design department. Born on April 9, 1998, in Bacau, Romania, she presented from an early age an inclination towards the exact sciences that was combined with creativity and passion for the visual world. Being fascinated by the human component and the way it works on a physical, mental and analytical level, Ioana initially wanted to be a doctor. However, she came to direct her knowledge and talent to the artistic side while still interested in everything human and humanity.

Ioana's starting point was in the textile arts (mainly natural materials, satin or taffeta). She wants to attract the viewer to the scientific research of the human body and increase the spectators' curiosity towards this field. At the same time, she enjoys painting, having an inclination towards the abstract. This helps in researching and documenting the reactions and interactions of the viewer.

These works were done by pouring technique on watercolour support. Tempera and aracet (wallpaper paste) are used in the pouring mixture and cooking oil in some places. Some works also contain colour paste applied with the help of brushes of different sizes, scrapers or painting knives.

Website: www.behance.net/ioanaandrei2 IG: @textile_by_luna PAGE 22 | THE PURPOSEFUL MAYONNAISE

WORDS • IDEAS: MÄRTHA CUSTIS-MIRANDA

Water Memory There is something about water life and death combined within the sliver arches of meaning.

As a child the sea amazed me I dreamt of living in its depths unknown to land, a friend to fish.

Years later I walked along the strand where my ancestors set sail to conquer England, and remembered.

They failed, but left a legacy A people who came from their blood.

Raised up like a phoenix from the faded hopes and struggles of a buoyant seafaring race.

Märtha Custis-Miranda is an American immigrant poet and writer living in Seia, Portugal. She holds an MA in Creative Writing from Kingston University, London.

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ART: KRISTEN STEPHEN

Kaleidoscope Eyes

Sleep Crystal

Kristen Stephen was born in Amherst, New York, and moved to Canada when she was six years old. Kristen spent her teenage years in Niagara-on-the-Lake where she developed her interest in the arts working in her mother's gallery. During her time at the gallery she met many Canadian artists and developed an appreciation for a diverse spectrum of techniques and artistic perspectives.

After pursuing an Arts and Culture degree at Brock University Kristen moved to Toronto where she attended Ontario College of Art and Design University, majoring in painting.

Website: www.kristenstephen.com IG: @kstephenart

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ART: ANA LAGIDZE

Rabbit, wall hanging decoration, felt technology, material wool, wooden frame, textile art, 152 x 68 cm

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Above: Wish Tree, felt technology, material wool, wooden frame, textile art, 70 x 70 cm Left: Abstract Sun, felt technology, material wool, polyester (underlay), metal (hanger), 149 x 104 cm

Freedom, felt technology, material wool, polyester (underlay), metal (hanger), 184 x 102 cm

I studied and graduated from the Architecture Department of Tbilisi State Academy of Fine Arts and graduated from the “Professional" College Textile Design (Tbilisi, Georgia). I finished my doctoral degree in 2016 at Tbilisi State Technical University (Georgia). My researches areas are eco-life, eco-art, and landscape architecture.

During one of my research, I discovered that wool felt is an eco-material. This makes it a very important material for use in art and fashion. Over the last 7 years I’ve been working in textile design and its unlimited technology. Through this work, the artist becomes a sculptor-architect: from wool, the artist can make 3D art works. The most important aspect is using Georgian traditional technology.

My inspiration often comes from being close to nature, music. What I remember most throughout my life is that there was Art. Since childhood I was inspired by my family members, who are architects and artists.

IG: @analagidze

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WORDS • IDEAS: IZYA LEBTAHI

You Imagine auburn skies in a pretty blue haze Imagine flying flakes of light beyond some horizon Like your eyes when you set over a gaze And the story untold of two hearts stolen You do this to me whenever and always Time is only a cycle and a big open space Its clicking tongue whining like a seamless phase Imagine sapphire stars in the night or the day Like bursts of new connections so far away Imagine your name written in every wordplay And the dancing of shadows that twiddle astray This is what you do to me, inside and out Every breath feeling like a muted shout “I love you” are just words They don't mean much to me But the meaning is infinite Greater then ocean and sea I’ll give you my love in golden droplets But make sure, don’t grab one and drop it You don't know how well you know me Every twisting road, and every hidden key.

But I, I know. The moment they’ll see you again, You, their king, their emperor, their friend, They’ll be reminded of how empty it was

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For thousands of years they waited, in fuss To see you fly and unchain all of us.

I’m only here to take you to them This people of a once holy land Inside of me.

Just as is the old clock’s forgotten face, Searching through time, you found me And every riddle was solved, you untied me This universe I built was for you to reign You my king, my lover, my long-lost friend Imagine dreams and frozen moments, unraveled at the seams Imagine your tumultuous anger raining over forests of trees Imagine your breath, the wind, the weather, the breeze Imagine with vast open-mindedness, an army of angels protecting a fortress Imagine a land were only there lays the secrets of the planets Like the universe, Like the truth untold of us, them and me And imagine You, the guardian of all this Open your eyes, trust what you see Give me your hand, I’ll take you there, I promise, Because only with you, I am useful, I am honest.

Imagine a kingdom, your kingdom, your home Imagine a kingdom of silence and light The pleasures lay beyond just one necessary flight Meet me at the crossroads of now and forever I promise, I’ll take you. We’ll go there together.

Izya Lebtahi.

I am a young French native painter, photographer, writer and musician from Paris, living in Los Angeles since 14 years. I have a huge passion for all Arts and Creative mediums.

IG: @i.z.y.a PAGE 28 | THE PURPOSEFUL MAYONNAISE

ART: VIVID GROUP EXHIBITION PRESENTED BY TPM GALLERY NOVEMBER 25 - DECEMBER 31, 2021

Danté-Danýel (Atelier Dédé): Love is Red but you left me colorblind, 2021, acrylic on canvas, 81 x 61 cm

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Chris Jorel: JSB II, 2021, oil on canvas, 61 x 46 cm

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Chris Jorel: Sixty, 2021, oil on canvas, 35.6 x 35.6 cm

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Larry Wolf: Cosmic Toast, 2021, acrylic on untreated canvas, 122 x 183 cm

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Larry Wolf: What's for Breakfast, 2020, 61 x 152.4 cm

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Larry Wolf: Wave of Fire, 2019, acrylic on untreated canvas, 91.5 x 91.5 cm

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Vladimir Marcu: Get Out!, acrylic on canvas, 132 x 81 cm

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Vladimir Marcu: Solitude, 2016, acrylic on canvas, 96.5 x 71 cm

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Jonathan Rossney: 'a strange participation between things supernatural and things natural' (John Dee); 2021, photographic print, 30 x 36 cm

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Jonathan Rossney: 'a mask tells us more than a face' (Oscar Wilde); 2021, photographic print, 23.5 x 19.5 cm

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Matina Vossou: JUDITH & THE EQUATION OF TIME, 2021, acrylic on canvas board, 30 x 40 cm

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Matina Vossou: LEDA PHEON & THE DIVINE PREDATOR, 2021, acrylic on canvas, 30 x 40 cm

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Natalie Bradford: Happy Hour, 2021, watercolor and collage on watercolor paper, 18 x 13 cm

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Natalie Bradford: Moms on a Mission, 2021, watercolor and collage on watercolor paper, 9 x 13 cm

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Natalie Bradford: Medley of Butterflies, 2021, watercolor and collage on watercolor paper, 10 x 15.2 cm

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Lauren E. Godfrey: Run Wild, 2021, acrylic on canvas, 110 x 140 cm

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Lauren E. Godfrey: Untamed, 2021, acrylic on canvas, 110 x 140 cm

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Margot Dermody: Seawater 1, 2021, mixed media, glass, stone on birch panel, 35.6 x 28 x 5.1 cm

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Margot Dermody: Seawater 2, 2021, mixed media, glass, stone on birch panel, 35.6 x 28 x 5.1 cm

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Michelle Schultz: The True North of Speech, 2020, acrylic on canvas, 35.6 x 45.7 cm

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Michelle Schultz: Memoirs of a Flat, 2019, acrylic on canvas, 30.5 x 40.6 cm

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Clara Bolle: Abundance 2, 2021, acrylic on paper, 100 x 70 cm

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Clara Bolle: Abundance 9, 2021, acrylic on paper, 100 x 70 cm

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Michelle Phillips: Open, 2021, photograph, 25.4 x 25.4 cm

VIVID group exhibition presented by TPM Gallery is on view at www.thepurposefulmayo.com/vivid PAGE 52 | THE PURPOSEFUL MAYONNAISE

WORDS • IDEAS: ADELE EVERSHED

A History of Ghosts I do not know why I dream about this little café I haunted when I was young My pale face pressed against the pain When my mother went through her narrow door slamming it behind her so I was left alone I felt I might just crumble away— but each time I’d think about their lemon biscuits served with a puddle of butter telling myself it was melted sunshine on a plate and I found I could warm my bones on the memory I do not know why I still think about Spanish moss and deep southern summers That cast long shadows on sunless days The chained parrot asked—Who’s a pretty boy? as he rippled past me flying his youth like a flag I felt I might just soar away— but each night Uncle opened my narrow door saying no good thing could happen to a bad girl like me so I found you did not need love to make a baby and summer can melt away forever I do not know why I have such a fancy for the tang of bleach and bacon fat From that less than genteel Northern dinner

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When I tasted with my nose and sensed with my eyes as I realized doors were wider here I felt I might just be vast— but then lovers who could stretch a minute or speed up a lifetime—banged me shut the world narrowed to minimum wage and minimum men that never tipped over I do not know why I have carried these ghosts in my mouth Their whispers smelling of cake and sun-cream and gravy But I am old now—fearless and almost gone behind the finch’s song the dead no longer call my name I have lost my desire to be haunted the white spores—a fright at the end of my bed—all gone I realized long ago they were rotting from the inside out so I was able to smile and open new doors and so in the end—they only managed to poison themselves

Adele Evershed was born in Wales. Her poetry and prose have been published in several online journals such as Every Day Fiction, Ab Terra Flash Fiction Magazine, Grey Sparrow Journal, Hole in the Head Review, Green Ink Poetry, High Shelf Press, Tofu Ink Arts Press and Shot Glass Journal. Read more of her work at thelithag.com.

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ART: JULIANA GAGNÉ

Musihkkár (Musician), 2020, 35mm film photograph, 4 x 6 inches

Buoja (Bubble), 2020, 35mm film photograph, 4 x 6 inches

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Balva (Cloud), 2020, 35mm film photograph, 4 x 6 inches

Juliana Gagné is a multidisciplinary artist with a BFA in Fine Arts from Parsons School of Design.

Juliana has a focus in experimental film photography and shoots with intentionally destroyed disposable cameras. After the roll is shot, Juliana utilizes a film soup technique which involves soaking the entire camera in a soup of alcohol, spices, chemicals and detergents, after which the camera is frozen and thawed before being developed.

Dollavárri (Volcano), 2020, 35mm film photograph, 6 x 4 inches

Artist Statement: Juliana's artwork is inspired by a concept called the "free soul state", Juliana is Sámi (Indigenous people to the Arctic) and prior to colonization Sámi clans would have a noaidi, or medicine man. This noaidi would enter a trance-like state called the "free soul state" it was believed during this state the noaidi could travel freely to the six dimensions and commune with gods, goddesses and ancestors.

Juliana interprets this state as a time when the unconscious mind is in control; similar to a dream, hallucination or meditation.

By entering the free soul state through photography, Juliana invites the viewer to explore the different dimensions that can not be easily accessed. With this series, Free Soul Travels, Juliana takes the viewer on a surreal journey through space and time, and asks the viewer to question their visible reality. The photos are 35mm shot on disposable cameras that were destroyed, tinted, stabbed, soaked, frozen and thawed. The change of state of the water molecules trapped in the camera mirrors the change of state the mind undergoes when it allows the unconscious to take control.

The entire disposable camera was submerged during the film soup process, which was a mix of alcohol (noaide were believed to consume distilled spirits as part of their transition to the free soul state), medicinal herbs, spices and cleaning detergents. The unpredictable process allows chaos and entropy to take control from the photographer and produces psychedelic color shifts and shapes. Juliana seeks to capture not simply how a place or experience looked in reality, but to capture the emotions of an experience to produce a different truth.

Website: juliana-gagne.com IG: @lavenderdiesel and @jai_gagne PAGE 56 | THE PURPOSEFUL MAYONNAISE

ART: EMMA HAYES

Takeaway Box, 2021

First Walk Through Dublin Zoo, 2020

Past and Present Evocations, Facebook Air Program 2019

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Childhood Dreams, 2018

My name is Emma Hayes. I am a visual artist, primarily a painter, working in my studio in Dunboyne, Co Meath. I have work in public and private collections including the Office of Public Works and Facebook Air Program and have shown in various exhibitions around Ireland. My work is informed by my internalised experiences, childhood memories and immediate surroundings. Through collage, paint and installation, I am interested in the process of making a picture.

Two Hours

How I apply paint is important to me. Painting with oil on canvas, I use gestural marks, confident brushstrokes, minimal strokes, layering and overlapping shapes, opacities, and translucencies to convey personal attachments to my environment and around home life.

I am interested in how we represent ourselves within our own environment through saturated colours, layered elements, and our experiences. There is an evocation of the absence and presence of people in my life. I reflect on past and present relationships with people by associating objects with them. I like to make them present in my work without the figure been notably present. In the studio I work on several pieces at once. This consists of taking photos, drawing, making paper cut outs and painting simultaneously. I have a collection of different colours, textures, and brushstrokes of acrylic painted paper for my collages. The collages are a starting point to recreate the photos I take. I make my own painted paper by painting sheets in various shades and colours with acrylic paint. I use different acrylic mediums to get different opacities and translucencies, such as fluid retarder and gloss medium. I use different brushes and brushstrokes to give the paper different textures. My collages allow me to loosen up and to create a minimal compositions.

I am interested in creating works through decision making and exploration of paint. I like to depict the everyday impressions that are significant in my life with carefully considered brushstrokes and a determined lightness of touch. I tend to work on many paintings at once, building up layers gradually and carefully creating one sweeping brushstroke and then reflecting and this process goes on until the work is completed. I have built up my own recurring library of motifs that signify my internalised experiences through the painterly Website: qualities that are important to me and important in how www.emmahayesart.com I make work.

IG: @__emma_hayes__ PAGE 58 | THE PURPOSEFUL MAYONNAISE

WORDS • IDEAS: STEPHEN MEAD

Weight of the Year (for Charlie) Day 365, and hour-glass true are the sands accumulated to make this transparency convex.

Still memory happens too fast to be anything but an opal opaque but for what becomes milestone moments lustrous with shifting colors, details, sensations, facets.

Consider that bed of heaped coats on the celebratory eve, the weight of that pile scented with something like Chanel, talcum, the spices of old as resonant as peppermints found in a winter pocket's forgotten tissue.

Such fun to climb up upon the buttons, cuffs, collars before burrowing beneath with puppy-glee though there is a cost if caught.

Grown-ups, if lucky, become of this festive play, carry like sediments stirrings which are the magic of holiday lights seen from underneath while lying on the floor in a room completely dark but for those watery tiers towering, wave upon wave, towards the seas seasoned top; then ceiling-reflected as shadows and coronas, a whole cove of celestial penthouses.

Fancy is as fancy does but there is a growing pull the older know hoping to have enough attention to remember every absolute of just one living thing loved so well that to summon it comes like breathing, face-close, before life sleeps breath away, head to breast, nodding, slowing like a fortunate parrot.

Stephen Mead is an Outsider multi-media artist and writer. Since the 1990s he's been grateful to many editors for publishing his work in print zines and eventually online. He is also grateful to have managed to keep various day jobs for the Health Insurance. Poetry on the Line, Stephen Mead: http://stephenmead.weebly.com/home/poetry-on-the-line-stephen-mead PAGE 59 | THE PURPOSEFUL MAYONNAISE

ART & WORDS: JUDY YOUNG & NORA KALABOKAS

Haiku by Judy Young I am a theatre maker, writer, hat-maker and performance artist specialising in circus hula hoops.

Website: younghoops.weebly.com IG: @younghoops Illustrations by Nora Kalabokas.

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ART: ANASTASIYA KROKHMAL

In the Cage of Consciousness, 2021, oil on linen canvas, 50 х 50 cm

Burden, 2021, oil on linen canvas. 60 x 80 cm

Do you know the feeling that you are trapped in a cell of your own brain? Are you in a matrix created by your own consciousness? You go around in circles on the same subjects, and there is no end to it.

The man in the painting has the same feelings. We see that he lacks space, and he is forced to take artificial postures, only to fit himself into illusory limitations. But what happens if you straighten up and stand up freely? And will there be enough courage?. For this. Each of us answers these questions to himself.

The painting is about the severity of oneself. The image of a man is about us. We just carry. We are the heaviest burden that is always on the shoulders.

This dark mass of torment, conflicts, some kind of inner discord. We carry a mass of self-destruction, ready to consume us at any moment of weakness. It's a lifelong grueling fight. And the end will come at the moment when there will be no strength left to carry this burden.

Anastasiya Krokhmal (born in 1997) is a contemporary artist living and working in Moscow. The artist's paintings are aimed at studying people and their psycho-emotional state.

Artist Statement I paint expressive oil paintings on paper and canvas in the figurative genre. The main theme of my paintings is feelings and conditions of people, including conditions related to the spectrum of mental disorders. My artistic practice is based on self-reflection, emotional intelligence and personal life experience with anxiety-depressive disorder. The characteristic features of my paintings are pronounced contrast, drips of paint, raw paper margins or pieces of canvas. With these techniques, I strive to share my energy with the viewer. Art for me is not only the result of my experience and reactions to everything that happens, but also the opportunity to combat the stigmatization of mental deviations.

Website: artkrohapaint.wixsite.com/my-site IG: @art_kroha

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WORDS • IDEAS: MEREDITH BASS

Your Name Your name Soft light that creeps in from the shadows Burst into flames as a gentle reminder of what once was Lust not love Yet it consumes my mind The scent isn't as strong as it once was That's probably because of time Harsh, cold and unpredictable

My name is Meredith Bass, yes pronounced like the fish! Art is my passion behind closed doors and I'm ready to show the world what my mind sees inside everyday. I try to explore as many mediums as possible when I create.

Website: www.meredithbassphotography.com IG: @meredithbassphotography.com PAGE 62 | THE PURPOSEFUL MAYONNAISE

WORDS • IDEAS: SARAH JANSEN

Spark

by Sarah Jansen

They weren’t the last people in the street, but they were among the stragglers. They should have been early; all three of them were in the fire rite that marked this shortest night where the weft of the sun and stars turned in their weaving of the sky.

Ally consoled herself knowing that Bren was there already, although at his age her brother had no official role. He loved all the rites and festivals. They were the only things that he enjoyed as he should. He loved anything that took him away from the house and Ally didn’t understand his wanting to get away, even though he was only two cycles younger.

The sun was behind Far Mountain so there was still an hour or two of twilight settling. The air was warm and busy with the aromas of flowers, grain, hay, fruit, woodsmoke; and down the road from the square rolled the sounds of horns and laughter.

Dallen scrabbled his hand into hers. He didn’t hold her hand very often anymore.

This was his ninth midsummer. Ally’s memory blinked to his first midsummer fire.

Dallen was a winter baby so he had been able to sit up on their mother’s lap for the whole fire rite, laughing at everything and making everyone smile, feeding from their mother now and again. Ally had been younger than he was now, she thought.

Cal skipped before them, leggy and excited. She hadn’t held Ally’s hand for a long time.

They neared the village square, leaving the smells of grain and hay behind while those of flowers and smoke surrounded them. The fires glowed upwards and outwards, pulling bronze from houses and faces.

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Voices clamored. A loud hoot of laughter from the men’s side of the square. Ally’s throat tightened when she saw her father there, quiet and cradling a mug, looking separate even amongst men he had known all his life. A baby squalled and two others started up in sympathy, all quickly quieted with a crust or nipple. She couldn’t see Bren, but stopped herself from worrying; it only made things worse when she found him.

Cal and Dallen saw their friends and raced ahead. Ally nodded and returned smiles as she made her way through the crowd.

‘Evening, Ally.’ Adelene smiled welcome as they passed.

Evening. I’m sorry, I’m late, but I’ll see you afterwards.’

‘That’s all right, love, enjoy yourself!’

Ally’s belly fluttered. The choral of children was preparing in the schoolhouse, Cal and Dallen milling around with the other ten or so.

The teacher caught Ally’s eye. Lellet had been one of the big girls when Ally had gone to school and had been her teacher for her final year when she was thirteen.

Clever people usually made Ally feel small, but Lellet’s confidence that everyone was worth talking to simmered Ally’s shyness away like water in a shallow pan.

‘I’m so sorry they’re late, Lellet. Dallen tore his tunic and I didn’t see it until we were about to leave.’

‘It’s fine, it’s fine.’ Her hands fluttered away Ally’s worries. ‘Oh, your flowers are slipping.’ Lellet straightened the wreath of purple wildflowers that Ally had hurriedly tied into her hair. She had kept from thinking about her part in the rite all day. She was embarrassed by the dress she had made herself and she was not as good at the dance as the other girls. If she had asked her grandmother for help, Teti would have made her feel worse about not knowing how to do things and say something cruel about her mother’s absence. The only other woman in the house was Cal and she was only eleven and not careful enough and anyway it would have taken too much to convince her sister to help her.

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‘These are so beautiful, Ally! Where did you find them?’

‘Our garden.’

‘Of course; you’re a wonderful gardener. The colours are so plump.’

Ally smiled, some of the tightness leaving her body.

She found her brother and sister in the crowd of children. ‘Enjoy yourselves, chickies.’

She touched their cheeks so they paid attention in the hubbub of the schoolroom. ‘I’ll be watching from inside the apothecary, all right?’ They smiled and kissed her cheek. ‘Do what Lellet tells you. I’ll see you after my dance.’

She worked her way around the edge of the square, heaviness settling inside. She gathered her crooked side seam in one hand, wondering how long she could hide it.

The familiar earthy-sweet-savoury air inside Adelene’s apothecary was mixed with the smells of midsummer blooms and the girls milling around in featureless dresses of pale cloth and purple blossoms in their hair.

Belia and Olene’s fire dresses were sewn precisely from clean flour sacks their mothers had saved especially for them. Maren had her hair in intricate braids that made her look as if she really were a summer sprite with flowers growing from her scalp amongst her hair.

‘Evening, Ally.’ Belia smiled in that sparky way that made Ally wary.

‘Evening.’ Ally tried to seem friendly enough that Belia couldn’t claim offence but not so friendly that she would want to talk more. Mostly she wished Belia would take no notice of her.

‘Taken the children to Lellet, have you?’

Someone snickered.

‘Yes.’ ‘Did you make their tunics?’

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‘They’re wearing mine and Bren’s old ones.’ Which her mother had made. She swallowed, hoping no one would mention Velvet.

The horns out in the square changed rhythm. ‘I’d better … I promised I would watch them.’ She turned her back on the group to the open window, placing her hands on the sill. The cool of the smooth-worn wood was comforting. It warmed under her hands.

She had let go of her dress and the way her seam warped her costume would be obvious to everyone behind her. She hadn’t had time to redo it. She heard the whispers but not the words.

Out in the square, the line of children snaked from the schoolhouse door to stand by the musicians. The older boys and young men played the instruments—pipes, horns, drums, and harps—all through the midsummer night rite. Bren refused to do anything official. He sat with Ellery and Rusin near the old men, making fun of everything and sneaking beer. Ally could see some boys she had been in school with. Talen, Orlo.

Esid, Gilmer. Others who were a bit older.

She had barely left home all through Spring, fixing and mending around the house, digging and planting in the garden, birthing and combing and clipping the goats.

She had no idea what anyone had been doing, these boys and girls she had seen almost every day her whole life. And now they were almost men and women. She wondered if anyone was courting, then felt silly. Of course they were.

She picked out Cal and Dallen in the line of children. Early evening crispness and singing washed through the window. Children’s voices were so sweet, no matter how tuneful. They swayed in their light wool tunics, singing about the end of sowing seeds and birthing kids, of celebrating and resting before the haymaking.

Dallen looked so happy it made Ally smile. It was so easy to make him happy. She resolved to make more of an effort to give him his simple joys. Cal was enjoying herself too. Ally was surprised at how enthusiastic her sister was about the choral.

Usually she wanted to be away up the mountain—with Bren if he let her.

The music finished and the children filed back to the schoolhouse to shed their tunics and tell each other how good they had been.

It was the older girls’ turn now. Ally’s belly fluttered. It would be over soon, she reminded herself. She joined the line of the girls and linked hands, Maren on one

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side, Sabel on the other.

Sabel squeezed her hand. ‘Your flowers look wonderful.’ Ally squeezed back. She knew her flowers were good even if her dress was crooked. She reminded herself that she was not leading and all she had to do was keep time with the others. The drums began. A few beats. The horns joined them.

Belia led the chain of girls out into the square. Ally was concentrating so hard on not tripping, she had no time to wonder if her steps were light and graceful. They were supposed to look like sprites, rejoicing in the birth of Summer, barely touching the ground. Glad of the hands holding hers, she kept her place in the line as it wound around the great fire once and again until Belia linked hands with Dessy at the end of the line.

The rhythm and sliding harmonies of the music surrounded and soaked into them, changing them from a group of girls to a single circle made of summer and song.

They ringed the fire, their feet skipping and scuffing the hearthdirt, until the final notes of the summer sprite tune melted into the night. The circle sank to the ground, still hand-linked, and bowed their flowered heads towards the flames.

The hearth dirt smelled of clay and flint. A heartbeat, two, three. They rose and tossed their flowers into the flames.

Hands let go and girls merged with the crowd to be hugged by family and friends in the crowd. The spell loosened.

It was Ally’s third fire rite dance—girls joined it for their fourteenth Midsummer—but she had never felt like this. As if the flames had gotten inside her; as if she were an ember, pulsing but constant, unconcerned with past or to-come.

Belia was with her mother and aunt. Ally thought it odd the other girl had made her shy and awkward for so long. She saw her brother Bren and felt sad that he was determined to stay on the edge of things. The little ones ran to hug her and she felt the sparks within them.

***

Sarah Jansen’s writing explores the seemingly limitless ways humans can find to live and how small banalities interact with macro social and economic structures to create our experience of everyday life. She is from Logan City, Australia, spent 10 years in Brisbane, and have lived in Melbourne since 2011.

Website: create.sarahjansen.com Twitter: @sarahjansencom PAGE 67 | THE PURPOSEFUL MAYONNAISE

ART: ANA MARIA GUTA

Swimming among Thoughts, 2021, acrylic on synthetic board, 100 x 140 cm

Ivresse Sociale, 2021, acrylic on paper, 29.7 x 42 cm

Website: linktr.ee/ampsoulartbyAnaMariaPodaru IG: @amgsoulart PAGE 68 | THE PURPOSEFUL MAYONNAISE

Ana Maria Guta is a self-taught artist based in Constanta, Romania.

She loves to analyze the hidden parts of our identities, through an immersive experience inside the the complex labyrinths of our consciousness. The influences found in her work are from abstract art, nature, spirituality, the Universe, works by Vincent van Gogh, science, abstract expressionism, conceptual art and contemporary art.

She prefers using acrylic on canvas.

The focus of her work is the colors, shapes and structures, which she wants to integrate in a certain harmony in order to not imitate, dictate, compare, repeat, model or compensate.

ART & WORDS: CAROLINE GOLDEN & DEREK OWENS

The Courier

Caroline Golden, The Courier, 2009, paper collage, antique book cover, 9 x 12 inches

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It is an art, this business of couriering.

You will laugh at the absurdity of such a claim. We know you consider us little more than automatons, gray uniformed personnel in a cosmic distribution network.

Pawns in the service of higher thinking conducted by persons of your ilk, possessed as you are with dazzling and consequential intellect. After all, we are but runners, scurrying hither and yon, our courier-bags stuffed and spilling over with theorizations and initiatives, idea nuggets, and thinkstuff borne of races so much higher on the food chain.

Our kind, we know, is employed not so that we might contribute to the conversational flow but for our singular yet limited talents of speed, fluidity, and transparency. We were bred to pay no mind to the content of our conveyances; our own "minds," if that is what they can be called, are but endless, idle voids marked by little more than the white hiss of outer space. This absence of philosophy and opinion, this emptiness coupled with a supreme lack of interest in the nature of our cargo, is what permits us to shuttle your every whim and notion, every tiny burp of cognition, from a to b and back again.

Yet you forget our origins. While obsolete in today's usage, a courier once upon a time meant the overseer of a forest. Yes, we managed the big woods. The universe was a wilderness--a wildness--and we the caretakers who fed and tended that jungle. We held in our hands chaos, order, and mutation, juggling perfectly those three orbs, our impeccable dexterity generating what came to be called the music of the spheres.

How that age gave way to this current one, where we have been displaced and demoted, operating only in the service of your "grand flow" yet never contributing to it, is the mystery that nags at us. To put it mildly. Some cataclysmic event, perhaps, once wiped our minds of our history? Leaving us to be nothing more than lowly technicians enabling the synaptic circuitry of the masses?

But lately the sheer volume of data packets has blossomed with a furious intensity that none can manage. It is all no longer exponential but rather posthyper-exponential. Giga, tera, peta, exa, zetta, yotta, bronto--soon the prefixes will run out. Information went feral long ago; you just never noticed. Our courier-bags are no longer simply spilling over, scattering crumbs about the floor. They have exploded, filling the air with an endless cloudscape stretching outward to all horizons, and ultimately replacing the air itself. You think you use the data we pass back and forth but that is just a distraction, an amusement. Data breathes you now, into form, repeatedly, ad infinitum. We couriers still go through the motions, maintaining our delivery schedules, and you continue to collect our offerings, trusting every envelope and package. But your trust is misplaced. The statistical has become an abstract expressionist disgorgement. A wondrous splashing of illimitable content. And like the old commercial goes, you are soaking in it.

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This art practice of which I speak, it is no longer that of the courier, at least not the kind of courier you assume us to be. We still channel, and transfer, and race the circuits. But that is just exercise to us, our going to the gym. No, our real work now has returned us to that earlier definition. To forestry. Only now we don't simply manage the dark woods. No, we are building the chaos anew. Assembling from the spillage designs that delight and horrify us. We harvest the undeliverable. Ours is an art of the lost and found (and lost again, only to be rediscovered). That you cannot even see it, that you remain unaware of the breakneck thickets engulfing you and your busy little anxious mind worlds, is the very sign of our artistic command.

***

Derek Owens is a writer and artist whose work can be found at derekowens.net. Caroline Golden is a collage and assemblage artist; her work is at carolinegolden.com .

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ART: THE MESSDECK

Rae Smith, Natural Abilities (St Mary's Glacier, Colorado and Albany, New York)

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Esther Loopstra, Exposure, 2021, watercolour, watercolour pencil and graphite on paper, 18 x 24 inches

Kamryn Shawron, Me as Yogi Bear, 2021, mixed media, 5 x 7 inches

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Esther Loopstra, Containment, 2021, watercolour, watercolour pencil, graphite on paper, 8 x 8 inches

Kamryn Shawron, Cakey, 2021, mixed media, 5 x 7 inches

Nina Testaverde, Planet B, 2021, paperclay, raku, 7.62 x 15.24 cm

Hagen Klennert, Egli infatti non ha fatto altro che mostrare degli esempi di santo, di comportamento pio, senza entrare nell'essenza del santo, come qualcosa di universale., collage/ photography, 3 parts

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Natalie Rusinova Above left: Premonition, 2021, canvas on cardboard, 50 х 35 cm Above right: Dreams, 2021, oil on canvas, 70 х 50 cm Right: Rebirth (Regeneration), 2021, oil on canvas, 50 х 35 cm

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Martine Mooijenkind

Above left: White Water, collage Above right: Peaks and Valleys, collage Left: Life We Choose, collage

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Tamir David, Science, 2021, gouache on paper, 20 x 30 cm

Anthony Gregg, I Wanna Set a Couch on Fire, 2021, acrylic on gallery wrapped canvas, 20 x 24 inches

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Maria Titan, Lesley, 2021, acrylic, watercolour, pastel, pen on watercolour paper

Shannon Gardner, A Joke to You, 2020, collage, 11 x 14 inches

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Maria Titan, Incognito, 2021, acrylic, watercolour, pastel, pen on oval canvas and paper

Shannon Gardner, Mommy's Girl, watercolour and ink on paper, 5 x 7 inches

Andy Van Dinh Above: Astro Crossover, 2020, charcoal on paper, 15 x 20 inches Right: Obstruction Ephemera IV, 2019, charcoal on paper, 30 x 22 inches

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Ilze Egle: Joy Of Life, 2021, mixed media on canvas, 90 x 65 cm; Lightness Of Being, 2021, mixed media on canvas, 90 x 65 cm PAGE 80 | THE PURPOSEFUL MAYONNAISE

Astrid Remue, Engulfed, film photograph

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Datis Golmakani Above: Passing Illusion, mixed media on canvas, 200 x 150 cm Left: Sleep, mixed media on canvas, 100 x 150 cm

Lemuel Gandara, Supernova

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Lemuel Gandara, On the Cave Walls

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MESSDECK ARTISTS Tamir David My art is dark. It is the inner workings of distress: cultural, personal, existential.

My works point towards an alternative reality where the Inside is out and deep scars are allowed to be worn with pride. I find it where the inner world meets reality, where culture meets nature and when life meets death. I draw from personal experience of post trauma and displacement and by viewing my environment.

Website: tamirdavid.com Ilze Egle Ilze Egle is a visual artist based in Latvia. In her paintings and drawings she captures beauty and fragility of nature, relationships, and life.

Born into a family of artists – a ceramic artist and a sculptor – I've drawn and painted since I was a young child. With my art, I capture moments and details, which show the fragility of the world. I wish to tell a story, asking the observer to stop and appreciate nature, relationships, and life. To the unhurried observer, the more detailed, intricate levels of my work are revealed, which brings it to a whole new level. By exploring details, I seek to reveal the universe in a small fragment. My art comes from where I find myself emotionally. I believe that art has the potential to make a huge difference in this world, and I feel blessed to be a part of it. I am currently working on series of portraits, seeking to uncover the layers of human emotions and power of soul.

Website: www.ilzeegle.com IG: @ilzeegleart Lemuel Gandara Visual artist and film director with works exhibited in Brazil and abroad. His aesthetics investigates the synthesis of elements and characters, as well as its speech and enunciation context. Is also Doctor of Literature by the University of Brasília (UnB) and a researcher of the interartistical receptive processes with an extensive scientific and critic production.

Website: lemuelgandara.com IG: @lemuelgandara Shannon Gardner Shannon transforms materials and matter to create unique memorable experiences through her artwork. Fusing Eastern and Western philosophy into a stylized aesthetic highlights Shannon's fascination with the macabre. Striking figures permeate her work showcasing imperfections in nature.

Shannon has been featured in numerous publications, exhibitions, album art, and in the homes of those who connect with the aura of her work.

Her line and dot work creates an impression of a technical drawing. Stippling and cross-hatching creates clusters of value implying crisp texture and depth, giving the illusion of change through time. Shannon's serendipitous approach to watercolour and ink creates a profound contrasting aura with her illustrations.

Website: etsy.com/shop/uneasyviewing

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Datis Golmakani Painter and cartoonist "Passing Illusion" Series: What can be seen in this collection is the first manifestation of the combination of colors and eerie lines; naked figures and people without faces and without individual identity. In fact, human identity and the states of the figures express the content and meaning of movement. Sometimes they are passive in isolation and sometimes they are too tense and excited. Sometimes they look at a promising point in completely dark spaces with dark colors.

IG: @datis.golmakani_ Anthony Gregg Rhode Island based abstract expressionist painter Anthony Gregg utilizes external and internal inspirational sources to build and create connections between infinite points. Broad sweeping color motions and the fluidity of the medium, drip techniques, and palette knife scrapings and smears combine with broad gestures to allow for chance happenings on the canvas. The goal being to capture the chaos, emotion, energy, and inherent beauty that life experience stirs in all of us when viewing it. Anthony Gregg holds a Bachelor of Fine Arts from Bowling Green State University and has been actively painting since 1998.

Artist Statement My work is primarily an introspective expression, a product of my environment and the events that happen within it, past and present. Upon this framework I attempt to build an emotional connection between myself, the painting, and to the observer.

Comfort and chaos, safety and strife, power, and stillness. It's this dichotomy that I find so compelling and challenging to capture.

I almost exclusively use Acrylic and Latex paint as its generally quick drying time lends itself to fast paced decisions and movements, increasing the occurrences of unpredictability and chance happenings which add depth, excitement and meaning to every piece.

IG: @spiraloutart Hagen Klennert Born in Erfurt, GDR (East-Germany).

Education as stage painter.

Lives and works as a painter, graphic artist and illustrator.

Website: www.hagenklennert.de Esther Loopstra Esther Loopstra is a professional artist, speaker, and creative coach. She speaks and teaches about neuroscience, the creative process, intuition, mindfulness, and the psychology of FLOW. With a background in commercial art, her work has been shown in galleries, used for print ads, editorials, books, stationery products, textiles, and more. She holds degrees in Counseling and Illustration and has taught at Kent State University and Cornish College of the Arts.

Website: www.flowintoauthenticity.com/art IG: @estherloopstraart

Martine Mooijenkind I am a collage artist from Gouda, The Netherlands,.

I do analog and digital collage and my work is mostly surreal.

Website: www.behance.net/ikheetgeenjan IG: @knutselfabriek Astrid Remue I am a 21 year old (film) photographer from Antwerp, Belgium.

I love to experiment with new techniques.

Website: fomographybyastrid.wixsite.com/home IG: @fomographybyastrid Natalie Rusinova Expressionist artist from Russia. In her work, she pays special attention to the versatility of colour, contrast and bright accents. She draws colourful landscapes depicting emotions and impressions. Her goal is to create convention free art, forcing the viewer's imagination to work towards the essence of the phenomenon represented in the picture.

IG: @natali_rusinova_art Kamryn Shawron Kamryn Shawron is a multimedia maker from Ocoee, Florida.

Graduating from the Savannah College of Art and Design with a degree in Fibres, her work focuses on the integration of portraiture, embellishment and fibres. With themes rooted in both identity and disguises, she aims to embrace all that makes us human. With an interest in the tactile nature of our surroundings her body of work is influenced by candid moments of the conversations and people around her.

Website: kamrynshawron.com IG: @kamrynleelu.

Rae Smith Rae Smith and I'm a film photographer living in Hamtramck, Michigan. I enjoy urban and natures photos, and personally focus on experimenting with double exposures. When I'm not taking photos you can find me cooking, writing, or hanging out with my two cats IG: @beelzebubbie Nina Testaverde Nina Testaverde is a mixed media visual artist based in Italy.

Her current practice embraces ideas of wabi-sabi; exploring imperfection and impermanence in nature through organic processes and materials.

IG: @ninatestaverde Maria Titan I'm a full time artist living in Nicosia, Cyprus. I grew up in South Africa and hold a BA degree in Fine Art from the University of the Witwatersrand. I paint from photos and my subjects vary but usually include people, animals, interiors and food. Mixed media is my thing, working in acrylic, watercolour, pastel and pens. I paint on canvas but my favourite base is paper.

IG: @mariatitanartist

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Andy Van Dinh Andy Van Dinh was born and raised in Calgary, Alberta, , Canada, where he earned his BFA at the University of Calgary. He currently works and lives in New York where he obtained his MFA in Painting at Hunter College.

Website: www.andyvandinh.com IG: @andyvandinh