Divide Magazine: Issue 11

FrontCover: EmilyPope

“CurtainCall”

OilonCanvas

86.36cmx81.28cm

Top: JessMiller “TheHelp”

OilonCanvas 200cmx210cm

BackCover: LingJungChu

“DetachmentfromEssence” Performance 01:34:30

Formoreinformationpleasevisitwww.dividemagazine.com

FEATURED ARTISTS

WENQINGYAO

Image:

“Scien�stsNowDiscoverNewEvidenceToReconstruct TheEcologyOfA.D.2021” 4mins,MovingImage

www.instagram.com/evonnewqy/

WenqingYaoisaLondon-basedmoving imagear�stwhoseworkexploresthe complexrela�onshipbetweenhumans andthenaturalworld,drawingon environmentalscience,specula�vefic�on, andmediacri�que.Throughherprac�ce, sheinves�gateshowurbanwildlife, ecologicalsystems,andar�ficial landscapesareshapedbyhuman interven�on,o�enques�oningthelongtermimpactsoftheseac�ons.Herwork challengesthelinebetweenrealityand specula�on,usingmaterialslikeambient soundscapes,urbanwildlifenarra�ves, andfabricatednewsreportstocri�cally examinethemesofecological preserva�on,adapta�on,andthe ar�ficialityofmodernenvironmental policies.

YaoholdsaBAinVisualCommunica�on fromtheBeijingUniversityofTechnology andanMAinInforma�onExperience Design,MovingImageDesignfromthe RoyalCollegeofArt.Influencedby thinkerssuchasTimothyMortonand inspiredbyar�stslikeAnickaYiandPierre Huyghe,Yao’sinstalla�onsandfilmsdelve intotheentangledrela�onshipsbetween humansandnon-humans.Herwork movesbeyondtradi�onalenvironmental advocacy,embracingtheambiguityof humanimpactonnaturewhile encouragingaudiencestoreflectontheir roleswithinthesecomplexecosystems.

Herfilmshavebeenscreenedat interna�onalfes�valsincludingthe LondonShortFilmFes�val,Clapham Interna�onalFilmFes�val,andHiShorts! FilmFes�val.Addi�onally,her installa�onshavebeenexhibitedat renownedvenuessuchastheICA, UniversityofHeidelberg,Safehouse2, IrcamParis,andtheRoyalCollegeofArt.

SOPHIERUOYU ZHANG

Image:

“NapawalkonRed”

Onechannelvideoinstalla�on,5'36'' 5min36sec

www.instagram.com/almightysophie/

SophieRuoyuZhang(b.1999,Chongqing,China)isan interdisciplinaryar�stcurrentlylivinginBrooklyn,NY, USA.SheholdsaBachelorofFineArtsinPain�ngfrom theRhodeIslandSchoolofDesign.

"Workingasa'diffrac�onapparatus',"theaimofmaterial ecocri�cismistorecognizetheentanglementsofthinking aboutthenaturalandtheculturalsimultaneously.This diffrac�onapparatusseekstobeperceivedasacri�cal triggerthatenablesustoconsiderthenaturalthrough theculturalandtheculturalthroughthenatural, reinforcingthe'composi�onal'structureofthehuman worldforhumansthemselves.

Sincepa�ernsormodeshavealwaysbeenasignificant condi�onintheprocessofourevolu�onaslivingbeings, theconceptof"randomiza�on"hasgraduallybecome moreeffec�veintheevolu�onofcomplexsystems,such asasemicartandpoetry.Itcanbeagreedthat "randomness"isanasemicaspect,notonlyrepresen�ng alackofpa�ernsandmodesbutalsoservingasa founda�onforinci�ngcri�calandcrea�verela�onships betweennatureandculture.

Inlinewiththisidea,Sophie'sbodyofworkisintendedto implybothac�onand"interac�on"—performa�veyet s�ll,improvisa�onalyetthough�ul.Heroilpain�ngs, printmaking,andperformancepiecesrespondtoand reinterpretnaturalobjectsthatexistinalimboof recogni�on,imbuedwithpoe�cs,onthethresholdof subjecthood,therecognizable,andtherepresentable.In herworks,figures,ground,andscoresareconsidered throughthelensofasemicartandasemicpoetry. Pain�ngandwri�ng,scoresandlanguages"willhave startedwiththesamegesture,whichwasneither figura�venorseman�cbutsimplyrhythmic."Ifasemic scoresareunderstoodastangibleandliteralrhythmsin herpain�ngs,theconversa�onbetweenthosescoresis expressedmoresensoriallyandinterac�velyinhersound piecesandperformances.Theintegra�onof"words"/ "scores"insymbiosiswithhumans,nature,and autonomouspoe�csaimstobringnewperspec�vesto artbyincorpora�ngideasfromotherdisciplines,suchas post-natureandmaterialecocri�cism.

ELISACAPUCCI

Image:

“ItDoesn'tMa�er”

Installa�on

VariableSizes www.instagram.com/elisacapucci/

ElisaCapucci(b.December28,1998)isanItalian ar�stcurrentlylivingandworkinginCopenhagen. SheearnedherBachelor'sdegreeinSculpturefrom theAcademyofFineArtsinBolognain2021,where shelatercon�nuedherstudiesintheMaster's program.

In2022,Capuccico-founded‘HIDDENGARAGE,’a Bologna-basedini�a�vededicatedtoautonomous andindependentcura�on,crea�veexplora�on,and promo�ngemergingar�sts.Thisprojecthasbecome ahubforinnova�vear�s�cprac�cesandservesasa pla�ormfornewvoicesinthecontemporaryart scene.

Between2023and2024,CapuccilivedinLondon, whereshegainedinvaluableexperienceworkingasa studioassistantforBri�shar�stMichaelDeanwhile simultaneouslya�endingtheMAFineArtsprogram atChelseaCollegeofArts,UniversityoftheArts London(UAL).Her�meinLondonenrichedher ar�s�cprac�ce,bridgingheracademicstudieswith hands-onstudioworkandadeepdiveintothe contemporaryartlandscape.

Capucci'sworkdelvesintotheconceptofspaceasa bodycontainer,exploringhowitcanbemanipulated andunderstoodthroughhersculpturalprac�ce.Her researchspanstheore�cal,experimental,prac�cal, andinstalla�onperspec�ves,focusingonneomaterialismandmodernterrestrialsuperstructures builtforhumanhyper-convenience.Throughherart, shenarrateshersurroundingswithauniquelens, examiningtheconsequencesofthefusionbetween organiclifeandindustrializa�on.

LanguagealsoplaysapivotalroleinCapucci's prac�ce,assheispar�cularlyinterestedinthe evolvingvocabularyrequiredtoar�culateourera. Hercurrentresearchposi�onssculptureasaneomaterialis�ctool,aimingtodecodeandinterpretthe socio-economicforcesthatshapeourworld.Capucci con�nuestoexpandherwork,usinghersculpturesto challengepercep�onsandoffernewwaysof understandingourever-changingenvironment.

SIMONETHEHEARTIST

Image: “Fossil”

MixedMedia

101.6cmx81.28cm

www.instagram.com/simone_thehear�st/

SimonetheHear�stisacontemporaryvisionaryar�stwhosework directlyreflectstheriseofhumanity.

Followingatrauma�c,life-alteringeventattheendofthepandemic, Simonele�heroldlifebehindinsearchofthepurposeofher existence.Liberatedfromanear-deathexperienceandthefearof deathitself,sheexperiencedadrama�cshi�thatunleashedaflood ofcrea�veforcewithinher.Thistransforma�vemomentignitedan insa�ablepassionandobsessionforpain�ng,leadingSimoneto channelherar�s�cenergyintoherwork.

Spli�ngher�mebetweenColoradoandthesmalltownofBacalar, Mexico—placessheconsidersconnectedtotheancientrealmof LemuriaandtheDivineFeminine—Simoneiscra�inganewlifeand bodyofworkfocusedontheevolu�onarystateofhumanity.

Throughoutherlife,Simonehasstudiedwithnumerousmastersfrom aroundtheglobe.Despiteholdingonlyagrade8cer�ficateinformal educa�on,shepursuedherfineartstudiesthroughauniqueselfguidedpath,deepeningherknowledgethroughtheprac�ceof pain�ngitself.Sheu�lizespremiummaterialslikeGoldenFluid Acrylics,OldHollandandRublevOils,andevensuperchargesher pain�ngswithgroundcrystalleadwhite.Simonehasdevelopedher ownvaria�onoftheMischtechnik,atechniquelinkedtothe fantas�crealismmovementofErnstFuchsandSalvadorDalí,which involvesintricatelayeringofmediums.

Simone'sartservesasportalstorealmsofpossibility,conveying messagesfromtheDivineandancestralwisdom.Themesof UniversalLove,DivineUnion,andSymbolicAwakeningspermeate hercanvases,offeringglimpsesintotheevolu�onofconsciousness.

InSimone'swords,herpain�ngsareanhomagetohumanity's journey—atestamenttolove'stranscendenceamidstthetapestryof allexistence.

VANESSAONUK

Image: “Deserttwilight”

WatercoloronCanvas 140cmx100cm www.instagram.com/vanessaonuk.studios/

“Myabstractlandscapesareintendedtocapture momentsthatinviteustolinger,drawnbythesight, light,color,orsilhoue�eofanenvironmentthat cap�vatesus.”

Vanessa'sar�s�cprocessfocusesontheintricate layeringofcolorsusingapredominantlytransparent acrylictechniqueoncanvas,usuallypureorganic linenorco�on.Hera�en�ontodetailshines throughinherefforttoblursilhoue�esandforms, strivingtocapturethesubjec�veexperienceofa landscape.

Herstyleisablendofso�linesandcolorgradients, alwayspunctuatedwithcontras�ngshapesthat surpriseanddisruptthear�s�crepresenta�on.

Tocreateeffectsrangingfromintensecolorbleedsto sharplinesandcontrasts,sheconsistentlychooses organiccanvasmaterialslikelinenorco�on.These materialscreateauniquewashed-out,vintageeffect andallowhertoadapttoherclients'size requirementsandthedesiredar�s�cresult.

Vanessabeginshercrea�veprocesswitharough mentalblueprint,yetsheremainsopentoembracing chanceandspontaneity.Sheo�enletsthenatural imperfec�onsofthelinencanvasguideher,leading tostunningandunexpectedoutcomesinherwork.

Linen,asabasematerial,enrichesherimages throughtheunpredictabilityofcolor,crea�ngfreeflowinglinesthatareabsorbedintothefabric.This allowshertoinfluencetheoutcomeexternally withoutfullycontrollingit.

NEBRASHOVEIZAVI

Image: “BorderRun”

Photograph 59.4cmx42cm

www.instagram.com/nebras_hoveizavi/

NebrasHoveizaviwasborninAhvazandhas livedintheUnitedStatessinceher20s.She graduatedfromtheCaliforniaIns�tuteofthe ArtswithaB.F.A.inPhoto-MediainMay 2014,andwentontoearnherM.F.A.from thesameuniversityinMay2016.Witha backgroundinphotography,sheexpandedher ar�s�cprac�cetoincludemovingimages, performance,andinstalla�onasherprimary mediums.

Incorpora�ngelementsofphotography, sculpture,architecture,andinstalla�on, Hoveizavi'scurrentworkmovesawayfrom thetradi�onalroleofaphotographer.Herart delvesintothemesofiden�ty,culture,and disloca�on,amongothersubjects.In2012, shejoinedVirtualVerite,aperformance troupefoundedbyrenownedLosAngelesbasedar�stHarryGamboaJr.Shehastaught intheCommunityArtsPartnershipin Valencia,California,aswellasphotography andcri�cisminTehran.

Hoveizavi'sworkshavebeenexhibitedboth interna�onallyandwithinherhomecountry. Somenotableexhibi�onsinclude"Comfort Zone"atVillaKuriosuminBerlin,theLimited AccessFes�valforvideo,sound,and performance,andtheRoomParallelprogram attheFajrInterna�onalFilmFes�valin Tehran.Shecurrentlydividesher�me betweentheMiddleEastandSouthern California.

LINGJUNGCHU

Image: “DetachmentfromEssence” Performance 01:34:30

www.instagram.com/chu_lingjung/

LingJungChu,bornin2000,isanar�stdeeplyengagedwith feministandconsciousnessthinking.Herworkprimarilydelvesinto theshapingofthefemalebodyunderpatriarchalsocietyandthe deliberatebodilydeforma�onsdrivenbyanxietyovergender iden�ty.Chuo�enusesperformance,videoart,andready-made objectsasherchosenformsofexpressiontoexplorethesethemes.

Inherapproachtoperformanceart,Chuseekstointegratetheatrical thinkingintoherwork.Althoughperformanceartisnottradi�onally classifiedasdrama,sheappliesdrama�cconceptsbystructuringher piecesinchapters,reflec�ngtheideathatindividualso�en drama�zetheirlifeeventsasiftheywerepredefined.Eachac�onin herperformancesisorganizedintochapters,linkingtogetherto createacohesiveand'drama�c'piece.Throughthisprocess,sheuses changesinappearanceandbehaviortobuilduponthenarra�ve, extendingtheplotthroughtheprogressionofherac�ons.Chu manipulatesdifferentobjectsandtoolstochallengeandcontrolthe naturalphysiologicalphenomenaofthefemalebody,addinglayers toherar�s�cexpression.

Chuaimstoestablishaphenomenonofpredeterminedlifeevents throughbodilyac�onsandphysicaltransforma�on,reachingastate whereherownbodycanembodyheterogeneityinthought.By crea�ngsharedlifeexperienceswithheraudience,shehopesto generateamutualresonancethatenablesboththeviewerand herselftoengagedeeplyineachother'ssensoryworlds.ForChu,the viewer'ssensoryinterpreta�onofherartisakintoanenlightening realiza�on,wheretheintersec�onofhumanthoughtsand overlappinglifeexperiencesbecomesherul�matevisionforar�s�c expression.

NELSONNOA

Image: “Dendro”

DigitalArt

www.instagram.com/nelsonnoa/

NelsonNoaisatechnicalHoudini Ar�stwhonavigatesbetweenthe worldsofUI/UXdesignand3D.Heis oneofthefewindividualswho seamlesslyblendsthesetwodis�nct disciplines.Nelsonusesmodern abstractformscombinedwith organicdesigntoexplorearangeof topics.Hiscurrentobsessionis provingtohisaudiencethatthe 'unreal'—thedigitalrealm—canbe moreimpac�ulthanthephysical world.Heaimstoconveytheidea thatsomethingdigital,whichdoes notexistinthephysicalplane,could, infact,bemorepowerfulthan somethingthatdoesexistinreality.

Image: “TheTruthIsaCaveintheBlackMountains”

Bookcovercreatedfor“TheTruthIsaCaveintheBlackMountains.”

Image: “YearofDragon”

ChalzeaXuisanillustratorfromChinawho graduatedfromtheSchoolofVisualArts andcurrentlyresidesinNewYork. Specializingincover,editorial,andbook illustra�ons,shehasbeencollabora�ng withpublishers,magazines,andnewmedia since2019.Herrecentprojectsprimarily focusonbookcoverandinterior illustra�ons,addressingsubjectsthat includehistoricalandsocialtopics,mental health,thequeercommunity,andfantasy. Chalzeaisknownforherexper�sein crea�ngcolorfulportraits,depic�onsof animals(especiallypets),plants,andunique composi�ons.

Chalzea'sachievementshaveearnedher

recogni�onintheartworld.Shewasa winnerofCrea�veQuarterly76anda runner-upinCrea�veQuarterly70and73. Herworkwasfeaturedinthe3x3Annual 21ProfessionalShow,andshewonfirst placeintheUpwardGalleryWatercolorArt Compe��on.Addi�onally,shewasa SILVERWinnerintheGraphis2024New TalentAwards.

Herselectedexhibi�onsincludethe2024 MuséeduLouvreContemporaryArt Exhibi�on"Rotor,"theAsiaIllustra�ons Collec�onsExhibi�on2019,the51st AnnualMarkTwainLibraryArtShowin Connec�cut,andpar�cipa�oninthe2023 and2024SIMoCCAArtsFestinNewYork.

GESSICACARBONE

Image: "FallingInside"

Ceramic 17.6cmx10cmx11cm

www.instagram.com/carbonegessica/

GessicaCarboneisaceramicar�stbased inLondon.Shefirstbeganhand-building smallcreaturesrepresen�ngfeelingsand emo�onsduringthefirstlockdownofthe COVID-19pandemic.Sincethen,Gessica hasdelveddeeperintousingclaytoexplore herinnerworld,sharingwithothersher reflec�onsoneverydayexperiencesand beliefsaboutourexistenceintheworld.In herart,sherepresentsthecomplexjourney oftheunconscious,movingfromthe woundsofinnertraumastothereliefof healing.

Gessica'sworkisdrivenbythedesireto shapefeelings,emo�ons,andimpressions thatareperceived,lived,orendured.She usesclayasanorganicandnaturalthreedimensionalrepresenta�onofthese tangible"emo�onalstates"ofthehuman experience.Eachofhercreaturesholdsa storywithinitself—amysteriousglance,

suddenhappiness,oradeeplookthat connectsthemediumtothesoulofthe observer.

Hercrea�onsfocusonwhatweallsharein common:theneedtobeseen,safe,and soothed.Gessicainvitesviewerstoreflect ontheirinnerselvesandconnectwiththe innerworldsofothers.Eachsculpture encouragesresonancewiththestoryit carries,inspiringobserverstoembracea newperspec�veonhumanity—aviewfilled withhope,mutualsupport,andempathy.

Gessica'sintentistoportraythehuman condi�onbyofferingaglimpseofhope withinthemelancholicand,at�mes,tragic themeshersculpturesrepresent.Through herwork,sheseekstohighlighttheshared experiencesofbeinghumanwhileproviding amessageofhealingandunderstanding.

ZIHAOZHOU

ZihaoZhouisafashiongraduatefromUALLondonCollegeofFashionwithamaster's degreeinmensweardesign.Hisjourneyinthefashionworldbeganwhenhisundergraduate workwasshowcasedattheBeijingInterna�onalUniversityStudentFashionWeek.In2019, hegainedvaluableexperienceworkingasadesigneratPurlicue.Currently,Zihaohoneshis cra�asatailoratLevi’sglobalflagship.In2024,hetookaleapoffaithandlaunchedhis eponymousbrand,Illogic,inLondon.Withablendoftradi�onalcra�smanshipand contemporaryaesthe�cs,Zihaoaimstocarvehisuniquemarkinthefashionindustry.

Thisprojectaimedtoexplorethepoten�alofthespiralarmarcpa�erncu�ngmethodfor innova�vemensweardetailing.Italsoexploresthepoten�aloftheCaravaggiocolor techniqueanditsapplica�ontopa�erndivision.Itexploreshowthestructuraldivisionof menswearandcolorcancoexistharmoniously,throughbothtradi�onalcra�smanshipand innova�vetechnicalmethods,toproduceacollec�onofeightshapes.Thecollec�onalso exploresthetrajectoryofthespiralarmtoachieveaseriesofcollabora�onsbetweenshoe andjewelrydesign.

PhotographedbyXinmingSun 21cmx29cm

www.instagram.com/zaklondon_official/

Image: “PastUniverse” PhotographedbyXinmingSun

Image: “PastUniverse” PhotographedbyXinmingSun 21cmx29cm

TOMJEANWEBB

TomJeanWebbisamul�disciplinaryar�stbasedinAus�n,Texas,knownforhisdiverseand engagingapproachtocontemporaryart.Webb'sjourneybeganintheUnitedKingdom, wherehea�endedKingstonUniversityinLondon,earningaFirstDegreeHonorsinFineArt in2007.Hisacademicachievementslaidastrongfounda�onforhisar�s�ccareer,which hassinceevolvedtoincludeabroadspectrumofmediaandcrea�veexpressions.

Webb'sworkhasbeenrecognizedandexhibitedinterna�onally,withsoloshowsat prominentgalleriessuchasIvesterContemporaryinAus�n,Texas;CircleCulturein Hamburg,Germany;andBrookeBeningtoninLondon,England.Hispar�cipa�oningroup exhibi�onshasfurtherhighlightedhisversa�lityandskill,includingappearancesat respectedvenueslikePreacherGalleryinAus�n,Texas,andLoneGalleryinDallas,Texas.

Ashisar�s�cprac�cecon�nuestogrow,Webb'sambi�onsremainsteadfast.Heissetto deepenhisstudiesbyenrollinginaMaster'sprograminPain�ngattheRoyalCollegeofArt inLondon,oneofthemostpres�giousartins�tu�onsintheworld.Simultaneously,heis preparingforanupcomingsoloexhibi�onattheArtMuseumofSoutheastTexas,scheduled forSpring2025,wherehewillpresentanewbodyofworkthatpromisestoexplore innova�veideasandfurthercementhisplaceinthecontemporaryartscene.

www.instagram.com/TOMJEANWEBB/

Image:

Acrylic,Gli�er,OilandOilPastelonCanvas 153cmx122cm

Image: “MYHELL,MYHEAVEN,MYHOME”

Acrylic,Gli�er,OilandOilPastelonCanvas 153cmx122cm

EMILYPOPE

EmilyPope(b.1993,Canada)isapainter livingandworkinginToronto,Canada. Herworkexplorestheinterac�on betweenthehumanfigureandsymbolic elements,usingthesese�ngstoamplify herexperiencesofwomanhood.Pope’s recurringuseofsymbolismands�lllife servesasvisualanchors,addressing themesoflonging,iden�ty,and transforma�onthroughtheemo�onal landscapesshenavigates.Herart examinesournaturalinclina�ontogrow a�achedtomoments,despitetheir flee�ngnatureinthefaceof�me’s relentlessforce.Bypresen�nganinner worldofdaydreamsoncanvas,Pope invitescontempla�ononthecomplex layersofhumanemo�onandthesubtle nuancesofourinnerlives.

Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?

EP: Therewasneverreallyastar�ng pointbecauseIfeellikeI’vealwaysbeen makingartins�nc�vely.WhenIwas young,Iwascompletelyobsessedwith coloredpencilsandcouldspendallday drawing.Iwouldfillsheeta�ersheet,lost inmyownworld.Itwasn’tsomethingI consciouslychose;itwasjustapartof whoIwas.EvenasIexploredother crea�vefieldsprofessionally,pain�ng remainedmyanchor.Itfeltlikeaquiet butpersistentforcepullingmeback, groundingmewhenotherpursuitsfelt transient.Eventually,Irealizedthat nothingresonatedasdeeplyaspain�ng,

andIchosetofollowitfull-�me.Arthas alwaysbeenthere—somethingconstantand inevitable—guidingmelongbeforeIformally commi�edtoitasmycareer.

Whoorwhathasbeenthebiggestinfluence onyourlifeasanar�st?

EP: Havingthesupportofmymomandmy partnerreallyallowsmetobe unapologe�callymyselfandpursuemy dreams.Theirencouragementhasmadeit possibleformetotakerisksandfollowapath thato�enfeelsuncertain.Beyondthat,I’m deeplyinspiredbyar�stswhodelveintothe emo�onallandscapeofwomanhood—writers likeSylviaPlathandpainterslikeGertrude Abercrombie;theypushmetoexploremy ownemo�onalcomplexi�esandbringthose innernarra�vestolife.

Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?

EP: Io�enreturntothemesof�me,fragility, andthesearchforcoherencewithinchaos. I’mfascinatedbyhowtheactofpain�ngcan feellikegraspingatsomethingjustbeyond reach—amoment,anemo�on,oramemory. Myworkisaboutgivingshapetothese intangibleexperiencesandcapturingflee�ng momentsthatseemtodissolvebeforeyou canfullyunderstandthem.Symbolslikeglass, drapery,andglovesappearfrequentlyinmy workbecausetheyembodythistension:the desiretoholdontosomethingfragile,to understandit,whileknowingitmightslip throughyourfingers.

Howhasyourstyleorapproachevolved overtheyears?

EP: Myapproachhasbecomemore methodical.Iusedtoapproachmywork withmorespontaneity,butoverthe years,I’verefinedaprocessthatbalances intui�onwithdiscipline.Now,Ispend more�medevelopingtheunderpain�ng andbuildinglayers,experimen�ngwith subtleshi�sincolor.I’velearnedtobe pa�ent,le�ngtheworkevolvenaturally ratherthanrushingtoseeafinalresult.

Whatroledoesfailureor experimenta�onplayinyour developmentasanar�st?

EP: Failureisaquietbutessen�al companioninanyprocess.Idon'tseeitas adrama�cordisrup�veforce;rather,it’s likeanudgethatencouragesmeto

rethinkandrefinemyapproach. Experimenta�onislessabouttakingbigrisks andmoreaboutmakingsubtleadjustments— pushingtheboundariesofwhatI’m comfortablewithandchallengingmyown assump�ons.

Isthereapar�cularpieceyou’vecreatedthat standsoutasespeciallymeaningfultoyou? Why?

EP: Recently,thepieceAnIn�macy Containedstandsouttome.Ireallytookmy �mewithit,andit’soneofthosepain�ngs whereIsawfirsthandhowpa�encecan shapetheoutcome.Ispentweeksbuilding andreworkingthereflec�onsintheglassun�l theyfeltright,anditbecameasortof medita�on.The�tlereflectsthisquiet tension—there’ssomethingdeeplypersonal aboutthework,anditfeelslikeaturning pointinmyprac�ceandhowIpaint.

Image: “I’veBeggedforLess” OilonCanvas 96.52cmx81.28cm

Howdoyoubalancespontaneityandstructureinyourcrea�veprocess?

EP: I’mveryorganized—Is�cktoarou�ne.Imakeaplan,andIexecuteit.I’minthestudio fromabout8a.m.to6p.m.,MondaytoFriday,pain�ng.Everythingelse—thelogis�csof beinganar�standthedemandsoflife—hastofitaroundthat.Thespontaneitycomesfrom theincep�onofmypain�ngs,whicho�enappeartomefullyformedinmymind’seye. Somemightcallitacrea�veepiphanyoraflashofinspira�on.I’ms�llfiguringouthow besttodescribeit,butmyprac�cerevolvesaroundactualizingthesevividmentalimages thatseemtoarriveallatonce.Thechallengeistransla�ngthemontothecanvaswiththe sameclarityandintensity.

Wheredoyouseeyourworkheadinginthefuture,andwhatareyouexcitedtoexplore next?

EP: Iwanttocon�nuepushingtheboundariesofstorytellingthroughlargerthema�c bodiesofwork.There’ssomethingpowerfulaboutcrea�nganarra�vethatextendsbeyond asinglecanvasandunfoldsacrossaseries.I’minterestedinexploringnewsymbolic languages,crea�ngamoreexpansivepersonaldic�onaryofimages.I’mexcitedtoseehow thesenarra�vesevolveanddeepenandtobringmoreexperimentalelementsintothe work.

JESSMILLER

JessMiller(Bri�sh,b.1989)isavisual ar�stknownforhercap�va�ngoil pain�ngsandceramiccomposi�ons.Her workdelvesintotheintricaciesof sel�ood,introspec�on,andthenuances offemininity.Througharefined explora�onofautobiographical narra�ves,mythology,andfemale domes�city,Millerweavesarichtapestry ofimagerythatisbothetherealand provoca�ve.

Inherlatestbodyofwork,Millerembarks onaprofoundjourney,focusingonthe minu�aeofthefemaleexperience.By highligh�ngin�matedetails,suchas bootsandclothing,sheimbuesherpieces withtexture,evokingcomfortinsolitude andconfidenceinsocialse�ngs.These crea�onscelebrateself-assurance, encouragingviewerstoembracetheir decisionsandfeelcomfortableintheir ownskin.

Miller'slayeredportraitsreveala kaleidoscopeofemo�onsandnarra�ves. Bold,vibrantcolorsintertwinewith intricatepa�erns,formingabackdropfor herempoweredfemalefigures.Througha bricolageofautobiographicalelements

andimaginedinteriors,Millerconstructs scenesthatchallengeculturalpercep�onsof femininitywhileinvi�ngintrospec�on.

CentraltoMiller'sar�s�clanguageare everydaysymbols—pain�ngs,vases, cigare�es—eachimbuedwithpersonal significance.Windowsanddoorways punctuatehercomposi�ons,offeringglimpses intotheemo�onallandscapesofhersubjects. Whetherdepic�ngawintrygardenthrougha windoworasolitaryfigureincontempla�on, eachartworkbecomesaconduitfor reflec�on.

Miller’sprotagonistsexudeempowerment andconfidence,embodyingrelaxa�onand self-assuredness.Herworkaffirmstheinnate strengthoffemaleiden�ty,celebra�ng agency,growth,andindependence.These me�culouslycuratedspacesinviteviewersto exploretheirownnarra�veswithin contemporarysociety.

Throughheruniquear�s�clanguage,Miller sparksdialoguesaboutagency,female empowerment,andtheresilienceofthe femalespirit.Hercanvasesbecomeamel�ng potwhereins�nctsanddesiresmeet, proposingnewreali�eswithasa�ricaledge.

Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?

JM: Fromchildhoodandthroughoutmy life,Ihavealwaysbeencrea�ng—from pursuingvisualartinhighschoolto studyingphotographyatuniversity.My careerintheartsbeganinfashion photography,whereIdevelopedmy technicalskillsandinterestinthefigure, composi�on,andlight.Ieventually openedmyownphotographystudioin Northcote,Melbourne.However,during theriseofCOVID-19in2020,Irealized thatphotographynolongerfeltlikethe righttooltoconceptuallyandvisually expressmyself.Itooktherisk,closedmy photographystudio,andstartedpain�ng. Icommi�edfullytothisnewmedium, takingupanopportunityforanar�st residencyattheFremantleArtsCentrein Perth.ThetenmonthsIspenttherewere crucialinsolidifyingmypassionfor pain�ng.Theshi�camenaturally,andI feltincrediblydriventocreate.This opportunityallowedmetofullydedicate myselftoexploringthisnewdirec�on withouthavingtojugglepart-�mework, whichwasinstrumentalinlayingthe founda�onofmycurrentar�s�cprac�ce.

Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?

JM: Thebiggestinfluenceonmyart,and subsequentlymylifeasanar�st,isthe understandingofmyselfandwhat cap�vatesmetocon�nuallyyearnto create.Ifindendlessfascina�onin observingthosearoundme,seeinghow othersmoveandinteractwiththeworld, andfindinglinksbetweenthesepeople andmyownpersonalexperience. Flee�ngmomentsandobserva�onsof theseeminglymundaneareaconstant

sourceofinspira�onbehindmywork.

Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?

JM: Ispendalotof�menaviga�ngthemesof autonomy,iden�ty,andthefemale experience,exploringthetensionbetween societalexpecta�onsandself-representa�on. Theseideasactasafounda�onformywork. However,asmyprac�cehasevolved,Ifind myselffascinatedbyexploringthecollec�ve selfandhowourpersonalexperiences intersectwiththoseofothersthrough ordinary,flee�ngmoments.There’san immediacyincapturingthesetransient moments—momentsthatwouldotherwisego unno�ced.There’salsoasa�rical undercurrentinmywork,pokingfunat societalexpecta�onsandcri�quingthesocial pressuretofinddeepermeaninginlife.The needtoseeksomethingmoreexci�ngor grandiose,butperhapslifeisjustchao�cor boringashell,andthat'sokay.

Howhasyourstyleorapproachevolvedover theyears?

JM: Over�me,mystylehasshi�edfrom somethinghighlystructuredand introspec�vetoamorefluidand spontaneousapproach.Myearlyworkin photographywasheavilyplanned,andwhenI transi�onedtopain�ng,Icarriedthatsame senseofcontrol.Overtheyears,Ihave learnedtoloosenmycrea�veboundaries, embracingthefreedomofexperimenta�on andlibera�ngmyselffromtheconstraintsof immediateresultsandexcessiveplanning.

Image: “OnTheDoor” OilonCanvas 130cmx160cm

Eachpain�ngfeelsasthoughitexistsindividually,tellingasingularstory,yetwhenyou stepbacktocollec�velyobserveaseries,theyformacohesivewhole.Previously,Ifocused onlarge-scaleworks;however,Iamcurrentlyworkingonabodyofsmaller,snapshot-like piecesforanupcomingshow,exploringthetensionbetweenmeaningand meaninglessness.Ihavefoundfreedominmovingawayfromlarge-scalepain�ng,instead allowingtheprocesstoevolvenaturallywithoutthepressuretomakeagrandstatement.

Whatroledoesfailureor experimenta�onplayinyour developmentasanar�st?

JM: Failure,inpar�cular,hastaughtme toembracemistakesandimperfec�ons asessen�alcomponentsofmyartwork. Myen�retransi�onfromphotographyto pain�ngwas,initself,anexperiment,and thatjourneycon�nues.There’sa beau�fulmessinesstoit,achaosIfully embrace.ThemoreIincorporatefailure intomyprocess,themoreIsurprise myselfwithwhatIcancreate,allowing forunbridledexperimenta�on.

Isthereapar�cularpieceyou'vecreated thatstandsoutasespeciallymeaningful toyou?Why?

JM: Afewpiecesstandoutforme.Girl Relaxing(2021)wasapivotalmoment;it wasthefirst�meItrulyrealizedIwas meanttopaint.Applica�onUnsuccessful (2023)wascreatedwhileIwasmiserable inScotland,studyinganMFAatthe GlasgowSchoolofArt.Iwassocold, regre�ngthemoveandschoolchoice, yetIwass�llsodriventocreate.Is�ll keepitasamementoandreminderof thisdifficultyetpivotalexperience.The lastpiece,TheHelp(2024),isarecent workthatIcreatedwhenIreturnedto Australia.It’sthelargestpieceI’vedone andexplorestheactofself-soothingand beingyourownsupportthroughhard �mes.Ironically,Idon’tlikeitnow;it’s si�nginmystudio,facingthewall. However,itwasanimportantworkfor metocreate.

Le�:

“Applica�onUnsuccessful” OilonCanvas 140cmx210cm

Howdoyoubalancespontaneityand structureinyourcrea�veprocess?

JM: Idon’t—it'sinaconstantstateoffluxall the�me,andIlikeitthatway.Ilivemywhole lifelikethat,bothflippantandcontrolling.It’s poten�allyaproblemorpoten�allyessen�al tomycrea�veprocess.Regardless,I’drather livelifeintheuncertainandunexpected.

Wheredoyouseeyourworkheadinginthe future,andwhatareyouexcitedtoexplore next?

JM: I’mexcitedaboutmynewwork.Ibegan theseriesaboutamonthago,andit'sbeen incrediblyrefreshingtomovemyolderlarge worksintoacornerofthestudioandprepare anumberofsmallercanvases.Workingsmall wassomethingIalwaysfeltnervousabout; however,it'sbringingmesomuchjoyand freedom—thekindoffeelingyougetwhen youdoahugepurgeofyourwardrobeor declu�eryourhouse.Ini�ally,Istruggledto findathemeformynextbodyofwork,but whenIrealizedtheessenceofmyinspira�on layinunno�cedmoments,Ifeltasenseof reliefandclarity.Itook�metowriteabout thethingsthatintrigueme,readbooks, watchdocumentariesonar�stsIadmire,and self-reflect.Iconsideredwhatwouldhappen ifIstoppedoverthinkingandjuststarted pain�ng.Isi�edthroughimagesinmy camerarolltofindonesthatholdpersonal meaning,imagesthatarehumorousyet seeminglybanaltotheonlooker,inaneffort tocapturebeautywithinthemundaneand humorinpassing.I'mnotsurewhereitwill go,butitwillgo.

UYGARKUCUK

UygarKucukisaTurkishpainterwholives inIstanbulandisagraduateofMimar SinanFineArtsUniversity.Heexplores hisdoubtsandfearsthroughhis pain�ngs,focusingonthemeslike individuality,percep�on,never-ending wars,societalpolariza�on,andother melancholicconcepts.Uygar'spain�ngs inviteintrospec�onandencourage viewerstodelveintotheirownemo�onal landscapes.Hehighlightsthesubtle misdirec�onsweencounterandtheselfdoubtthatarisesfromsuchexperiences.

Uygar'sworkalsodelvesintotheno�on ofadop�ngfalseiden��esand consciousness.Bypromp�ngviewersto examinetheinfluencesthatshapetheir thoughts,heinvitesthemtoques�on theirownconstructedreali�es.

Ul�mately,Uygar'sartservesasa catalystforcontempla�on,fostering connec�onsamongthosewhoresonate withhisnarra�ves.Throughhisthoughtprovokingpain�ngs,heseeksto illuminatetheintricaciesofthehuman psycheandinspireviewerstoembarkon theirowntransforma�vejourneysofselfdiscovery.

Hisfirstgroupexhibi�onwastheAtelier3 Pain�ngandDrawingExhibi�onat Tophane-iAmireCultureandArtCenter in2017.HissecondwastheFresh Ankara2ndContemporaryArtExhibi�on atAtaturkCultureandArtCenterin

2023.Hewasawardedanhonorablemen�on inthe7thPortraitInterna�onalJuriedArt Compe��onatTreavarnaArtGalleryin 2023.

Canyoutellusaboutyourar�s�cjourney— howdiditallbeginforyou?

UK: Althoughitbeganasanadventureata youngerage,oneofthemainthingsthat pushedmetopaintwasdyslexiaand a�en�ondeficitdisorder.SinceIhad problemswithreadingandwri�ng,whenever Iencounteredanypapersurface,Iwould doodleorsketchinitscornersorempty spaces.Over�me,thisbecameahabitanda wayofexpressingmyself.Withmyfamily’s support,especiallymyfather’sinterestinfine arts,Ibecamemorefocusedonthisfield. Later,Istudiedfinearts,andIamcurrently con�nuingmyworkinmystudio.

Whoorwhathasbeenthebiggestinfluence onyourlifeasanar�st?

UK: Thecomposi�onsandsubjectsinPhilip JonesGriffiths’photographshavealways deeplyinfluencedme.Frommyownfield,ifI weretogiveanexample,I’vealwaysadmired JohnSingerSargentandhisbold brushstrokes,aswellashismasteryoflight andshadow.Amongcontemporaryliving ar�sts,PhilHale,par�cularlywiththecolor pale�einhisdarkatmosphericworks,draws mein.

Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?

UK: Societalissueshavealwaysdeeply affectedme.Theseareeventsthat,while similarincidentshaveoccurredinthe past,con�nuetomanifestindifferent formsthroughouthistory,impac�ngboth individualsandsocietyonalargerscale. Youcouldconsidermeanar�st concernedwiththesetypesofissues.I believetheconceptofbelongingstands outastheprimarythemeinthisarea.The no�onofbelongingcanpresentitselfin variousways,rangingfromfeelingsof loveandunitytoaconflictoffreedom thatcanleadtofana�cismandfascism. Whenconsideredinanindividual context,thisleadstoachainofmacromicroeventsthatcanextendto existen�alproblems.Thesearetheissues Imosto�entrytoexploreinmyart.

Howhasyourstyleorapproachevolved overtheyears?

UK: Ini�ally,Ifocusedonworksaimedat developingmyskillsinplas�cvaluesand academicart.A�erstrengtheningmy technique,Ibegantoconcentrateon crea�ngmyowncomposi�onsand developingaperspec�vethroughwhichI couldmoreeffec�velyconveymyideas. Forexample,asanar�stwhoenjoys drawingportraits,Iaimedtomoveaway fromportraits,freeingmyfiguresfroma senseofpersonaliden�ty,withthegoal ofdrawingtheviewerintoashared viewpointandvisualspace.

Whatroledoesfailureorexperimenta�on playinyourdevelopmentasanar�st?

UK: Inthepast,Iwassoimmersedinmy pain�ngsthatIcouldn’tfullyrealizehowthey appearedfromtheoutside.Agoodexample ofthiswouldbemybeliefthatmyown thoughtswouldbeeasilyperceivedbymost peoplethroughmyartwork.

Isthereapar�cularpieceyou’vecreatedthat standsoutasespeciallymeaningfultoyou? Why?

UK: Idon’tthinkso;Ihaven’treachedthat levelofsa�sfac�onyet.

Howdoyoubalancespontaneityand structureinyourcrea�veprocess?

UK: SinceIamamoreorganizedperson,I prefernottostartworkingun�lIam sufficientlyconfident.

Wheredoyouseeyourworkheadinginthe future,andwhatareyouexcitedtoexplore next?

UK: IthinkIhopetoexploremoreofthe connec�onsbetweentheartwork,theviewer, andtheactofviewing,aswellasgainnew perspec�vesbyexperimen�ngwithnew mediums.

NORTONPEASE

NortonPeaseisanar�stwholivesand worksintheDeepSouth.Hisprac�ce explorestheconnec�onsbetweenthe pastandthepresent,combiningoldand newelementswhilechallengingsocietal normsinhislarge-scalepain�ngs.

NortonreceivedhisMFAinPain�ngfrom WashingtonUniversityinSt.Louisin 1999,andhisworkhasbeenexhibited na�onallyandinterna�onally.Heisalso anAssociateDeanoftheCollegeofArts andHumani�esandaProfessorofArtin theBe�yFoySandersDepartmentofArt atGeorgiaSouthernUniversity.

Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?

NP: Tostart,I'veneverbeenableto separateeduca�onfrommyar�s�c pursuits.Likemanyar�sts,Ihadatalent fordrawingatanearlyage.However,asI lookbackonmyearlyyears,Ididn't nurturemyar�s�cskills.Ididn'thave muchschool-relatedambi�onthrough highschool,letaloneadesiretogoto college,butIreluctantlyandluckilywent. Inshort,collegeiswherealightswitched onwithinme;itwaswhereIfoundthe ambi�ontocreateandexcel.There,I workedhard,averaging60hoursaweek inthestudioduringmylasttwoyears, andmyworkdrama�callyprogressedin scopeandrangeasaresult.A�er undergrad,IpursuedanMFAat WashingtonUniversityinSt.Louis.A�er

myfirstyearasanMFAstudentat WashingtonUniversityinSt.Louis,Ile�for NewYorkCitytofollowagirl—ohwell.This yearoffwasagreatmoment,givingme perspec�vetoreflectonmythesisinatwoyearprogram.Ispentmuchofthatyear volunteeringinWashingtonHeights,seeing art,crea�ngart,andworkingatgalleries.I wasbrokebutmanagedtoeatandsleep. UponreturningtoWashU,Ibegantomake pain�ngsthatfittheillustra�onstyleofthe 1950sand'60s,whichfascinatedmethrough mychildhoodandbeyond.Mythesisprimarily involvedaseriesofsideshowbanners, implica�ngmyselfandthehomogenous communitywhereIgrewup.A�erge�ngmy MFA,ImovedbacktoNYCin1999,whereI startedworkingasanadjunctprofessorwhile beingapreparatoratthePaulKasmin Gallery.Then,9/11alteredmytrajectory,and IwantedtoleaveNYC.Itookmyfirsttenuretrackposi�oninMontanain2002.Since 2010,I'vebeeninhighereduca�on administra�onwhilefunc�oningasanar�st, andnowthejourneycon�nuesformeinthe DeepSouth—Iams�llac�velycrea�ng throughpain�ng.

Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?

NP: Weallhavemomentsinourlivesand ar�s�cpursuitsthatbecomepivotalto bringingusintoourcurrentspaceof being.I'vehadmany,butonein par�cular,themostsignificant,wasgoing onahighschoolfieldtriptoseea retrospec�veofEdPaschke'sworkatthe ArtIns�tuteofChicago.Itwasamindblowingexperience,havingneverbeen exposedtocontemporaryart.Irecall thinking,"ThisiswhatIwanttodo."Not thatIwantedtobeanar�stina museum,butthatIwantedtocreatebig pain�ngslikethisasanar�st.Thattrip plantedaseedwithinmeandblossomed afewyearslater.Itshi�edmythinking from,"Ihaveatalent,sowhat?"to"This iswhatIwanttodo."

NP: I'lladdthatwhenapplyingto graduateschools,IvisitedNorthwestern University,whereEdPaschkewasa professor.Iaimedtogivehimslidesofmy workandaskhimtobeanaddi�onal le�erofreference.Withinafewminutes ofge�ngofftheL-train,Isawhim outsideabuildingIwasapproaching.It wasabriefmee�ng,duringwhichI explainedhisinfluenceandthenasked forareviewandle�er.Hewasgenuinely sweetandhonoredtherequest.Ihopped backonthetrainandwasindisbeliefat whathadjustoccurred.

Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?

NP: Myworktodayiss�llrelatedtomy graduatethesis.Regardlessofintent,Iam boundtothethemeofprivilege.For example,Ijustcompleted"Wonder

Breed"inJuly2021.Istartedthispain�ngin thefallof1999,anda�erpain�ngmysister, herfamily,andWonderBreadonawhite background,Irolleditup.Itsatinstorage un�ltwomonthsbeforecomple�on,whenI decidedtoworkbackintoit.Overthis extended�me,thepain�ng'scontentand subjectma�erdidnotchangeforthemost part.However,ittookabitlongerthanusual (22years)toformalizethenarra�veinthat pain�ng.

NP: Goodorbad,I'ms�llrollingthesame contentsnowballthatbeganin1999.It's muchbiggerandmorecomplex,butthere'sa reasonablystraightparallelwiththework producedoverthepast22years.Ihave momentswhereIwanttobreakfromthe ideasthatsome�mesfeellikeaplague,andI con�nuehavinginnerturmoilrelatedtomy approachtofigura�on.Itmaybetheimpulse toshowthatIcanpaintanddoitwellasifI havesomethingtoprove,butIalsodesireto pushthemedium.So,I'vefoundmyselffalling toaresolu�onwhereimpulseanddesire coexist.

Howhasyourstyleorapproachevolvedover theyears?

NP: Regardingstyle,mineislikeachameleon, changingwitheachpain�ngoridea associatedwiththework.I'vebeenopera�ng underthepremisethattheconceptdictates styleaspartofmyar�s�ccommunica�on. Yes,smallbodiesofworkembodyaspecific style,butcollec�vely,theworklookslike differentar�stscouldhavecreatedit.It's HarryNilsson-esque,asadatedreference.

Image: “TwistedCister” OilonCanvas 221cmx183cm

NP: Forexample,Icreatelarge-scale figura�veworksbasedonimageryfrom sourceslikeolderchildren'sbooks, comics,andadver�sementsasIexplore rela�onshipsbetweenthepastand present.However,aspartofmyprocess,I sandthesepain�ngsdown.Basedonthis process,Ihavegeneratedsmaller, exploratoryworksthatresultin abstrac�on.

NP: Then,thereis"horizontal/ver�cal,"a life-size,hyper-realis�cpain�nginwhich Iplacedmyselfinthecomposi�on.This pain�ngdoesn'tfitmyotherwork stylis�cally,buttheme�culousdetail, especiallytheseersuckersuitcloseup,is trulyabstracted,theonlyconnec�on outsideofonethatisthema�c.

Whatroledoesfailureor experimenta�onplayinyour developmentasanar�st?

NP: Failureisnotathing,atleastwithin myprocess.I'vealwaysreliedupon experimenta�onandrisk-takingas essen�alcomponentsofgrowth.Sure, thereare�meswhenI'vehadtoput canvasesawaybecauseoffrustra�on, butIhavefoundthemostsignificant rewardswithinthosereworkings.For example,"TwistedCister,"donein2023, wasnearlycompleteayearearlier. However,agreasyhotspotinthe backgroundwasmakingmenuts.

Anotherpaintersuggestedusinganoil mediumovertheen�rework,whichI've neverusedbefore.Insteadoftes�ngit,I coveredthewholecanvasandruineda pain�ngthattookme600hoursto completeuptothatpoint.Insteadof listeningtofriendswhosuggested burningthe87x72-inchpain�ng,I decidedtosanditalldownandrestart.In

doingso,Icouldeditthepain�ngfromthe originalformtocomple�on,anadded500+ hours.Atthat�me,Ididn'tlovethepain�ng, butIwass�llabletolearnfromit.

Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?

NP: The2001pain�ng"Vessel"restsabove ourfireplaceandistheworkIappreciatethe most.Iputitbackonastretchersevenyears agoa�erithadbeeninstoragefor16years. Asaresult,it'sneverbeenexhibited. However,thestorybehinditcorrelateswith itsmeaningtome.

NP: A�erpain�ngit,IshowedittothethendirectorofthePaulKasminGallery.She responded,"Itlookslikeit'sunfinishedand missingsomething."Thecri�cismwas problema�c,asthatwastheinten�on.Over theyears,Iwouldrevisitthepain�ng, wonderingifshewasright,thatIneededto addsomethingelse.However,Icouldnever seeorunderstandthatperspec�ve.Forme,it hasalwaysbeencompleted.

NP: Thepain�ngbringsbackmemoriesof crea�ngitinacrampedapartmentin Brooklyn,NY,andsandingitonmybuilding's roo�op.ItevokesasadnessIwasworking throughthenandexemplifieshowI some�mesfeel.Itembodiesmuchinits limitedsubjectma�er.

Image: “WonderBreed” MixedMedia 216cmx292cm

ALEXBOYD

Image: “Thoas”

DigitalIllustra�on 28cmx43cm

www.instagram.com/aleexboyd/

AlexBoydisa29-year-oldvisualar�st basedinYucatán,Mexico,wherehe createsartworkthatdelvesintothemes ofmemories,dreams,nostalgia, mys�cism,andtheconnec�onbetween humansandnature,withapar�cular focusoninsects—anareaofpersonal interestasanentomologist.Hisworkis primarilyrealis�corhyperrealis�c,buthe hasexploredvariousstylestomasternew techniques,includingcalligraphy,VR pain�ng,3Dsculp�ng,anima�on,and tradi�onalpain�ng.

Boydhasservedasaneducatorforsix years,teachingatthemaster'sdegree levelinsubjectslikeillustra�on,drawing, anatomy,andanima�on.Hiscrea�ons canbeseenongigposters,album artwork,productdesigns,liquorlabels, andeveninTVandNe�lixanimated series.Overtheyears,Boydhasalso workedasaspeakerandrepresenta�ve forwell-knownbrandslikeWacom, Winsor&Newton,andPilotPen,serving asasponsoredar�standadvocatefor thesecompanies.

Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?

AB: EventhoughIhavededicatedmy wholelifetoart,itwasnotun�l2012

thatIdecidedtotakemyworktoa professionallevel,searchingforastyleand techniquesthatcouldfitmypersonalstory andconcept.Bythat�me,Iwas18yearsold, studyinggraphicdesign.Ialreadyhada considerableaudiencesuppor�ngwhatIdid, andthatmademefeeltheurgetostepaway fromdesignandmoveintoamore"ar�s�c" world,whichalsogavemethechancetobea teacher—somethingIs�lldoandlovetodo.

Whoorwhathasbeenthebiggestinfluence onyourlifeasanar�st?

AB: Curiously,morethandrawinginspira�on fromothervisualar�sts,Igetintothemood bylisteningtoalotofmusic,mainlyAnna VarneyCantodea'scomposi�ons,JordiSavall withbaroque-stylemusic,andevenshoegaze toaddanostalgictouchtomymood.IfIhad tomen�onvisualar�sts,IwouldsayAykut AydogduandGo�riedHelnwein.

Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?

AB: Ikeepreturningtothemesofnostalgia andthesplendorofnature,anatomy,and entomology,mainlyorientedtowardstheidea oftakingcareoftheenvironmentandour responsibilityashumanstopreserveitnow andforfuturegenera�ons.

Whatroledoesfailureor experimenta�onplayinyour developmentasanar�st?

AB: Inthebeginning,itwasallabout perfec�onandtheclassicalacademic processinmywork,butexperimenta�on hasrecentlybeenplayinganimportant rolewhenitcomestomixingmediaand crea�ngfromrandomshapesratherthan havingeverythingplannedfromthestart. Also,whilealreadybeingknownasa digitalar�st,Ihavehadthechanceto experimentwithnewmaterialssuchas cyanotype,collage,tradi�onalpain�ng anddrawing,virtualreality,and entomology,amongothers.This experimenta�onhasbecomeasourceof inspira�onforme.

Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningful toyou?Why?

AB: In2015,Icreatedavanitas pain�ng—atypicals�ll-lifecomposi�on thatdiscussesthefragilityofexistence, humanvanity,andthefu�lityoflife,all representedthroughsymbolismand rhetoricalresources.Thispieceallowed metoexpressmyselfinamore"poe�c" waywithoutbeingtooliteral.Sincethen, mypersonalstylehaschanged significantly,andmymessagehas becomeclearertomea�ercrea�ngthat piece.

Howdoyoubalancespontaneityand structureinyourcrea�veprocess?

AB: Iusedtohaveahard�mebeing spontaneoussincemytrainingwasvery focusedonanacademicprocessanda tradi�onalwayofpain�ng.Also,Ionly knewhowtopaintanddrawafew

things,whicho�enledtofrustra�onand crea�veblocks.Toovercomethis,Icombined mywell-developedstylewithanotherpassion ofmine:travelingandexperiencingdifferent cultures.Thesetwothingshelpedresetmy mindandpushmeoutofmycomfortzone, allowingmetolearnfrommyidolsanda varietyofpeople.Ihavealsobecomemore spontaneousbyprac�cingmyskillsthrough ar�s�cresidenciesandchallenges.

Wheredoyouseeyourworkheadinginthe future,andwhatareyouexcitedtoexplore next?

AB: Iamveryexcitedtotrymyhandat sellingoriginalartwork.Sofar,Ihavebeen verystrictaboutsellingonlycopiesor workingonprojectsthatspecificallyrequire digitalart.However,Ihavebeenwan�ngto moveawayfromthatandfindanaudience formytradi�onalartwork,whichhasbeen keptjustformyselfun�lnow.Idefinitelysee myselfandmyworkfindingaplaceinthefine artworld.

Image: “Ac�as” DigitalIllustra�on 248cmx80cm

BorninShandong,China,AuraXuanyiWang(b.1999)iscurrentlyprac�cinginBal�more, MD,andManha�an,NY.Herworkexplorestheconnec�onbetweenthebodyandthe mind,examininghowpowerandsocialrela�onsshapeboththephysicalbodyandthe immaterialspirit.

Aurahaspreviouslyexhibitedherworkinvariousna�onalandinterna�onalvenues, includingXianshengGalleryinBeijing,Sotheby'sIns�tuteofArtinNewYork,TutuGalleryin NewYork,theElyCenterofContemporaryArtinNewHaven,and GalleryinNewYork.Addi�onally,shepar�cipatedasapanelistinthe"WhatItMeansto MakeArt"SymposiumatSUNYFIT,NewYork,in2022.

Currently,AuraservesastheStudentProgramAssistantandTeachingAssistantatthe MarylandIns�tuteCollegeofArt,wheresheispursuingherMFAinMul�disciplinaryArt.In 2022,shereceivedherBFAinIllustra�onfromtheSchoolofVisualArts.

Image: “Highway”

OilonCanvas 91.44cmx121.92cm

www.instagram.com/aurawang_/

DIANAROGATKINA

Bornin1989inLegnica,Poland,DianalivedandworkedinVolgogradandMoscow,Russia, from1991to2023,beforereloca�ngtoBarcelona,Spain.Herar�s�ceduca�onbeganat ArtSchool(1999-2004),followedbyaMaster'sdegreeinGraphicalDesignfromVolgograd StatePedagogicalUniversity(2006-2012).Shefurtherexpandedherskillswitha requalifica�oninarttherapyattheMoscowIns�tuteofAppliedPsychologyintheSocial Sphere(2020-2022).Diana'scommitmenttohercra�con�nuedwithaddi�onaltrainingin trauma-focusedarttherapyattheInterna�onalSchoolofArtTherapy(2022-2023)under KitLoring.

Diana'scareerhasevolvedfromworkingasafreelancedesigner,ta�ooar�st,illustrator, andar�st(2012-2020)tobecomingafull-�mear�standarttherapistsince2020.Her prac�ceencompassesavarietyofmediums,includingperformance,pain�ng,poetry,and modernsculpture.Thecentralthemeofherworkrevolvesaroundsocietalinterac�onsand therela�onshipspeoplehavewiththemselvesandothers.Diana'sartisajourneyofselfdiscovery,characterizedbyarelentlesspursuitofformsthatbestcaptureheremo�onal andsensoryexperiences.

PhotographedbyAl�nayYamanova Kni�ngbyAnnaLomakina

PhotographedbyAl�nayYamanova Kni�ngbyAnnaLomakina

OLENA SPEAKINGTOMATO

Image:

“TouchingtheGrass”

DigitalArt

11cmx8cm

www.instagram.com/speakingtomato_ai/

OlenaSpeakingtomatoisavisionaryar�stwithover15yearsofexperienceincrea�ng cap�va�ngphotographicportraits.BorninLithuaniain1981andraisedinUkraine,she nowresidesinTurkey.Herar�s�cjourneyisaseamlessblendoftradi�onalphotography, AItechnology,anddeepemo�onalexplora�on.Withtwodecadesofexper�seinAdobe Photoshop,Olena'spathtookatransforma�veturnin2022duringaperiodof immobiliza�on,sparkingherfascina�onwithAI.

SinceJuly2022,OlenahasbeenexclusivelydedicatedtodigitalartthroughAI,refiningher figura�vepieceswithAdobePhotoshop.Herwork,arichfusionofmodernism,surrealism, andsymbolism,hasbeenexhibitedglobally.Asanac�vememberoftheMAIF(Ar�sts UsingAITools)andtheEWcollec�veofsurrealists,Olenaisdeeplyimmersedin communi�esthatpushcrea�veboundaries.

Herinspira�onflowsfromnature'sbeautyandthesmalljoysfoundineverydaylife— vibrantrainbows,thecompanionshipofanimals,andherchildhoodpassionforbreeding bu�erflies.Thedelicatebalanceofecosystemsandtheintricatepa�ernsofnatureare o�enreflectedinherwork,withbu�erfliessymbolizingmetamorphosisand transforma�on.

Olena'screa�vevisionisshapedbytheintersec�onofrealityandimagina�on,blending thesymbolicelementsofsurrealismwithcu�ng-edgetechnology.Asbothanar�stand collector,withover200blockchainAIartworksinherpossession,Olenacon�nuestopush theboundariesofar�s�cexpression,aimingtoevokedeepemo�onsinheraudienceand challengepercep�onsofartinthedigitalage.

Image: “Songofjoyandsorrow”

DigitalArt 10cmx12cm

Le�: “Seeds”

DigitalArt 11cmx8cm

MOSAZZHAO

MosazZhaoisanar�stwhoseworkisdeeplyrootedinhisAsianiden�ty,exploringthemes ofculturalprideandthetensionbetweenrealityandillusion.Hisdrawingsdelveinto profoundsubjects,examininglifeanddeath,personalvalues,andtheintricatejourneyof losingandrediscoveringoneself.Zhao'sartreflectshispointofviewonself-awareness, grapplingwiththecomplexi�esofiden�tyandtheconflictbetweentherealworldandthe illusory.

Zhao'sthought-provokingpieceshavebeenshowcasedinnumerousprominentexhibi�ons worldwide.In2022,hisworkwasfeaturedin"Speranza:MostraD'arteCinese Contemporanea"atPalazzoDellaCancelleriainItaly,"Mask"atCICAMuseuminSouth Korea,andthe"11thEdi�onofContemporaryVenice"atPalazzoBemboinVenice.He con�nuedtogainrecogni�onwithhispar�cipa�onin"IslandofLight"atChelseaGalleryin NewYork,the"Reproduc�onofLightAsianArtExhibi�on"atFukuokaAsianArtMuseumin Japan,and"IThrewMyselfInAConcreteMixer"atGalla�nGalleriesinNewYork.Through theseexhibi�ons,Zhaochallengesviewerstoengagewiththedelicatebalancebetweenthe tangibleandtheimaginary,naviga�nghisar�s�cvisionofself-discoveryandpercep�on.

www.instagram.com/mosazar�t/

Image: “AJoyfulFuneral”

MixedMedia 36cmx25cm

Le�: “Maternity”

MixedMedia 19cmx27.6cm

REEHALIM

Image: “TakeOfftheShoes”,“Please” OilonCanvas 91.5cmx122cm,91.5cmx130cm

www.instagram.com/r_eeha/ RaisedasaKoreaninChinaand currentlybasedintheU.S.,ReehaLim (b.1994)explorestheinherent ambigui�eso�entakenforgranted, focusingonpossibili�es, independencefromone’scommon sense,andconfron�ngtheheavy, barefaceofanotherwithintherealm ofpain�ng.

Reeha'sar�s�cjourneybeganwitha duoexhibi�oninShenyang,China,at theageofnine.Sincethen,herworks havebeenshowcasedinnumerous soloandgroupexhibi�ons,including venuessuchasChilliArtProjectsin London,Gallery100_0andGallery EuljiroOF,andHaeng-hwa-tangArt SpaceinSeoul.Reehahasbeen selectedforar�stresidenciesatCité Interna�onaledesArtsinParisin 2017andhasbeenfeaturedinthe NewAmericanPain�ngsMidwest Issue.SheearnedherBFAfromHongikUniversityinSouthKoreain2021 andwassubsequentlyawardedthe Fulbrightscholarship,comple�ngher MFAatCranbrookAcademyofArtin 2024.

Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?

RL: Honestly,itallstartedasana�empt toseemymomsmilewhenIwasafiveyear-oldkid.

Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?

RL: Theexperiencesofgrowingup betweencultures—spendingmyearly childhoodinKorea,myforma�veyearsin China,andnowlivingintheU.S.—have deeplyinfluencedmyart.Thissenseof non-belonging,yetsomehowcomfor�ng, isarecurringfounda�on inmywork.

Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?

RL: Io�enfindmyselfreturningto themesofmemory,dreams,andthe tensionbetweenbeautyandeeriness. Thesefeeluniversalbutalsodeeply personal.I’mfascinatedbyhow memoriesshi�over�me,blendingwith dreams,andhowthethingswetryto holdontoo�enbecomesomethingelse en�rely.

Howhasyourstyleorapproachevolved overtheyears?

RL: Myapproachhasgrownfromsimply crea�ngwhatIseetouncoveringwhatI wanttounderstandand,thuswhatI wanttoremember.

Whatroledoesfailureor experimenta�onplayinyour developmentasanar�st?

RL: Failureandexperimenta�onareintegral tomyprocess.Ibelieveintheimportanceof serendipity,ofallowingthingstounfold organicallyinmywork.

Isthereapar�cularpieceyou’vecreated thatisespeciallymeaningfulto you?Why?

RL: Onepiecethatstandsoutisbasedona dreamIhadaboutthewomeninmyfamily. Thedreamwasfilledwithfaces—some familiar,somestrange—anditevokedamixof celebra�onandmourning.Theworkcaptures theemo�onalcomplexityofthatmoment andspeakstothelargerthemesofmemory, loss,andiden�tythatIo�enexplore.

Howdoyoubalancespontaneityand structureinyourcrea�veprocess?

RL: Myprocessisamixofboth.Iliketobegin withastructure,whetheradrawingor sketches.ButonceIstartpain�ng,Isetit asideandtrynottothinkaboutitforaslong asIcan.It’salmostlikewalkingwithmyeyes closed.Ilovethefeelingofge�nglost.

Wheredoyouseeyourworkheadinginthe future,andwhatareyouexcitedtoexplore next?

RL: WhatI’verealizeda�ernearly25yearsof makingartisthattheideasIconsiderthe mostnovelo�enhavetheirrootsin experiencesfromlongago.Itfeelsasthough everythingcomesfullcircle.Movingforward, Iwillcon�nuetocarveoutnewpaths,while quietlyan�cipa�ngtheunderstandingofmy pastselfandtheworldthatonceenveloped me.

BIBIDAVIDSON

BibiDavidsonisanIsraeli-born,LosAngeles-basedar�stwhoseillustra�ve-styleworks serveasallegoricalrepresenta�onsofthechao�candunse�lingreali�esofherchildhood. Herboldlycolorednarra�vepain�ngsarebothautobiographicalandsocialcommentary, layeredwithelementsofhumor.Therecurringfigureofthegirlinthereddressinmanyof herpain�ngsactsasheralteregoandsymbolizesherinnerturmoil.Throughherpain�ng process,Davidsonseekstocharmandcalmherinnerself.Hercap�va�ngandinten�onally quirkyworksexplorepersonalanduniversalconflicts,aswellasthechaosthat characterizescontemporarylife.

Davidson'smostrecentsoloexhibi�on,"TheGirlintheRedDress,"washeldatGallery825 inLosAngelesin2016.Herworkhasbeenfeaturedinnumerousgroupexhibi�onsacross SouthernCalifornia,including"Laluzapalooza"atLaLuzdeJesusGallery,"WithLibertyand Jus�ceforSome"atWalterMacielGallery,"Fantas�cFeministFigura�on"atGroundspace, "PersonalNarra�ve"atAnnenbergCommunityBeachHouse,and"LoveandHate"at Avenue50Studioin2017.Othernotableexhibi�onsinclude"AFeministPerspec�ve"at MuzeuMM,"MasA�ack"atTorranceArtMuseum(2016),"DayDreamers"atBGGallery, BergamotSta�on,"SacredMemories"atPicoHouseGallery,"Bunnymania"atChungking Studios,and"WildingCran."

KARENPALSDOTTIR

KarenÖspPálsdó�r(b.1992)receivedherBFAfromtheMarylandIns�tuteCollegeofArt (MICA)in2013.Herpain�ngshavebeenexhibitedingalleriesaroundtheworld,including NewYork,Paris,Bal�more,WashingtonDC,Boston,Reykjavík,London,Barcelona,and Annecy.In2023,Pálsdó�rheldherfirstsoloshowinReykjavík,Iceland,andshehasan upcomingduoexhibi�onscheduledinReykjavíkforJanuary2025.

Pálsdó�r'spain�ngshavegarnereda�en�oninvariouspublica�ons,includingNew AmericanPain�ngs,Create!Magazine,TibiaMagazine,SFMOMA,Hyperallergic,andEl País.Herrecentmonochroma�coilpain�ngsexplorediversesubjectsthroughadis�nc�ve pale�eofcobaltblueandolivegreen,invi�ngviewersintoaworlddefinedbythesestriking colors.

Image: “Regina(GlassFrond)”

OilonCanvas 40cmx50cm www.instagram.com/kronosp/

Image: “Mary(OliveGreen)”

OilonCanvas 23cmx30cm

Image: “Hair(GlassBow)”

OilonCanvas 40inx40in

AYARAI

AyaRaiisa21-year-oldLebanesegraphicdesignerandphotographer.ShestudiedGraphic Communica�onDesignatCentralSaintMar�ns,UniversityoftheArtsLondon.Aya's journeyintophotographybeganduringheruniversityyears,whereshedevelopedand honedherskills.Herworkfocusesonshowcasingandhighligh�ngtheuniqueaspectsof Arabculture,withastrongemphasisoncrea�ngartthatrepresentsherculturaliden�ty.

“AsanArabdesigner,Ialwaysconsiderthecultural,social,andhistoricalcontextofmy workandhowitcanimpactmyaudience.Mythemesrevolvearoundlanguage,community, family,history,andmemory.Throughmylens,Iaimtospotlightoverlookeddetailsand emo�ons.“

Le�: “AlSayadElAzrak(thebluehunter)”

Photograph 43cmx29cm www.instagram.com/ayarai.jpeg/

Image: “TawlaFun”

Photograph 43cmx29cm

LAURIANNE CHOQUETTE

LaurianneChoque�ewasbornin1992in Sorel-Tracy.Growingupinananxiousand unstableenvironment,Laurianneturnedto drawingasawaytocreateapersonal cocoonofcrea�vity.Overtheyears, Lauriannefacednumeroustraumas,which ledtostruggleswithdrugsandalcohol. However,Laurianne'sperseverance remainedaconstantsourceofstrength. Shecompletedhersecondaryeduca�onat theageof23andbeganherCEGEPstudies at25.Immersedintheacademicworld, Laurianneencounterednewchallenges, includingthedisrup�onoftheCOVID-19

Image: “Madsystem” DigitalArt 8cmx10cm

Le�: “runandstaystrong” DigitalArt 8cmx8cm

www.instagram.com/lauriannechoque�e/

pandemic,promp�ngareevalua�onofher path.

Lauriannedecidedtopursueafieldwith broaderopportuni�esandearneda professionalstudiesdiplomaincomputer graphicsin2021.Shethenworkedina webagencyforayearandahalfbefore realizingthathertruedreamwastocreate herownspaceforcrea�vity.Laurianne's journeyreflectsacommitmenttobuildinga personalandar�s�chavenwhereshecan con�nuetogrowandexpresshervision.

FLUKSSTUDIO

Image: “Cocoon” DigitalArt 8cmx10cm

Image: “Doggo” DigitalArt 11cmx11cm

www.instagram.com/fluks__/

Fluksisabou�que,mul�-serviceartstudio foundedovertenyearsagobyEliza MamonovaandTonyFedchenko.Theyhave collaboratedwithvariouscompanies, brands,musicians,andartcommuni�es. TheFluksstudiopor�olioincludes animatedvideosforLadyGaga,crea�ve andartdirec�onforeventshostedby Mercedes,Car�er,andYouTube,and par�cipa�oninBoilerRoommusicevents aroundtheglobe.

Currently,thestudioisfocusedoncrea�ng vibrantandmemorableCGgraphics, emphasizingfun,contras�ngforms,and uniqueexperiences.FluksStudiobelieves thatartisapowerfultoolfor communica�onandtransforma�on.Their dedicatedteamofar�stsispassionate aboutexploringnewvisualandauditoryart fron�ers,constantlyseekingfresh perspec�vesandinnova�veapproaches. Theyinviteyoutojointhemonthisexci�ng journeyanddiscoverthelimitless possibili�esofcrea�veexpression.

MAXIMEDÉRIA

MaximeDéria,borninDecember1991in Saint-Brieuc,intheCôtes-d'Armorregionof Bri�any,France,developedanearly passionforart,o�enfillingsketchbooks withdrawingsinspiredbygraffi�seenin magazinesandoncitystreetsduringcar rides.Despiteini�allypursuingstudiesin agriculturalmechanicsandtruckrepair, Déria'slackofformalarteduca�onfueled aself-taughtjourneythatwassignificantly aidedbytheadventoftheInternet. Throughthisexplora�on,Dériaexpanded ar�s�cknowledge,diligentlyprac�cing drawingandpain�ngwhiledrawing inspira�onfromar�stsdiscoveredonline.

Thesevariousar�s�cexperimentsactedas exercisestofillthevoidle�bytheabsence

Image:

“MaytheForcebewithyou”

AcrylicPain�ngandCollageonCanvas 55cmx38cm www.instagram.com/maxime_deria/

offormaltraining,especiallysinceDériadid notcomefromafamilybackgroundrooted inthearts.A�eryearsofsearchingto defineanar�s�ciden�ty,Dériamadea decisivecommitmentinJanuary2022to focusexclusivelyonacrylicpain�ngand collageoncanvasandpaper.This dedica�onwasdeeplyinfluencedbythe worksofRaymondHainsandJacques Villeglé,ar�stsfromthesameregion,which createdameaningfulconnec�ontotheir style.

A�erayearofcrea�ngwithacrylicon canvasandpaper,Dériasecuredafirst ar�s�cresidencyinMarseilleinJanuary 2023,collabora�ngwiththeDespérados brandforana�onaladver�singcampaign.

Image:

“RueSaint-Benoit”

AcrylicPain�ngandCollageonCanvas 92cmx60cm

DAMARISATHENE

Image: “Frui�ng_Body.008” KilnFormedGlass,MirrorGlass,Fabric,PolyesterFiber,Foam Nuggets,Foam,Wood,MDF,ChickenWireandAcrylicPaint 23cmx110cmx120cm

www.instagram.com/damaris.athene/

DamarisAthene’stransdisciplinaryprac�ce explorestheposthumanandhowlived experiencemediatedthroughtechnologyoffers newwaysofviewingthematerialityand poten�alofthebody.Feministposthuman theoryprovidesanopportunitytoreexamine hierarchiesinapost-anthropocentricworld, blurringthebordersbetweenhumansandnonhumans.Herworkinhabitsliminalspace, slippingbetweentherealandunreal,and swimmingthroughpermeableboundaries betweenbodies,theorganicandsynthe�c,the digitalandphysical,and2D/3Dspace.Work transmutesfrompain�ngtosculpture, photography,anddigitalcollage,o�en accumula�ngininstalla�ons.

Atheneexploresthefluidinterconnec�onsof ma�erandlife,theentanglementofhumans, animals,theenvironment,andtechnology. Uncannyillusionscreateasublimeandslippery reality.Doublingdisguisesduplicitously.Work foldsinonitselfandiskneadedintonewforms. Depthisfla�enedandthenreformed.Bodily leakageiscontained,sani�zed,andcontrolled. Fluidsa�empttoflowbutfreezeandglitch. Digitalflatnessandperfec�onseduce, obstruc�ngsensualsa�sfac�on.

DamarisAthenejustgraduatedwithanMAin Ceramics&GlassattheRoyalCollegeofArt, studyingthankstotheMaritRausing Scholarship.Shegraduatedwithadis�nc�on MAinFineArtfromCity&GuildsofLondon ArtSchoolin2023,studyingthankstothe LeverhulmeScholarship,andaBA(Hons)in Pain�ngfromCamberwellCollegeofArtsin 2015.

KilnFormedGlass,MirrorGlass,Fabric,PolyesterFiber,FoamNuggets,Foam,Wood,MDF,ChickenWireandAcrylicPaint 100cmx158cmx93cm

KilnFormedGlass,MirrorGlass,Fabric,PolyesterFiber,FoamNuggets,Foam,Wood,MDF,ChickenWireandAcrylicPaint 100cmx100cmx20cm

CRISTIANZAELZERPEREZ

Right: “AWalkintheNeuroscienceGarden”

Glass 102cmx127cm www.instagram.com/cris�anzaelzerart/

Image: “NewMythologies-Bjoruurk”

Glass 102cmx76cm

Cris�anZaelzer,Ph.D.,isaChileanCanadianself-thoughtmul�/intermedia ar�st,neuroscien�st,graphicdesigner, curator,educator&communicator.

Cris�anwasborninChile,wherehestudied computerscienceandbecamean adver�sementandgraphicdesign prac��oner.Later,heobtainedaPh.D.in biologicalsciencesandmovedtoCanadain 2009.Inhisnewhome,hestudiedstainedglasstheoryandtechniquesaddingnew skillstohisgraphicprac�ce.

In2016,hecreatedtheConvergence Ini�a�vetopromotethecrossoverbetween artandsciences.

Hisuniquecombina�onofskillsand interestsledhimtopursuetheuseof

scien�ficknowledgeinart,developingan intermediaprac�cebasedonglass,infrared capture,sculpture,installa�on,andacrylics tocreateartworksandinstalla�onsthat explorethecrossoverbetweenboth disciplines.

Hisglassprac�ce,seenhere,exploreshow ideasreshapecontemporarymythologies, drivingcollec�vebeliefsandsocietal structuresthatinfluenceourworld.Using glass,Cris�anexploresWesternscienceand itsinterpreta�veapproachtonature, focusingontheepistemics,ethics,andthe accessibilityofknowledge.Heques�ons, cri�ques,andoffersafreshperspec�veon scienceandepistemics,highligh�ngits benefits,achievements,andshortcomings.

SHELBYSHADWELL

Image: “SPACEBLANKET9”

Charcoal,PastelonPolyester 216cmx216cm

Image: “SPACEBLANKET2” Charcoal,PastelonPolyester 110cmx110cm www.instagram.com/shelbyshadwell/

ShelbyiscurrentlyaProfessorinthe DepartmentofVisualArtsattheUniversity ofWyoming.BornandraisedinSpringfield, Missouri,ShelbyreceivedhisBFAin2003 fromWashingtonUniversityinSt.Louisand hisMFAin2006fromSouthernIllinois UniversityCarbondale.

Atwo-�merecipientoftheVisualArts FellowshipfromtheWyomingArtsCouncil, Shelbyac�velyexhibitsacrossthena�on. Hismorerecentexhibi�onsincludeLIKE ANDSHAREIFYOUAGREE!!!,asoloshow attheSouthBendMuseumofArt,DRAWN atManifestCrea�veResearchGalleryin Cincinna�,OH,andDrawingDiscourseat theUniversityofNorthCarolinaAsheville. Shelbywasawardedasoloexhibi�onat theAPEXSpaceatthePortlandArt

MuseuminORin2016,andhisworkis includedintheirpermanentcollec�on.For hisresearchsabba�calfrom2021–2022, ShelbyacceptedtheManifestAr�st ResidencyAward,andhespenttheyear makingnewworkattheirGalleryand collabora�ngoneduca�onalopportuni�es attheirDrawingCenterinCincinna�,OH.

ShelbywasrecentlyhonoredwiththeStone &DeguireContemporaryArtAwardinthe amountof$25,000fromhisalmamater, WashingtonUniversityinSt.Louis.Recent andupcomingsoloexhibi�onvenues includeSTRATAGalleryinSantaFe,NM, theKentlerInterna�onalDrawingSpacein Brooklyn,NY,andArtlinkGalleryinFort Wayne,IN.

RACHELWEISWASSER

Image: “Paris,Texas#2” MixedMedia 106cmx152cm

www.instagram.com/rachel_weiswasser/ WeiswasserisaNewYorkCityandMontclair-based poin�llistpainterknownforherintricateandvibrant works.Shehasreceivednumerousawards,including theCaPAscholarshipfromLafaye�eCollegeand theMeritScholarshipgrantfromtheArtStudents LeagueofNewYork.Herworkhasbeenexhibitedin groupshowsatprominentgalleriesinNewYork's LowerEastSideandChelsea,andherpain�ngsare showninterna�onallyinprivatecollec�ons includingCalifornia,Australia,andEngland.

RachelWeiswasser'spain�ngsfuseimpressionism andpixela�ontoexplorethemesofpercep�onand self-realiza�on.Bymergingthefluid,ephemeral quali�esofimpressionis�cbrushstrokeswiththe fragmentedprecisionofpixela�on,sheexamines howweperceiveandreconstructreality.This synthesischallengesviewerstonavigatethe interplaybetweentheorganicandthesynthe�c, reflec�ngthedigitalmedia�onofvisualexperience.

Weiswasserpredominantlyworkswithoilpastels andpaints,usingunconven�onaltoolslike toothbrushesanddentalpickstocreateintricate texturesanddetails.Herlarge-scalepain�ngs,o�en overfourfeetwide,emphasizebothscaleand chroma�cintensity,offeringanimmersivevisual experience.

Despitebeingself-taught,WeiswasserholdsaBAin ArtHistoryfromNewYorkUniversityandanMA fromUniversityCollegeLondon.Shehasac�vely contributedtotheartcommunity,volunteeringat theMontclairArtMuseumandassis�nginteaching attheArtStudentsLeagueofNewYork.Currently, sheworksfull-�meatalaborlawfirminManha�an whilecon�nuingtopursueherpassionforpain�ng.

RALUCABARARU

Image: “3AM”

WatercoloronPaper

40cmx30cm

Image: “Harvester” WatercolorsonPaper 30cmx40cm www.instagram.com/ralucabararu/

RalucaBararuisavisualar�stbasedin Romania.Bararustudiedappliedgraphics attheBucharestNa�onalUniversityof Artsbeforepursuingacareerinadver�sing asanartdirector,workingwithwell-known companiessuchasLeoBurne�and Publicis.Overthepasttenyears,Bararu hasbeenafreelancer,focusingon commercialillustra�onandcollabora�ng withclientsworldwideinvariousstyles.

Recently,Bararuhasshi�edfocustowards personalprojectsandideas,givingthem morespaceandvoice.ForBararu,drawing servesasameansofsurvivingasan individual—aplaceofself-reflec�onthat hasgraduallyinfluencedallaspectsofthe work.Bararu'sartprimarilyexplores themesofanxietyandthefragilityofthe humanmind.

MADELEINEBAIRD

Madeleine(Maddy)Baird(b.2002)isanemergingar�stfromPembroke,Ontario,currently basedinToronto,Ontario.SheearnedherBachelorofFineArts,Honours,fromQueen’s University,gradua�ngin2024.Madeleinespecializesinsilkscreenprin�ngandfigura�veoil pain�ng,withafocusonportraitureandnarra�vepieces.Throughtheuseofdirec�onal brushstrokesandvividcolorsintheskintones,shebringsasenseofvibrancyandlifetothe subjectsshepaints.

Madeleine’smostrecentbodyofwork,�tledMetamorphosis,exploresthemesofselfreflec�onandgrowth,drawingparallelstothemetamorphosiscycleofamoth.

Thesepiecesdepicther"past"and"present"selfundergoingtheprocessofself-loveand acceptanceasaqueerindividual,alongsidethejourneyofacaterpillartransformingintoa moth.Inherfuturework,sheaimstocon�nueexploringthemesrelatedtoqueerlife experiences.Madeleineaspirestoconnectwithviewersbyexpressingvulnerabilityinher prac�ceandhopesthatthosewhofeelrepresentedinherartworkwillfindencouragement andupli�mentinthatrepresenta�on.

HerworkhasbeenexhibitedingalleriesacrossOntario,includingUnionGalleryinKingston

Le�:

“SaturniaPavonia”

MixedMedia

152.4cmx121.9cm

www.instagram.com/maddyar�/

Image: “Chrysalides”

MixedMedia

152.4cmx121.9cm

MATTHIASLÜCK

Image: “sharedsuccesses” Acrylic,SprayPaint 107cmx74cm

www.instagram.com/ma�hias_lueck/

TheBrandenburgar�stMa�hiasLückwas borninStrausbergin1984. GrowingupinthecityofMüncheberg,whichis knownforitsresearchloca�oninthefieldof agriculture,Ma�hiasapproachedthe tradi�onalformofpain�ngthroughexperience inthedesignareasofurbanart.Inhis figura�veimagery,hecapturestopicsrelevant tothe�meandrelatesthemtooneanother withtheaidofcollage-likepictorialspaces.His coloredworkshaveanarra�vecharacter.

Lückcreatestherespec�vestoriesthroughthe painterlyrenderingofsymboliceveryday objects,whichareprovidedwithadialogical order,andaffecteachotherandtheviewer.In searchofhisar�s�cfocus,Ma�hiasinvitesyou onajourney. Itopensupaworldwithplentyofscopefor yourinterpreta�onsandapproaches.

Image: “Neuforma�on” MixedMedia 70cmx70cm

Image: “Cuddlyba�ery”

MixedMedia

50cmx50cm

LYNNLIVERTON

Image: “unMoored”

PolychromeCeramic 44cmx35cmx23cm

www.instagram.com/lynnliverton/

LynnLivertonisatradi�onalfigura�veandcontemporarymixed mediasculptorlivinginKailua,Hawaii.A�erworkingprofessionally asanArchitectforfouryears,shebecameinterestedinsculpture whiledesigningcastbronzehardwareforaprojectentry.Eventually succumbingtothepullofthear�s�ccall,LynnearnedherMFAin SculpturefromtheUniversityofHawaii.

LynnLiverton’scontemporaryartreflectsherinterestinbothhuman andanthropomorphicforms.Inspira�onisbornfromdreamsand environmentalthemesu�lizingfoundobjectstostrengthenaconcept ortolayerasubjectma�er.

GéLabarca’spathisquiteatypicalfora painter.Heenjoyedahighlysuccessful careerintherestaurantbusinessin Montreal(Pinxto,Zumaia,BaretBœuf, andMezclarestaurants)before embarkingontheadventureofpain�ng. Theimpetusforanewlifecrea�ngart surfacedastheresultofacompletely unexpectedbutul�matelyfortuitous encounter.Aself-taughtportrai�st,Gé strivestocapturethesoulandessenceof thecharactershechoosestobringtolife oncanvas.Thea�en�ontodetailand perfec�onevidentinhisworkcontrasts

beau�fullywiththelightandcarefreestyle heemploys,whiles�llportrayingtheintensity ofthefeelingsthatcharacterizehissubjectswhethertheyare�melessiconsorlovedones. Throughthestoryofhiswork,welearnto understandthisar�st—onecanfeelhisjoie devivre,andexperienceacertainwonder abouthisrawtalent.Heiss�llexperimen�ng withcertainmedia,allowinghimtoexplore manyhorizons!Thecombina�onofthe differenttechniquesheusesreflectsthe manyaspectsofhisdiverseandinspiring personality.

Image: “Doris”

MixedMedia 51cmx66cm Dreaisavisualar�stwhodrawsand paintsfromherhomestudio.LikeNeel, shedoesnotthinkofherselfasaportrait ar�stbutratherapeoplepainter.

Dreaisfascinatedbyhumannature; morespecifically,bytheinteriorliveswe carrywithinus.Theseenigma�cinner landscapesaremostlykepthiddenfroma passerbybutwillsome�mes-ando�en

flee�ngly,revealthemselvesinapassing gestureorlook.Inherportraits,Drealooksto captureaqualityorexpressionthroughthe useofcolorandcontourthatdis�lls somethingoftheinteriorlifeofaperson. Whetherit'sjustamereglimpseofwhat's goingonunderthesurface,thereisalwaysan urgentsenseofapassingmoodbeforethe viewer.

SUYUCHEN

OriginallyfromthesouthofChina,Suyu Chenisacontemporaryjewelryar�stand educatorworkingandlivinginRochester, upstateNewYorkintheUnitedStates. ShegraduatedfromtheMFAprogram andiscurrentlyteachingattheRochester Ins�tuteofTechnology(USA)asan adjunctfacultymember.SuyuholdsaBA fromtheGuangzhouAcademyofFine Arts(China)andstudiedatRISD(USA) andKunstuniversitätLinz(Austria).

Suyu’sworksu�lizemixedmediasuchas plas�c,fabric,andpreciousmetals,witha focusontransformingindustrialandraw materialsintowearablepieces.Shehas exhibitedherworkslocallyand interna�onally,includinginItaly,Spain, Finland,theUK,theUnitedStates,and China.

Image:

Image: “Paris” OilonCanvas 60cmx90cm

CesarMammadov,bornin1988inBaku, Azerbaijan,isaprominentyoungbrush masterfromtheregion.Hisar�s�c journeybeganatanearlyage,fuelledby apassionforcolorsandshapesthat immersedhimintheworldof imagina�on.Influencedbyhisfather, renownedAzerbaijanipainterSakit Mammadov,Cesardevelopedhisunique ar�s�cvisionandexpressivestyle.

EducatedattheArtSchoolnameda�erA. AzimzadeandtheAcademyofArtsof Azerbaijan,Mammadov'sworkhasbeen showcasedbothwithinAzerbaijanandon interna�onalpla�orms.Hisdis�nc�ve approachtocapturingtheessenceof ordinarymomentsandcelebra�nglife's simplejoyshasbeendisplayedinrenowned exhibi�onvenuesworldwide.

MICHAELCISARIK

www.instagram.com/michaeljamescisarik/

MichaelJamesCisarik (b.1993,Houston, Texas)isanemerging abstractar�stbasedin Texaswhobegan pain�ngforthefirst �mein2020.A�eronly ama�erofmonths,he begantosellworksto clientsanddesigners acrosstheU.S.andhas sincebeenrecognizedby na�onaland interna�onal publica�onsand ins�tu�ons.Heis currentlyrepresentedby galleriesacrosstheU.S. includingTexas,New Mexico,Arizona,and SouthCarolina.

Cisarik’sworktendsto belarge-scaleand hyper-minimalist, focusingonlargecolor blockspairedwith contras�ng, me�culouslyplaced colorfulaccents,gri�y textures,anddelicate scrawlstoevokeastate ofmovement.His mediumstypically includeacombina�onof acrylicandoilpaints, charcoal,pastel,and graphite.

Image: “Oriole”

AcrylicPaint,OilPaint,Charcoal,Pastel,andGraphite 91cmx122cm

Image: “Bejeweled”

Ceramic,3DPrin�ng

30cmx16.5cmx16.5cm

www.instagram.com/danyang.art/

DanyangSong,originally fromChina,holdsa Bachelor'sdegreefrom TsinghuaUniversityandan MFAinCeramics,along withaCollegiateTeaching inArt&Design,fromthe RhodeIslandSchoolof Design.Herprofessional journeyincludesworkingat theIns�tuteofTea CeremonyArtatTsinghua Universityand,currently, shehastakenontheroleof facultyandceramicstudio managerattheSchoolof VisualArtsinNewYork City.

DanyangSong'sartworks havebeenfeaturedin numerousexhibi�onsat pres�giousins�tu�onsand galleriesaroundtheworld, includingtheRISDMuseum inProvidence,TheBlanc GalleryinNewYork,TheEly CenterofContemporary ArtinNewHaven,andthe KathrynSchultzGalleryin Boston,amongothers.Her workhasalsobeenadded tothecollec�onat TsinghuaUniversity.Also, DanyangSonghasreceived severalawards,including the2024NCECA Mul�culturalFellowship, theCra�smanship Innova�onAwardatThe 1stDehuaChinese Tradi�onalCeramic Biennial,andtheEmerging Ar�stAwardfromThe CambridgeArtAssocia�on.

Image: “Bejeweled-2”

Ceramic,3DPrin�ng 26cmx12.7cmx11.4cm

WILLIAMJOSEPHS RADFORD

Image: “CherryBlossom”

Photograph

76.2cmx50.8cm www.instagram.com/JosephsRadford/

WilliamJosephsRadford isdedicatedtofinding beautyinplaceswhereit mightnotbe immediatelyapparent. Hisworkreflectsa desiretoencourage otherstolookmore closely,seebeyondthe surface,andengage moredeeplywiththe subjectshepresents.He o�engravitatestoward themesthatcanbe challengingor unconven�onal,using symbolismandstriking imagerytoprovoke thoughtand conversa�on. Throughouthis photography,Radford frequentlyexplores recurringmo�fssuchas condoms,crucifixes,and cigare�es.Thesefamiliar objectsarepresentedin waysthatencourage viewerstoreconsider theirmeaningsand implica�ons.Heis drawntotheuseof vibrantcolors,whichnot onlya�racta�en�on butalsocreatea contrastwiththe provoca�venatureof thesubjectshechooses. Thisjuxtaposi�onis centraltohiswork, subtlyinvi�ngviewersto ques�ontheirini�al reac�onsanddigdeeper intotheemo�onsand ideashisimagesevoke.

Image:

Image: “TheBirthofAGiant” MixedMedia

50cmx71.5cm

www.instagram.com/jennyjiyounghan/

JennyJiyoungHanbelieves thatthevelocityofone'sunique beautyexperiencedepends en�relyonindividualchoice. Overthepasttenyears,her journeyhastakenherbeyond thestandardKorean-driven track,shapedbyexcep�onal experiencesfromKoreato variousEuropeancountries.

Hanhaso�enponderedher sustainabilityinunderstanding thevalueofherbeautyasit translatesintoherart,which shebelievesisuniversally accessibleanduncondi�onal.

Shedescribesartassi�ngon theedge,challenging individualstodecidewhich direc�ontotaketofind happiness.

Hanpossessesakeen awarenessofwhethersomeone istrulyengagedwithher ar�s�cjourneyorifthey perceiveitasnonsensical, treatedasmeredelusions withoutclearframeworks. Despitefeelinghurtat�mesby thesereac�ons,sheremains cap�vatedbythestoriesof othersandtheirchoices,seeing eachpersonasabeau�ful individualwhoimposestheir realityonher.Thisconnec�on hasledHantorealizethatthe bestexpressionofherheart's intentis:"Iunderstandthe velocityofyourbeau�fulway ofexistence."Sheembracesand respectsallchoices,bothhers andothers,evenintheir ambiguity.

Image: “Floa�ngHopes”

MixedMedia

50cmx71.5cm

Image: “Loveisblind” OilonCanvas 61cmx61cm

www.instagram.com/ruth_schmidt_pain�ngs/

RuthSchmidt,néeIlonka,wasbornin Transylvaniain1982andnowlivesand worksinBudapest,Hungary.Whenasked howlongshehasbeenpain�ng,she typicallyrespondswith"since2017," eventhoughherjourneybeganearlier, duringwhichshea�endedseveral drawingandpain�ngclasses.Sherefers totheseyearsbefore2017asher "experiments."

TheturningpointforSchmidtcamein 2017whenshemettheaccomplished ar�st,hermentorKalmanGasztonyi,and beganlearningtheintricaciesofclassical oilpain�ng.Shereferstotheyearsfrom 2017to2021asher"LearningYears," duringwhichshecreatedavastnumber

ofstudypain�ngsinvariousstyles.Her influencesincluderenownedar�stslikePiet Mondrian,AndyWarhol,SalvadorDalí,Albert Bierstadt,RembrandtvanRijn,andKároly Markó.Thesenamesreflectherpassionfor experimen�ngwithdifferentstylesand techniques,evidentinhereclec�cstudy pain�ngs,whichcombineelementsfrom variousar�s�cmovementsandtrends.Her admira�onforWarholandMondrianis par�cularlyvisibleinherpopartand Mondrian-inspiredgeometricfigura�ve works,showcasingherar�s�cexplora�on duringthatperiod.

In2020,Schmidtbeganfocusingon symbolistandsurrealistthemes,pain�ngina realis�cstyle.Itwasinthisapproachthatshe trulyfoundherar�s�cvoice.

MixedMedia 111cmx152cm

AntonKuehnhacklisinterestedin ques�oningtradi�onalapproachesto photography,exploringaspectslike presenta�on,theconstruc�onofan image,andtheconceptofrephotography.Hebelievesthatforthe mediumtoevolve,itmustcon�nually challengeandredefinethewayswelook atandconsiderimages,examininghow theyfunc�oninthe21stcentury. Kuehnhackl'sworkchallengesthe conven�onalrolesofphotographs, ques�oningwhethertherigidwaysthey aretypicallydisplayedtrulyservetheir purpose.Byemphasizingthe"Materiality" and"Object-ness"ofphotographsand usingtheirstructuretotransformthem intosomethingnew,hebreaksfreefrom theseconstraints,posingevenmore profoundques�ons.Throughboth

physicalanddigitalconstruc�on,healtersthe inherenttruthoftheimage,direc�ngthe viewer'sa�en�ontospecificdetails.

Theeverydaynature,or"dailyness,"ofthe objectsinthesephotosalsoplaysasignificant roleinKuehnhackl'swork.Byusingfamiliar itemsfoundinhissurroundings,henotonly touchesonthemesofplace,home,and memorybutalsoobscurestheseelements. Thisapproachinvitesviewerstobringtheir interpreta�onstothework,findingpersonal meanings.Forinstance,aflowerarrangement mightevokememoriesofshoppingwithfamily ordecora�ng,whileastackofunbalanced platesmighttriggerfeelingsofanxiety. Thesepersonalresponsesarewhat Kuehnhacklaimstoelicitfromtheviewer, usingthemtogeneratenewmeaningsand contextualizehisworkwithinthebroader realmofthephotographicmedium.

EMILYFAUST

EmilyFaustgraduatedin2010withaBFA inClassicalArts,an�cipa�ngacareerinthe professionalartworld.However,shesoon foundherselflackinginspira�onand passion,becomingdisenchantedwiththe artexperience.Shesetasideher paintbrushes,packedawayher sketchbooks,andshi�edherfocusto studyingpsychology,believingshehadle� theartworldbehindforgood.

Whileguidingothersthroughtheirown mentalhealthjourneys,Faustrealizedthat whileshewasencouragingself-advocacy

andawarenessinothers,shewasalso neglec�ngavitalpartofherself.Takingher ownadvice,shereturnedtoherart, rediscoveringherloveforpain�ngby focusingonsubjectma�erthatbroughther joy.

Faustisnowonajourneytofollowher passionforcapturinglife'sstoriesthrough theli�lemomentsandobjectsthatshape us.Herworkaimstohonortheseseemingly smalldetailsthat,despitetheirsimplicity, contributetowhoweareandhowwe connectwiththeworldaroundus.

MARCUSCHALONER

www.instagram.com/mchaloner/

Procedurallygeneratedcherryblossoms 120cmx120cm

Image: “SpringBloom”

MarcusChalonerisadigitalar�st,director, anddesignerbasedinLondon,originally fromNewport,SouthWales.Hecurrently worksatFutureDeluxeandbringsover17 yearsofexperiencetohisrole,having contributedtohigh-profileprojectsfor majorbrandssuchasApple,Google,Aston Mar�n,andRolex.

Chaloner'sworko�eninvolvesprocedural modelingandtheuseofso�warelike

Houdinitocreateintricate3Dformsand anima�ons.Hispersonalpiecesarenotable fortheirtexturalprecisionandanaesthe�c thatseamlesslyblendstheabstractwith thetangible.Drawntowhatiso�en overlookedorunseenineverydaylife, Chaloneruses3Dtoolstoilluminateand celebratetheseeminglymundaneaspects ofordinaryobjectsandse�ngs,presen�ng theminafreshandcompellingway.

Image: “ToLoveOneAnother(DayLabor)” Sculpture 200cmx200cm

www.instagram.com/mvdierks/

Dierks’publicinstalla�ons(Detroit,Minnesota,DallasCounty,FortWorth)relyonthevisual languageofsignsandmassproduc�ontomeditateontransi�onalstateslikevulnerability andevolu�on.ThroughongoingresearchandresidenciesinChina,Japan,Korea,theUS, Iceland,andFinland,sheexploresdifferentlandscapes(material,psychological,ecological), transla�ngthepoetryofherexperiencesthroughherwork.

BIRGITKALKOFEN PEPPONI

Brigithasbeenworkinginthe tourismindustrysince1970, livingabroadandtraveling extensivelythroughout Europe,America,Asia,and Africa,including11yearsin Kenya.Forthepast22years, sheresidedinPalmade Mallorca,Spain,before returningtoherna�ve Germany.Herjourneyin pain�ngbeganinchildhood andhassinceevolvedintoa deeppassionandfavorite hobby.

Brigit'sar�s�clanguageis characterizedbyaminimalis�c figura�veness,whereshe transformsharmoniousforms intoornamentaldesigns.Her exper�seinapplyingglowing colorsallowshertoblend abstractandfigura�ve elementsseamlessly,crea�ng worksthatexudeasensual appeal.Heruseofstrong, expressivecolorsandher portrayalofperspec�vehave becomehersignaturestyle.

Image: “BuddhistMonk”

AcryliconCanvas 70cmx50cm

Image: “MareaenCastro,Chiloé”

DigitalPhotomontage 60cmx45cm

www.instagram.com/dadanits/

HeadDirectorofPliegue,aresearchcollec�veandaudiovisualproducerofpost-human thought,materialis�cart-scienceworks,andcinemainnewformats.ResidentinChonchi andDirectorofSurrealChiloé.PsychologistUC,withapostgraduatedegreeinAesthe�cs fromthesameuniversityandaMaster'sinContemporaryArtfromtheUniversityof Barcelona.Morethan8yearsofexperienceinaudiovisualproduc�on,research,transla�on, andteachinginpost-humanphilosophy,andprocessaesthe�csappliedtofilmand psychology,aswellasaprofessorinpostgraduatecoursesinvocalaesthe�csandteam management.Currently,FondartgranteeinresearchprojectsinGenera�veAIappliedto natureimagesandvoice,workingwithSAM,Yolo_8,andSTT.

SHARONWILKINSON

SharonWilkinsonisa watercolorar�stbasedin Queensland,Australia.She drawsinspira�onfromworldrenownedwatercolorar�st

DavidTaylor,whose workshopsshehasbeen fortunatetoa�endonthree occasions.Inaddi�onto studyingunderTaylor,Sharon hasalsopar�cipatedin workshopsbyotherrenowned watercolorar�stsfrom aroundtheworld.Shenow offersherownsmallportrait workshops,sharingher knowledgeandpassionwith aspiringar�sts.

Sharon’sportraitsaredeeply influencedbyherbackground asapsychologist,inspiredby theintricatenuancesof humanexpressionandthe storiesthatliebeneaththe surface.Herworkreflectsa uniqueblendofcrea�vityand psychology,mergingthe worldsofvisualexpression andemo�onaldepthtooffer momentsofintrospec�onina constantlymovingworld.

Herarthasbeenselectedasa finalistinseveralinterna�onal contests,exhibitedboth onlineandingalleries,and hasreceivedvariousawards.

76cmx56cm www.instagram.com/sharonwilkinson_ar�st/

Image: “WindsofChange” WatercoloronPaper

SHIRAGOLD

www.instagram.com/shiragoldphotography/

Image:

Photographyhasalwaysbeenthean�doteforShiraGold’srestlessmind—avisual expressionofsubjectsthato�endefyverbalar�cula�onandalensthroughwhichshe viewstheworldwithfresheyes.Herextensivebodiesofworkareimbuedwithpersonal visualnarra�vesandobserva�ons,delvingintothemesofgrief,iden�ty,change,and wonder.

Shiraemployss�lllifeandlandscapeasmetaphorsforuniversallysharedthemesthatare o�enle�unspoken.S�llness,nega�vespace,andminimalismareconsistentelementsthat havebecomehallmarksofherwork,offeringvisualrespiteandafocusoninten�onand simplicity.

Shira’sworkhasearnedherrecogni�onthroughvariousinterna�onalawards,includingThe FineArtPhotoAwards,LensCultureArtPhotographyAwards,andInterna�onalPhoto Awards,amongothers.

JANALACHANCE

JanaLaChancecreateslivingdreamsthatevokeasubtlepullorconnec�onforeveryonewho encountersthem.Herworko�enexploreswhatitwouldlookliketomomentarilyalterthe realityoftheworld—whetherthatmeansshi�ingaconven�on,idea,thought,ormood. Thoughframedbyherexperienceasawoman,herarttranscendsgender,touchingonthe universalunderstandingofwhatitmeanstobehuman.Itoffersasenseofwelcome disrup�on,afeelingoffloa�ngabovetherules,andaslightnudgethatchallengesthestatus quo.Janabelievesthatwhileweconstantlyreshapelife,itshouldhappenevenmoreo�en.

STEFANIAANDRADA BUDAN

Image:

“Aquietmonologue”

ColoredPencilsonPaper 35cmx45cm www.instagram.com/daintyart_stefania/

StefaniaAndradaBudanisaself-taughtRomanianar�stbasedinToulouse,France.Overthe pastseveralyears,shehasbeenrefiningherskillsinvariousmixedmedia(oilpastels,so� pastels,markers,andcoloredpencils).Herar�s�cjourneybeganduringthepandemic,andin December2021,shewasawardedacer�ficateofmeritfromtheLuxembourgArtPrize.On July1,2022,sheheldherinauguralexhibi�oninBrussels,Belgium,wheresheconveyedher emo�onsthroughaseriesofexpressiveportraits.Star�ngin2024,someofherworkswere publishedintheJanuaryissueoftheinterna�onalartmagazine,SuboartMagazine.In February2024,shepar�cipatedintwoartworksinthecollec�veexhibi�onheldbyTheHoly ArtGalleryinLondon.Stefaniaholdsacademiccreden�alsinpoli�calsciencefromthe UniversityofBucharest,whereshepursuedtheArtsandPoli�cscourse,findingthe inspira�ontocon�nueherpassionforart.Herfocusshi�edtothepotencyofcolors.She becamecap�vatedbypeople’sexpressionsandfeaturesandwhattheyevoke."Peculiarity hasalwaysbeenasourceofinspira�onthatignitesemo�ons.""Figura�veartbringsthe freedomtoexploreone’sfeelings,almostfeeltheirexperiencewhiledrawing."Stefania Andradadevelopedherartwithinthevibrantar�s�ccommunityonInstagram,andher inspira�onexpandedbyenvisioningdiversecharacterswithdis�nctstoriesbehindthem.

JULIASTRAND

JuliaStrandisaprofessorandar�stfromMinnesota.Sherescuesusedbooksfromgarage sales,second-handshops,andestatesales.UsingX-actoknives,rotarycu�ers,and tweezers,shedeconstructsthesebooksandrefashionsthemintotopographicallandscapes, paperspecimenboxes,andthree-dimensionalcollagesoftheoriginalcontents.Allthe imagesshownineachbookcarvingcomefromthebookitself.

Inanincreasinglydigitalage,Stranddrawsa�en�ontothephysicalformofbooks.Her favoritebookstocarvearereferencebooksthatareseveraledi�onsoutofdate.These booksarenolongervaluedfortheinforma�ontheycontain,butthroughthecarving,are givenasecondopportunitytobeappreciated.

MONSJORGENSEN

Image: “Spectre” MixedMedia 167cmx148cm

www.instagram.com/monsjorgensen/

MonsJorgensenisamul�disciplinaryar�stofGermanandDutchdescent,basedinLondon. Rootedinmyths,legends,andfairytales,Monsblendseverydaynarra�veswithbroader socialthemes.HerworkisdeeplyinfluencedbytheimageryevokedbyEuropeanmythology, guidingherar�s�capproach.Sheengagesinpain�ng,prin�ng,anddrawing,u�lizingprops, masks,andherownbodytocreateboths�llandmovingimages.Bydrawingonboththe tradi�onsoffineartandtheconven�onsofvernaculariconography,shedevelopsaunique visuallanguage.

Mons’screa�veprocessinvolvescon�nuouslybouncingideasbetweenvarious2Dand3D media,usingthiscycleofself-referencetovisuallyar�culateherthoughts.Sheviewsartasa languagecapableofimbuingthephysicalworldwithmeaning,overlayingaculturallayer thatcreatesanalterna�vespacefordialogue.Throughherwork,sheaimstocontributeto theongoingconversa�onwithinoursharedvirtuallibraryofimages.

SHIRLEYMONEYHON

Oilonwood,SelfportraitwithaBeautyMask,MilkandCleaningGloves 180cmx150cm

www.instagram.com/shirleymoneyhon/

ShirleyMoneyhon(b.1986)isanar�standlecturerspecializingingraphicdesignand pain�ng,currentlybasedinTelAviv.Sheholdsabachelor'sdegreefromtheVisual Communica�onDepartmentatShenkar(2013)andisagraduateofboththe"Olympus" programforar�stsatBeitLiebling(2022)andthe"Minerva"programforar�stsupportat theAtelierSchool(2024).Moneyhon'sworkhasbeenfeaturedingroupexhibi�onsacross variouspres�giousvenues,including"TheHolyArt"galleryinParisandAmsterdam(2024), the"Maya"GalleryinTelAviv(2024),and"HaMekarer"(2022).Shehasalsopar�cipatedin theartfair"Ar�stsintheColony"inPardesHanna-Karkur(2022),amongothers.

Image: “HolyRubberI”