FrontCover: AlysonPetruncio “WDiDFYTHmSM” ColoredPencil,Pen,Acrylic Marker 12inx18in
Top: SamRathbun “SelfPortraitasaVulture” OilonCanvas
76.2cmx60.96cm
Formoreinformationpleasevisitwww.dividemagazine.com
BackCover: EvrenSungur “Lovers” AcryliconCanvas 128cmx158cm
KyleYuzhangSuisadesignerwhoserecent workintheRoyalCollegeofArt's(RCA)City DesignMAprogramexploresthe intersec�onsofarchitecture,art,and ecologicalreclama�on.Focusingon mul�mediaintegra�on,headopts experimentalapproaches,u�lizingadiverse rangeofmaterialsandconstruc�on techniquestocri�callyengagewithand redefineurbanlandscapes.AtRCA,his projectsinves�gatearchitectureasan "enclosedspace,"ques�oningitsrolewithin poli�calandurbanframeworksandfostering adialoguethatchallengestradi�onalspa�al constraints.
Kyle’sdesignphilosophyisrootedina commitmenttoreclaimingandrevitalizing localterritoriesthroughthough�ul, contextuallygroundedstrategies.His innova�vethinkingandprac�cal engagementwithurbaniza�onand environmentalpreserva�onhaveearnedhim recogni�on,includingtheMACityDesign HeadofProgrammePrize.HisprojectOffline Park,whichreceivedtheBeau�fulFormsof
EnergyAwardatBUGA2023in Mannheim,exemplifieshisdedica�onto climate-consciousdesignandhisabilityto createspacesthatarebothfunc�onaland sensi�vetoecologicalnarra�ves.
Kylecombinesawiderangeofarchitectural skills,fromphysicalmodel-makingto digitalvisualiza�on,enrichedbyhis culturalbackgroundandapassionfor handcra�ingandphotography.Hiswork strikesabalancebetweenrigorous architecturalresearchandavisionfor transformingurbanspacesintoreflec�ve, inclusiveenvironmentsthatpriori�ze ecologicalintegrity.
Right: “BreathingMetal” MixedMaterials 150cmx50cmx100cm www.instagram.com/kyle.jeff.and.su/ ?next=%2F
ChunluShengisadesignerandar�stbased inLondonandShanghai,holdinganMAin VisualCommunica�onfromtheRoyal CollegeofArt.Sheng'sworkexaminesthe complexrela�onshipbetweenhumansand technologyinthepost-digitalera,exploring howtechnologyreshapeshumanselfpercep�onandexistencewhilereflec�ngon thetensionbetweentheneutralityof technologyandthedistor�onofhumanity.
InfluencedbythinkerssuchasGuyDebord, Byung-ChulHan,andJohnBerger,Sheng employs3Ddigitalartandsculptural languagetoconstructfic�onalnarra�ves thatdelveintotheinterplaybetween humansandtechnology.Viewingtechnology asmorethanameretool,Shengconsidersit aforcethatshapesrealityandinfluencesthe trajectoryofhumanevolu�on.These narra�vesaimtouncoverthesymbio�c natureofhuman-technologyrela�onswhile ques�oningthesustainabilityandethical underpinningsofthiscoexistence.
Right: “SeeSawSeenSeeing” Mixed-Media MixedDimensions h�ps://www.instagram.com/wild_deerr/
SimultaneousResonanceisaninterac�ve projectthatexploresthelivedexperiences andsocietalpercep�onsofessen�altremor throughthelensofartanddesign.Essen�al tremor,acondi�ono�encharacterizedby uncontrollableshakinginthehands,subtly impactsdailylifeandcarriessignificant socialimplica�onsforthoseaffected.This projectaimstoilluminatetheseeffectsby engagingviewersinanarra�vestructured aroundthreedis�nctstages,eachrevealinga differentemo�onalfacetoflivingwith tremor.
Theprojectcomprisesaninterac�vevisual experiencepresentedinanimmersivespace.
Par�cipantsareguidedthroughthestages: “Numb-OnStandby,”“Escape-Disguise,” and“Relief-Rhythm.”Eachstagesymbolizes adifferenta�tudeindividualswithtremors mayadopttowardtheircondi�on.
InNumb-OnStandby,viewersencounter thevisibleimpactoftremorsthroughhand movementtrajectoriescollectedduring pa�entworkshops.Thisstageprovidesan authen�cdepic�onofthephysical manifesta�onsoftremor.Inthenextstage, Escape-Disguise,theexperienceturns introspec�ve,portrayingtheinternal strugglesofpa�entswhoconcealtheir condi�ontoavoidsocials�gma.Finally, Relief-Rhythmtransformsthetremor’s involuntarymovementsintoanaesthe�c rhythm,reframingitasasourceofbeauty ratherthanalimita�on.
Throughitsuniqueblendofvisual storytelling,interac�vity,anddesign, SimultaneousResonanceinvitesaudiences toreflectonpowerdynamicsembeddedin societalnormsandpercep�ons.The projectoffersanuancedperspec�veon essen�altremor,addressingthecomplex intersec�onofvisibility,vulnerability,and empowerment.Byreimaginingtremor movementsasrhythmicandaesthe�cally posi�ve,itnotonlyraisesawarenessbut alsoseekstoredefinethenarra�vearound physicalcondi�onso�enmisunderstoodby society.Theprojectaspirestoprovoke empathyandinspiredeepercontempla�on aboutinclusivityandacceptanceinpublic spaces.
Right: “SimultaneousResonance” Mixed-Media 500cmx300cm h�ps://www.instagram.com/Trashhhhhhhboy/
ShangyuLi,borninChina,isanar�stwhose workbridgesart,design,andtechnologyto exploreo�en-overlookedaspectsofhuman life.HeholdsaBScinCrea�veStudies (DesignInnova�on)fromSejongUniversityin SouthKoreaandiscurrentlypursuinganMA inComputa�onalArtsatGoldsmiths, UniversityofLondon.
Drawingonhismul�culturalexperiencesin China,SouthKorea,andtheUK,Lifocuses oncrea�ngimmersive,interac�veworksthat inves�gatecommunitydynamics,human interac�on,andthesocio-poli�cal implica�onsoftechnology.Hisworkhas beenfeaturedinexhibi�onsinLondonand Athens,showcasinghiscommitmentto engagingaudiencesonbothintellectualand emo�onallevels.
SamRathbunisamul�disciplinaryar�st withabackgroundinagriculture.Shelivesin UpstateNewYork,whereshepaintsinher studiowhennotteaching,farming,or seekingstoriesinthefieldsandforests surroundingherhome.
Herworkexploresacontemporary perspec�veonrurallife,reinterpre�ng tradi�onalno�onsofpastoralism.Rathbun combinesso�brushstrokesandtransparent layerswithareasofdensity,whichshe scrapesawayusingfabric,metaltools,and evenherfingernails.Thebodiesofplants, animals,andpeoplearedepictedinvarious statesofbecomingasshebuildsupand removespaint.
Throughherart,Rathbunseekstorevealthe raw,brutal,tender,andseduc�veaspectsof agricultureandtheadjacentwilderness.Her workemphasizestheinterconnectedness betweenhumansandthenon-humanother, offeringanuancedexplora�onofthis rela�onship.
Right: “SelfPortraitasaVulture” OilonCanvas 76.2cmx60.96cm h�ps://www.instagram.com/sathbun/
NatalieHoisavisualar�stbasedinToronto andHongKongwhoseworkisshapedbyher backgroundinscenicart,dance,andvisual expression.AgraduateoftheHongKong AcademyforPerformingArts(BFAHonours, 2020),shefurtherhonedherprac�ce throughinternshipsattheRoyalOpera HouseandtheNa�onalTheatreintheUK.
Ho'sartcombinessymbolismwithpersonal introspec�on,o�enaddressingthemesof gender,societalnorms,andself-expression. Centraltoherworkistheportrayalofwomen defyingconven�ons,celebra�ng individualityandresiliencethroughintricate andvibrantcomposi�ons.
Herworkhasbeenwidelyexhibited, includingattheRoyalBlueGallery(UK), Intersec�onsatCloverdaleMall,Toronto OutdoorArtFair,FRESHatNextGenera�on
Arts,andEmpoweringFacesatClark CentrefortheArts.In2023,she par�cipatedinNewVistas:NextStepsat EtobicokeCivicCentreandjuried exhibi�onssuchasWeAreResilientand IMPACTatNeilsonParkCrea�veCentre. AsanAsianfemalear�st,Hoviewsartasa powerfulmediumforsocialcommentary andempowerment,challenging stereotypesandcelebra�ngindividuality. Inhercurrentseries,JoyAmidstPain,she explorestheinterplayofjoyandsuffering, examiningthemesofresilienceand personalgrowth.Inspiredbylove languagesandtheBuddhistconceptof "緣"(predes�nedaffinity),herworkreflects theprofoundinterconnectednessofhuman experienceswhilefurtherinves�ga�ng iden�ty,belonging,andtherela�onships thatconnectus.
Image: “TheQuietFlight”
OilonCanvas
38.1cmx50.8cm www.instagram.com/Natalie.szewai/
Inanunlikelyfusionwheretraumaand healingintersectwiththevibrancyofplaces shehaslived—ArtDecoMiami,Neon GraveyardVegas,andBarefootLuxury Ibiza—HeatherBellino’sartchallenges viewerstolookbeyondwhimsicalcolors, symbolism,andpa�ernstouncoverdeeper undertonesinhersubjectma�er.
Throughherexplora�onofvariousmediums, Bellinocreatesimmersivelandscapesthat inviteviewerstobecomepartofherartwork. Workingwithlights,glass,tex�les, sculptures,andmore,sheencourages interac�onwithhercrea�ons.U�lizing expansive,envelopingcolorfieldsand intricatemaximalistpa�ernscontaining hundredsofelements,Bellinoisinspiredby theconceptthatdismantlinganideacan leadtosomethingevenmorebeau�ful. Muchlikeherownpersonality,herartexudes
playfulnessonthesurface,where audiencesareencouragedtoengage directlywiththework.However,beneath thesurfaceofeachpieceliesastorythat exploresthecomplexi�esofthehuman experience.
Withimmersiveartexhibitsshowcased aroundtheworld,HeatherBellinoisa mul�disciplinaryar�stcurrentlybasedin theUnitedStates.SheholdsaBachelor’s DegreeinFineArtsfromFloridaAtlan�c University.Combiningdigitalandanalog processes,Bellinocreatesmul�media applica�onsthatbringheruniquevisionto life.Drawingfromherbackgroundin designandfinearts,shecra�sworksthat emphasizeinterac�vityandstorytelling, invi�ngaudiencestoexperienceartin transforma�veways.
Image: “OvumBloom”
Interac�veMedita�onChair
177cmx100cm
PhotocourtesyofIkonoGlobal www.instagram.com/heather_bellino/
AyanAzizMammadovawasborninBaku, Azerbaijan.Asachild,shespent�meinher father’sstudio,watchinghimpassionately workonhispain�ngsanddreamingofone daydiscoveringherownar�s�cpassion. Theseearlymemoriesdeeplyinspiredand shapedherintothecrea�veindividualsheis today.
Growingupsurroundedbyvibrantand talentedar�stsgreatlyinfluencedAyan’s crea�vedevelopment.Over�me,herar�s�c stylehasevolved,gainingindividualityasshe hasexploredaricharrayofemo�ons,moods, andexpressionsthatcapturefeminine warmth,sensi�vity,andcomplexity.
Image: “Universe” AcryliconCanvas 120cmx100cm www.instagram.com/iamayanaziz/
Le�: “Composi�on”
110cmx90cm
Image: “EvilEye||”
80cmx90cm
LauraLewisisaqueervisualar�storiginally fromKjipuktuk(Halifax,NovaSco�a),now basedinTreaty1Territory(Winnipeg, Manitoba,Canada).Herconceptual figura�vepain�ngprac�cedelvesinto philosophicalques�onssurrounding psychosexuality,themul�plici�esofself,and thenuancesofthehumancondi�on.
Lewisgraduatedin2018withacombined degreefromtheNovaSco�aCollegeofArt andDesign(NSCAD)andtheUniversityof ManitobaBFAHonoursprogram.Sheisthe founderandfacilitatorofCri�calPain�ng Perspec�ves,presentedbyMentoringAr�sts forWomen’sArt(MAWA).In2023,shewas featuredinthepain�ngissueofBorder CrossingsMagazineinaninterview conductedbyRobertEnright.
In2024,herworkwasexhibitedatseveral ins�tu�onsacrossCanada,including ModernFuel,MAWA,acear�nc.,andGallery
1C03attheUniversityofWinnipeg,with generoussupportfromtheCanadaCouncil fortheArts,theManitobaArtsCouncil, andtheWinnipegArtsCouncil.Lewishas par�cipatedinar�stresidenciesinCivita Castellana,Italy(2017),andtheBanff CentrefortheArtsandCrea�vity(2023). Shehasalsobeenacceptedintothe ResidenciesUnlimited(RU)programin Brooklyn,NewYork,for2025.
Image: “Fluctuate” OilonCanvas 243.84cmx182.88cm www.instagram.com/lalauralewis/
Image: “Merge”
AcryliconCanvas 121.92cmx121.92cm
AcryliconCanvas 30.48cmx22.86cm
JamilRachid'sintroduc�ontopain�ngwas unexpected,buthisconnec�ontothe mediumisanythingbutrandom.What beganasanunplannedentryhasgrowninto adeeplyinten�onalandmeaningfulprac�ce. ForRachid,pain�ngisnotjustaprocessbut aprofoundmeansofcommunica�on—away tomergelight,color,andspaceinto composi�onsthatresonateonbothvisual andintellectuallevels.
Rachid'sar�s�cphilosophypriori�zesthe emo�onalandmentalimpactofhiswork. Whileformholdsimportance,itisthe interplayoflight,color,andspacethatforms thefounda�onofhisprac�ce.Hishopeis thateachpain�ngbecomesmorethana sta�cobject;heaspiresforhisworktoserve asadialoguebetweenhisownselfexpressionandtheuniqueinterpreta�onsof hisviewers.Thisinterac�oncreatesa momentofpresence,anopportunityfor individualstopause,reflect,andengagewith theartworkinawaythatisdeeplypersonal andimmersive,evenifonlybriefly.
ForRachid,theactofcrea�ngapain�ng representsthemost�melessandbeau�ful formofuniversalmessaging.Acompleted pain�ngholdsanunchangingessence,yetit invitesinfiniteinterpreta�onsas�mepasses andperspec�vesevolve.Eachviewerbrings
theirownhistory,emo�ons,andthoughts tothework,ensuringthattheoriginal momentofitscrea�onisneverunderstood inthesamewaytwice.Thisdualityof permanenceandreinterpreta�onis somethingRachidtreasures,asitallowshis arttolivebeyondhimandcon�nuously connectwithnewaudiences.
AttheheartofRachid'sar�s�cjourneylies adesiretocreatesomethingbeau�ful— somethingthatbringsjoyandofferssolace toothers.Hisworkisanofferingtothe world,awayofsharingbeautyand though�ulness,invi�ngviewersintoa spacewheretheycanreflect,feel,and connect.Throughhispain�ngs,Rachid hopestocra�experiencesthatareboth visuallypleasingandmentallyenriching, leavingalas�ngimpactonthosewho encounterhisart.
Right: “BreathingMetal” Mixed-Media 150cmx50cmx100cm www.instagram.com/artlrez/
Le�: “Aphrodites”
OilonCanvas
76.2cmx60.96cm
Image: “Isabelle”
OilonCanvas
60.96cmx50.8cm
SaraZakisapainterbasedinNewYorkState whoseworkisdeeplyrootedinadynamic explora�onofcolor,arthistory,andthe figura�vetradi�on.Herpain�ngsare characterizedbyarobusta�en�ontothe emo�onalandconceptualpoten�alofcolor, combinedwithadeepengagementwiththe historyofart.Throughfrene�cbrushwork, visiblepen�men�,andanintui�veapproach toherprocess,Zakexaminestheinstability andfluidityofhumansystems,crea�ng worksthatareboththought-provokingand visuallycompelling.
Zak’sprac�ceismarkedbyabalanceof technicalskillandawillingnesstoembrace chanceandspontaneity.Byallowing intui�ontoguideher,shecreateslayered, complexcomposi�onsthatinviteviewersto engagewiththemesofimpermanence, transforma�on,andthedelicatebalanceof orderandchaos.Herdis�nc�veuseof pen�men�—visibletracesofearlierstagesof apain�ng—addsasenseofhistoryand processtoherwork,reflec�ngtheideathat nothinginhumansystemsremainssta�c.
Inaddi�ontoherar�s�cprac�ce,Zakisa dedicatededucator.Shecurrentlyservesasa professorofdrawingandpain�ngatSUNY FredoniaandVillaMariaCollege,whereshe inspiresandmentorsthenextgenera�onof
ar�sts.SheholdsanMFAfromthe UniversityatBuffalo,abackgroundthat informshercommitmenttobothacademic andprac�calaspectsofart.
Zak'sachievementshaveearnedher significantrecogni�on,includingbeing nameda2023fellowbytheNewYork StateCouncilontheArts(NYSCA).Her workisincludedinseveralpres�gious collec�ons,suchastheAlbright-KnoxArt Gallery,theBurchfieldPenneyArtCenter, theUniversityatBuffaloArtGalleries,and theRoswellParkCancerIns�tute.
Throughherartandteaching,SaraZak con�nuestocontributemeaningfullytothe contemporaryartlandscape,pushingthe boundariesofthefigura�vetradi�onwhile exploringthedeepercomplexi�esof humanexperience.
Right: “Ilalieutouslesjours” AcryliconCanvas 122cmx122cm www.instagram.com/sarazakart/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Idon’tremembera�mewhenIdidn’t draw,soIwouldsayIstartedveryearly. Thatbeingsaid,I’mnotsureIconsidered beinganar�stasacareerun�lIvisitedthe UffiziinFlorencewhenIwas17.Seeing Michelangelo’sDoniTondowasapivotal momentforme;Ibecameobsessedwith colorrela�onships.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Twomajorinfluencesstandoutinmylife asanar�st.Thefirstisthelossofmyfather inaColdWarmilitarytrainingexercise whenIwassix.Thistragedyformsthe backboneofmuchofmywork,asitsparked myinterestinhowpeopleprocesstrauma.
Thesecondismymentor,LinXiaJiang,a professoratBuffaloStateUniversity.He nurturedmypassionforcolorandac�ve brushwork,teachingmetheimportanceof rela�vecolorrela�onshipsandthemagicof chroma�cneutrals.Healsointroducedme toEdwardHopper’swork,whosesenseof composi�oncon�nuestoinspireme—Sunin anEmptyRoomis,tome,nearperfec�on.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Myworkconsistentlyexploreshowthe humanbrainfunc�onsunderduress.I’m fascinatedbyhowmemoriesareformed, altered,deleted,andperceived.
Iaimtorepresentfiguresthroughalensof PTSD,crea�ngformsthatappearunstable andfragmentedatonemomentandcrystal clearthenext.Thisvisualinstabilityinvites viewerstoques�onandsearch,reflec�ng
thedissonanceofmemoryandtrauma.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Icon�nuetoworkinmul�plestyles,but myapproachevolveswitheachseriesI create.Interes�ngly,Io�enforgethowI achievedapar�cularbodyofworka�er comple�ngit.
Itypicallyworkinseries,eachlas�ngabout ayearortwo,withadis�nctstyleandfeel. Myongoinggoalistomovefartherfrom concreteformwithouttumblingintopure abstrac�on.
Q: Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: Failureandexperimenta�onareessen�al tomyprocess.Iletworksevolvethroughan intui�veconversa�onwiththematerials, withnothingoff-limitsintermsof techniquesorapproaches.
Someofthemostcompellingmarksemerge fromplayandexperimenta�on.SinceI rarelyfullyplanapiecebeforestar�ng, failureisfrequentbutalsointegral.Ilove pen�men�—thetracesofearlierversions le�visibleinapiece—becausethey documenttheevolu�onofthework.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Onepar�cularlymeaningfulworkisFall Back.Thispiececombinesjarringcolor rela�onshipswiththemesofwar’simpact oncivilianpopula�ons.
Sincemyfather’sdeathwasaresultofwar, Io�enreflectonthefamiliesaffectedby lossanddestruc�on.Whilethework acknowledgesthesadness,italsohighlights thecollec�vecommunitythatsharessimilar experiencesandsupportsoneanother.
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Forthisbodyofwork,myprocessis reac�onary.Ibeginwithphotosofdance andimagesfromUkraine,introducing glitchesthroughAIphotoedi�ngtocreate newimagery.Thesemanipulatedimages becomethefounda�onformyreac�onsin paint.
Whilepain�ng,Ifocusonspontaneity, respondingtowhattheworkneedstocome togetheraroundacohesiveconceptand aesthe�ccomposi�on.It’sabalance betweenallowingtheprocesstoguideme andremainingfaithfultothenarra�veor emo�onaltoneIwanttoconvey.
Q: Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Iplantocon�nueworkingwithina figura�vetradi�on,exploringthetension betweenrepresenta�onandabstrac�on. Mygoalistopushdeeperintoabstrac�on whilemaintainingastrongconnec�onto thehumancondi�on.
I’malsointriguedbyneuroscienceand neuroaesthe�cs—specifically,studies analyzingwhatexcitesviewersabout certainvisualworks.I’dliketoexplorehow viewersengagewithmyartandusethat knowledgetofurtherrefinehowIevoke emo�onandconnec�onthroughmywork.
Right: “Ilalieutouslesjours”
AcryliconCanvas 91cmx91cm
JoyKlomanisaformertenuredassociate professorattheUniversityofMississippi, whereshesupervisedgraduateand undergraduatepain�ngprograms.In addi�ontoherworkinMississippi,Professor KlomanalsotaughtdrawinginLondon.She holdsanMFAfromtheUniversityofFlorida andaBFAfromtheKansasCityArtIns�tute.
KlomanisarecipientofaMississippiArts CommissionIndividualAr�stStateGrant, recognizinghercontribu�onstothearts.Her workhasbeenfeaturedinTheDrawing CenterViewingProgram&SlideRegistryin NewYorkandincludedinnumerous na�onallyjuriedexhibi�ons,suchasthe FloridaBiennial,theSarasotaBiennial,and BocaRatonMuseumofArt:AllFlorida.She hasreceivedseveralhonorsforherwork, includingthe"FirstAward"attheFlorida
Na�onalexhibi�onandattheMasur MuseumofArtAnnual.
Inaddi�ontoherexhibi�ons,Klomanhas par�cipatedininterna�onalar�st residencies,includingprogramshostedby theRothkoMuseuminLatvia,aswellas residenciesinHungaryandSardinia.Her artispartofseveralprivateandpublic collec�ons,includingtheVilakaMuseum andthefutureValdisBušsArtCentrein Latvia,BalatonfüredCityHallinHungary, theRinglingMuseumofArt,theGulfCoast MuseumofArt,thePensacolaMuseumof Art,andtheMeridianMuseumofArt.
JoyKlomancurrentlyresidesinHoodRiver, Oregon,whereshecon�nuesherar�s�c prac�ce.
48inx48in
www.instagram.com/joyklomanar�st/
Le�: “Tandem”
OilPaintonCanvas 36inx24in
Image: “MendedMemory”
OilPaintonCanvas 40inx60in
CindyXinyiWuwasborninChinaandis currentlybasedinLondon,UK,whereshe worksasajewellerydesigner.Shestudied visualartsintheUnitedStates,gaininga strongfounda�oninvariousar�s�c disciplines.CindyearnedherBachelor's degreefromtheBAJewelleryDesign programatCentralSaintMar�nsandisnow pursuingherMaster'sdegreeintheMA Design:JewelleryPathwayatthesame ins�tu�on.
Herjewellerypiecesgobeyondbeingmere accessories;theyaresculpturalworksthat interactwiththewearer’sbody,telling personalstoriesthroughart.Cindyisknown forcrea�ngdis�nc�vejewellerydesignsthat challengeconven�onalboundaries.She frequentlyexperimentswithinnova�ve materialsandcombinestradi�onal metalsmithingtechniqueswithdigital fabrica�on,con�nuouslypushingthelimits ofcontemporaryjewellerydesign.
Right: “Spine”
MixedMaterials 80cmx27cmx20cm www.instagram.com/jewellerybywu/
DylanDoeisapainterandmusicianbasedin London.Observingcontemporarylife throughthemesofchanceencounters, compulsions,hybridforms,anddevo�onal objects,Doeembracesambiguityand createspain�ngsthatcollagedisparate elements.Throughanintui�veexplora�onof anonymity,surveillance,andhuman rela�onsinthedigitalage,Doetransforms thefamiliarintotheuncanny.
DoegraduatedfromtheUniversityof Manchesterwithabachelor'sdegreein History,receivedamaster'sscholarshipto theCambridgeSchoolofArt,andpursued postgraduatestudiesattheSchoolof Design,Goldsmiths,UniversityofLondon.
Right: “SheStreamsIn:Astonished/Grimace” AcryliconCanvas 89cmx144cm www.instagram.com/_dylan.doe_/
Le�:
“Flowerhead:Willyoureturn?”
AcryliconCanvas
97cmx130cm
Image: “DD-3Neutral(Au1)”
AcryliconCanvas
92cmx61cm
TimClarkediscoveredhispassionforartat theageof14whenhecameacrossabookon LeonardodaVinci.Amazedanddeeply inspired,hededicatedhislifetocrea�ngart, strivingtoreplicatethesenseofawe Leonardohadins�lledinhim.Ini�ally,Clarke focusedoncopyingworksbyLeonardo,other ar�sts,andphotographs,whichprovedtobe aninvaluablelearningprocess.However, over�me,hegrewdissa�sfiedwithmere imita�onandfeltanincreasingneedforselfexpression.
ApivotalmomentinClarke'sar�s�cjourney occurredwhenhebegandrawingdancers withlearningdifficul�esinmo�on.The dynamic,spontaneous,andunforeseen natureofthesedrawingscap�vatedhim,as hissketchesseemedtoembodytheenergy andmovementofthedancersthemselves. Thisseriesresultedinabout50pain�ngson paperandmarkedasignificantturningpoint inhisar�s�cdevelopment.A�erdecadesof prac�ce—approximately30years—Clarke felthehadreachedar�s�cmaturityand decidedtoworkexclusivelyoncanvas.
Thedancerdrawingsremainaconstant referencepointforClarke’swork,addinga uniquequalitytohispain�ngs.Whilehe occasionallyusesphotographsfor backgroundsorotherelements,the essenceofhisworkliesinhismovement drawings.Clarkedescribeshisprocessas akintocrea�ngcollages,though everythingispaintedwithalevelofdetail andrealismthatevokesthefeelofa photographwhileconveyingdeeper meaning.Renaissanceartcon�nuesto influencehiswork,withafocusonboth meaningandtechnicalskill.
Right: “BuddhaTaraonHowlMoor” AcryliconCanvas 80cmx100cm www.instagram.com/6739.�m/
Le�: “ElizabethSydall”
Mixed-Medium
30cmx25cm
Image:
“Thesunragingjoyinsideapebble,northbayScarborough”
Mixed-Medium 80cmx100cm
MaisyLova�isa22-year-oldar�stfrom NorthWales,whoseworkisdeeply influencedbyherupbringingintheruraland mountainousareaofEryriNa�onalPark. Viewedthroughafeminineperspec�ve,her pain�ngsexplorethemesofin�macyand nostalgia,examininghowexternaland internalreali�esintersecttoshape memories.Lova�'sworknavigatesthe intricaterela�onshipbetweenflee�ng emo�onsandenduringconnec�ons, addressingsubjectssuchasmemory, rela�onships,sexuality,landscape,family, andself.
Infusedwithpersonalmemoriesand moments,herpain�ngsweavedreamlike narra�vesbathedinabstractedcolors. Throughablendofpa�ernsandlandscapes, herartworksinviteviewersintoashared experience,evokingasenseofnostalgiaand communalmemory.Recurrentmo�fs,such asmountainousskylines,valleyfloors,and theinteriorsofWelshco�ages,anchorher workinherNorthWalesupbringing, fosteringadeepconnec�onwiththelocal community.
RootedintheWelshconceptofhiraeth,a profoundlongingforhomeland,landscape, andculture,Lova�’sartworkcelebratesher passionandculturaliden�ty.Herpictorial spacescombinewashesandloose underlayerswithsec�onsofclarityand perspec�ve,crea�ngadynamicand etherealatmosphere.
Ul�mately,Lova�’spain�ngsservenotonly asreflec�onsofpersonalmemorybutalso ascatalystsforcollec�venostalgiaand contempla�onofthehumanexperience. Hergoalistocreateartworkthatoffersa richtapestryofemo�onsandexperiences, invi�ngviewerstoconnectdeeplywithher uniqueperspec�ve.
Image: “LateNightLounging” AcryliconCanvas 170cmx510cm www.instagram.com/mlova�.art/
KimHankyul(b.1990,Busan,SouthKorea) livesandworksinOslo,Norway.Through evoca�vesoundscapesandmechanical movements,hisworkexploresques�ons surroundingna�onsandborders,belief systems,andmediacommuni�es.Heholdsa bachelor'sdegreeinAesthe�csfromSeoul Na�onalUniversityandamaster'sdegreein ArtfromtheFacultyofFineArt,Music,and DesignattheUniversityofBergen.
Hankyul’sworkhasbeenrecognizedwiththe KistefosPrizeandSparebanks��elsenDNB’s grantinNorwayandispartoftheAstrup FearnleyCollec�on.Hisworkhasrecently beenexhibitedatSalónAcme,MexicoCity (2024);PalProject,Paris(2024); Kunstnerforbundet,Oslo(2023);andEntrée, Bergen(2023).
Right: “Olympia(oftheAbusedLookandofFalse Consciousness)” ImmersiveInstalla�on 450cmx450cm www.instagram.com/kim________pink/
Image:
“Forest_Sound_Motor_Machine.mov”
Mul�mediaInstalla�on 900cmx800cm
NikaNuovaisatex�lear�stbasedinMilan, knownforherabstracttex�lepanels.Deeply inspiredbythemalleabilityandversa�lityof tex�les,shehasalwaysbeencap�vatedby theendlesspossibili�estheyoffer.Witha backgroundinclassicalarteduca�on,Nuova beganhercareerasbothanar�standa fashiondesigner,combiningherpassionsfor drawingandtex�les.
A�ermanyyearsinthedesignindustry— spanningfashion,interiordesign,glass,and porcelain—itbecameevidenttoherthat productdesigncouldneverfullyembody pureart,asitisinherently�edtoproduc�on. Thisrealiza�on,alongwithagrowing awarenessofenvironmentalissues,ledherto focusoncrea�ngwallsculptures.
Nuova’sworkischaracterizedbybold colors,sharplines,andaninten�onal blendingofartandpopculture.She exclusivelyusesrecycledmaterialsinher crea�ons,whichcarryadeepemo�onal significance,addinganotherlayerof meaningtoherart.
Right: “TheLeaf-lake” Silk,Chiffonand,Co�on 175cmx75cm www.instagram.com/nikanuovaart/
SihanChenwasborninChinain2002and beganherstudiesattheAcademyofMedia ArtsinColognein2023.Herworkexplores theconnec�onbetweencolor,line,image composi�on,andthepsychological transforma�onsoftheself.
Inherdrawingsofhorses,thefluorescent pinkbackgroundnotonlycreatesadreamy andvibrantatmospherebutalsosymbolizes thediversityandcomplexityofinner emo�ons.Thedotsaddamul�-layered visualexperience,witheachdotseemingly conveyinganemo�onalimpulsethatreflects anindividual’spsychologicalac�vityinthe explora�onoftheself.
Chenbelievesthatadrawingisnotmerelya representa�onoftheouterworldbutalsoan
explora�onandexpressionoftheinnerself. Thefluorescentcolorsinherpain�ngs s�mulatethesenses,encouraging emo�onalresonance,deepthought,and self-reflec�on.
Right: “Exchange” Pain�ngonPaper 40cmx29cm www.instagram.com/sihanchen__/
Le�: “StarsandGrass”
Pain�ngonPaper
33.5cmx22.5cm
Right: “Escape”
Pain�ngonPaper
33.8cmx23.3cm
CesarMammadov,bornin1988inBaku, Azerbaijan,isaprominentyoungar�stfrom theregion.Hisar�s�cjourneybeganatan earlyage,drivenbyapassionforcolorsand shapesthatimmersedhimintheworldof imagina�on.Influencedbyhisfather, renownedAzerbaijanipainterSakit Mammadov,Cesardevelopedaunique ar�s�cvisionandexpressivestyle.
EducatedattheAzimAzimzadeArtSchool andtheAcademyofArtsofAzerbaijan, Mammadovhasshowcasedhisworkboth withinAzerbaijanandoninterna�onal pla�orms.Hisdis�nc�veapproachto capturingtheessenceofordinarymoments andcelebra�nglife’ssimplejoyshasbeen featuredinrenownedexhibi�onvenues worldwide.
Image: “BodrumFishermen” Mixed-MediumonCanvas 140cmx110cm www.instagram.com/cesar_mammadov/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Myar�s�cjourneybeganinmychildhood inBaku,Azerbaijan.Growingupinafamily whereartwasdeeplyvalued,withmyfather, therenownedpainterSakitMammadov,asa constantsourceofinspira�on,Iwas immersedintheworldofcolors,lines,and crea�vityfromanearlyage.Watchingmy fatherworktaughtmethedisciplineand beautyofar�s�cexpression.
Over�me,Ipursuedformaleduca�onatthe AzimAzimzadeArtSchoolandtheAcademy ofArtsofAzerbaijan,whichsharpenedmy skillsandhelpedmedevelopmydis�nc�ve style.Sincethen,myjourneyhasfocusedon capturingthepoetryofeverydaymoments andimmortalizingthebeautyintheordinary.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Undoubtedly,myfatherhasbeenthemost significantinfluenceinmylife.Hisdedica�on toartandhisabilitytoconveyemo�onand depththroughhisworkle�anindeliblemark onme.
Addi�onally,Azerbaijaniculture,withitsrich historyandvibrantlandscapes,hasshaped myar�s�cperspec�ve.Beyondfamilialand culturalroots,mytravelshavealsodeeply influencedmywork,allowingmetoexplore differenturbanandnaturalenvironments thatcon�nuetoinspiremycrea�veprocess.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Arecurringthemeinmyworkis celebra�ngthesimplicityofeverydaylife. Whetherit’sfishermenbythedocksorarainsoakedstreet,Iaimtohighlightthepoetryin
momentswemightotherwiseoverlook.
Watero�enappearsinmyworkasa symboloflifeandcon�nuity,tyingtogether differentnarra�vesandofferingasenseof calm.Thesethemesreflectmydesireto remindviewersofthebeautythat surroundsus,eveninthemundane.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Whilemyfounda�onaltechniques remainrootedinrealism,myapproachhas maturedover�me.I'veincreasingly embracedgraphicelements,blendingthem withmytradi�onalstyletoaddnew dimensionstomywork.
Thisevolu�onhasallowedmetofocuson overlookeddetailsandexplorevarious perspec�ves—suchasfla�enedaerial views—thatgivemycomposi�onsafresh, contemporarytwist.
Image: “St.Petersburg” Mixed-MediumonCanvas 40cmx50cm
Q: Whatroledoesfailureorexperimenta�on playinyourdevelopmentasanar�st?
A: Failureandexperimenta�onareessen�al partsofmycrea�veprocess.Eachchallenge ormisstephastaughtmetopushbeyondmy comfortzoneandexplorenewtechniques.
Forinstance,myexperimentswith hyperrealis�crainfallcomposi�onsrequired adeeperunderstandingoflightanddepth, ul�matelyenrichingmywork.These momentsoftrialanderrorhavebeen invaluableinrefiningmyar�s�cvision.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Idon’thaveaspecificfavoritepiece,as eachpain�ngrepresentsachapterinmy ar�s�cjourney,reflec�ngtheemo�onsand inspira�onsofthatmoment.Witheverynew work,myconnec�onevolves,andwhat standsoutasmostmeaningfulo�enchanges over�me.
Thisfluiditykeepsmycrea�veprocess dynamicanddeeplypersonal.
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Iseespontaneityandstructureas complementaryforces.Myini�alprocess involvescarefulplanningandsketchingto ensuretechnicalprecision,butIallow spontaneitytoguidemybrushstrokesand colorchoices.
Thisbalanceenablesmetomaintainrealism whileinfusingeachpiecewithemo�onand vitality.
Q: Wheredoyouseeyourworkheadingin
thefuture,andwhatareyouexcitedto explorenext?
A: Iseemyfutureinartasajourneyof exploringtheboundariesofcolor,form, andphilosophy.Iampar�cularlyintrigued bytheideaofcapturingthesoundsofacity throughpaint,transla�ngitsrhythmand energyintovisuallanguage.
Alongsidethis,Ihopetodelvedeeperinto blendingtradi�onaltechniqueswith contemporaryperspec�ves,crea�ngworks thatresonateuniversally.Thisexplora�on excitesme,asitopensendlesspossibili�es forstorytellingthroughmyart.
Image: “Bilbao” Mixed-MediumonCanvas 15cmx20cm
AlysonPetruncioisaself-taughtsurrealist ar�stbasedinNorthernVirginia.Shebegan herar�s�ccareerin2018with commissionedcoloredpencilportraitsbut soonbecamedisillusionedwiththe constraintsofrealismandthepressuresof crea�ngworkondemand.
Fascinatedbyartthatevokesuneasefrom tradi�onallypleasantsubjectma�er, Petrunciodevelopedadis�nc�vestylethat reflectsherpersonalexperienceswithsocial anxietyandmajordepressivedisorder (MDD).Herworkcontraststheo�enunseen andunheardnatureoftheseillnesseswitha deliberatefocusonemo�onalsuperficiality.
Petruncio’sartfrequentlyfeaturesdistorted facialfeatures,ambiguousemo�onal expressions,liminallandscapes,andvibrant colorstoexplorethemesofsuperficiality, uncertainty,andloneliness.Throughher pieces,sheprovidesanauthen�cperspec�ve
onmentalhealthandthecomplexi�esof emo�onalexpression.
Ini�allydrawntocoloredpencilforits familiarityandease,Petrunciocon�nuesto useittoaddanelementofplayfulnessand ironytoherwork.Mostofherpiecesalso incorporateacrylicmarkersandpento createdepthanddimension.Commi�edto herar�s�cvision,sheavoidsusingtracing orAIassistance,ensuringthateverypiece remainsfaithfultoitsoriginalconcept.
Image: “WDiDFYTHmSM”
ColoredPencil,Pen,AcrylicMarker 12inx18in
www.instagram.com/jellopencil/
Image: “AllThat'sLe�”
ColoredPencil,Pen,AcrylicMarker 12inx12in
Right: “PeckingOrder”
ColoredPencil,Pen,AcrylicMarker 12inx18in
IrisLingyuZhang(b.1997,Beijing)isa mul�mediaar�standresearcherworking betweenLondonandBeijing.Agraduateof theRoyalCollegeofArt,herworkexplores themesofbody,space,anddesire,witha strongfocusonfeministnarra�ves.Through emo�onallychargedandimmersive installa�ons,Irisblendsdigitalartwith mul�mediaforms,drawingonpsychology, philosophy,andauto-ethnographyto examineiden�ty,culturalboundaries,and thetensionbetweenindividualandcollec�ve experiences.
WithaBAinAdver�singfromtheBeijing Ins�tuteofFashionTechnology,Iris integratesherexper�seinvisual communica�onintoherar�s�cprac�ce, cra�ingcompellingnarra�vesthatengage audiencesintellectuallyandemo�onally.Her workhasbeenexhibitedinterna�onallyat
venuessuchasHundredYearsGalleryand IKLECTIKinLondon.
Iris’sartchallengesconven�onal percep�onsofintrospec�on,spa�ality,and existence,invi�ngviewerstoques�ontheir rela�onshipswiththeirenvironmentsand themselves.Herprac�ceischaracterized byapersistentexplora�onofiden�ty’s fluidityanditsdynamicinterac�onwith thespacesweinhabit.
Right: “No.219” DigitalCollageonCanvas 100cmx77cm www.instagram.com/iriszhang_6024/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Myar�s�cjourneybeganwitha fascina�onforvisualstorytellingduringmy studiesinadver�singattheBeijingIns�tute ofFashionTechnology.Whilethefieldtaught meprecisionandemo�onalclarityin communica�on,Irealizeditslimita�onsin addressingdeeper,morenuancedpersonal andsocialissues.Thisrealiza�onledmeto pursueaMaster’sdegreeattheRoyal CollegeofArt,whereIbegandelvinginto themesofbody,space,anddesirethrough immersiveinstalla�ons.Myjourneyreflects anongoingquesttobridgethepersonaland collec�ve,exploringthecomplexi�esof
iden�tyinaconstantlyshi�ingcultural landscape.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: TraceyEminhasprofoundlyinfluenced myunderstandingofpersonalnarra�vein art.Herworkresonateswithmyown explora�onoffemalesubjec�vityand vulnerability.Inherinstalla�ons,personal ar�factsandrawconfessionsblurthe boundariesbetweenprivateandpublic. Similarly,Iintegrateelementsofmyown life,suchasobjects�edtoin�mate memories,toprovokereflec�ononbroader societalissues.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Iden�ty,space,anddesirearerecurring themesinmywork,butunderlyingtheseis anongoingexplora�onofsymbolismand societalaliena�on.Iusesymbols—personal ar�facts,gestures,orspa�alarrangements— toconstructfragmentednarra�vesthat reflectthedisconnec�onmanyfeelinan increasinglyglobalizedworld.
Forexample,inTheTent,symbolsdrawn frommyin�materela�onshipwithmy bedroomwereembeddedwithinasurreal digitalspace,juxtaposingmyimmigrant iden�tywiththealiena�ngurbanlandscape ofLondon.Thesethemesallowmeto ques�onhowsocietalstructuresand personalexperiencesshapeouriden��es andrela�onshipstospace.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: A�ergradua�ng,Ibegantoseethe limita�onsofinstalla�onsandvideoin conveyingthefullspectrumofemo�onal depth.Whilethesemediumsremainintegral tomyprac�ce,Ihaveincreasinglyturned towardabstrac�onandsymbolismasa meansofdeepercommunica�on.
Mycurrentworksfocusondis�llingcomplex ideasintosimplifiedforms—symbolic gestures,fragmentedvisuals,andtextural contraststhatallowforlayered interpreta�ons.Thisevolu�onstemsfrom mybeliefthatart’spurposeistoprovoke emo�onalandintellectualresonance,o�en throughambiguityratherthandirect representa�on.
Q: Whatroledoesfailureorexperimenta�on playinyourdevelopmentasanar�st?
A: Forme,experimenta�onislessabout trialanderrorandmoreaboutarchiving flee�ngideas.It’sawaytodocument thoughtsthatmightotherwisebelostand transformthemintotangibleforms.
Thisprocessiscrucialtomyprac�ce becauseitnotonlybringsnewideastolight butalsoini�atesacycleofitera�onand discovery.Experimenta�on’srandomness o�ensparksfreshperspec�ves,whichlater crystallizeintofullyrealizedworks.Each faileda�emptbecomesasteppingstone towarddeeperinsights.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: TheTentholdsdeepsignificanceforme asitencapsulatesayearofprivate reflec�onsonimmigra�on,cross-cultural iden�ty,andfemalesubjec�vity.It’sa deeplypersonalwork,integra�ngelements frommylifeasafirst-genera�onimmigrant inLondon.
Thepieceincludessymbolsfrommy in�matespace—areflec�onofthetension betweencomfortandaliena�onthat shapedmyexperienceinaforeigncity.This workmarkedaturningpointinmy understandingofmyposi�onasawoman withinsocietalframeworks,pushingmeto reflectonthelimita�onsandpossibili�esof femaleiden�tyinaglobalizedcontext.
Right: “TheBodyinBlue” Mul�-Media 1080pxx1920px
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A:Spontaneityandstructureareintertwined inmyprocess,andtheirbalanceo�en dependsontheworkitself.InCometTail,for example,spontaneitywaskeyincapturing thedynamicflowofastrologicalsymbolism andmovement,whilestructurecame throughme�culousresearchandthe layeringofhistoricalandpersonalnarra�ves.
Ibeganwithaclearconceptualframework butallowedchancediscoveries—unexpected juxtaposi�onsormaterialbehaviors—to guidethevisualandemo�onaltoneofthe work.Thisbalanceensuresthefinalpieceis bothinten�onalandopentointerpreta�on.
Q: Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Iamcurrentlyexploringthe philosophicalexpressionofsymbolism withinfeministframeworks.Specifically,I aminves�ga�nghowsymbols—whetherin graphicforms,gestures,ormovements— interactwithspecificspacesandcontexts toconveylayeredmeanings.
Myfocusliesinhowsymbolicrepe��on withinspa�alenvironmentscancri�que andreframenarra�vesoffemaleiden�ty. Thisdirec�onexcitesmeasitoffersaway tofurtherconnecttheemo�onaland intellectualdimensionsofmywork,while openingupnewpossibili�esfor interpre�ngiden�tyandspace.
CharlesChaoWangisaLondon-based photographerandar�stwhograduatedfrom theUniversityoftheArtsLondon.Hisworkis deeplypersonal,drawingfromhisown experiencesandmemories,andinfluenced byfieldssuchassociology,philosophy,and psychology.Themesofsocialinequalityand theabuseofpowerareprevalentinhisart, offeringpowerfulsocialcommentaryanda spaceforspiritualhealing.Throughhiswork, heenablesboththeviewerandhimselfto reflectonandrespondtosocietalchallenges.
EmbodyingtheessenceofZenphilosophy, Charlesblendselementsofnaturewithsocial issues,capturingtheserenityandharmony foundinnaturethroughhislens.Thisfusion resemblesZenmedita�oninformand presentsaprofounddialogueinthought, emphasizingthedeepconnec�onbetween humanityandnature.
Right: “NobodySpaces10” Photograph 69cmx75.5cm www.instagram.com/charleswangggg/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Iwasfirstintroducedtophotographyin 2014asaweddingphotographerandwas fascinatedbytheabilityofphotographyto capturemomentsthataredeeplymeaningful tothesubject.However,Ibecamefrustrated bytheoverlystandardizedprocessrequired toproducecommerciallyviableimages, whicho�enunderminedtheauthen�cityof theevent.Thisfrustra�onledmetorethink myunderstandingoftheindustry.
In2015,Ibeganworkingasastudio
assistantforaChinesephotographer.Over thenextthreeyears,Idevelopedstrong technicalskillsbutalsono�cedthe homogeniza�onandlackoforiginalityin muchofChinesephotography.Io�enfelt marginalizedwhenItriedtoapproach photographyfrommyowncrea�ve perspec�ve.TheChineseeduca�on system’slackofencouragementfor personalexpressionfurthermo�vatedme topursuepostgraduatestudiesabroad.
In2019,IenrolledattheUniversityofthe ArtsLondontopursueaMaster'sin Photography.
Thediversityandemphasisonfreedomof expressioninLondonweretransforma�ve, helpingmedevelopmyuniquephotographic style.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Camushasbeenasignificantinfluenceon myar�s�cperspec�ve.Inhiswri�ngs,he highlightstheabsurdityoftheworldand suggeststhattruestrengthcomesfrom standingupandperseveringinthefaceof thatabsurdity.
Inmywork,Io�enexploretheconflict betweensocialpowerandindividualwill. Ini�ally,myprojectsweredeeply confronta�onal,butCamus’sideashelped meshi�focustowardshowinginnerstrength andresilience.Thisevolu�onhasinfusedmy workwiththemesofhealingandgrowth.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Myworkfrequentlyrevolvesaround themesofsocialpower,individualwill,and Zenphilosophy.Forinstance,inmyproject AwayWay,Idrawfrommyownexperiences ofgrowingupinChina,exploringthe suppressionofindividualwillbysocietal structures.Iofferaposi�vecoping mechanisminspiredbyZenphilosophy: findinginnerpeaceandreconnec�ngwith oneselfthroughmedita�onandnature.
Anothernotableproject,AllowToBe,focuses onwomen’sissuesinChina.Iobservedhow Chinesewomenareo�entrappedinan “invisiblecage,”reminiscentofFoucault’s theoryofthepanop�con.Socialstructures, largelycontrolledbymen,dictatetheir behavior.Toaddressthis,Iusesymbolsof malepower,suchasfireex�nguishers,carts,
and�res,sprayingthemwithso�colorsto "feminize"them.Thesethemeso�enstem frommypersonalexperiencesand observa�onsofthesocietalenvironmentI inhabit.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Myearlyworkwasheavilyinfluencedby portraitphotographyandfocusedon capturingvisibledetails.Over�me,I realizedthatthisapproachwasinsufficient forconveyingdeeperideas.
InspiredbyDadaismandExisten�alism,I begantoexploretheinvisibleaspectsof humanexperiencethroughphotography.A turningpointwasmyprojectNobody Spaces,createdduringtheShanghai epidemiclockdownwhileIwasinLondon.I askedmyfamilyandfriendsinShanghaito sendmedailyselfies,whichItransformed intoabstractimagesbyerasingtheirfaces. Thisallowedtheworkstoresonatewitha broaderaudience,encouragingthemto reflectontheirownexperiences.
Right:
“NobodySpaces9” Photograph 69cmx75.5cm
Q: Whatroledoesfailureorexperimenta�on playinyourdevelopmentasanar�st?
A: Forme,experimenta�onisacri�calpart ofthecrea�veprocess.It’slessabouttrial anderrorandmoreaboutarchivingflee�ng ideasandtes�ngdifferentapproaches. Throughcon�nuousexperimenta�on,my projectsbecomeclearer,andmyini�al inspira�onsarerefinedandexpanded.
Failureisnotanendpointbutastepping stone.Eachmissteprevealsnewinsightsand pushesmycrea�veboundaries,allowingme toproducemoremeaningfulandlayered works.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: TheprojectAwayWayispar�cularly meaningfultomeasitencapsulatesmy experienceofgrowingupandlivingin Chinaforover20years.Ibelievethat mentalhealthissuesamongtheyounger genera�oninChinao�enstemfrom societalproblemssuchaspoli�cal oppressionandrigidsocialstructures.
Inhighschool,Istruggledwithsevere depression,butdiscoveringphotographyand contemporaryarthelpedmeexpressmy emo�onsandbegintoheal.Throughthis project,IincorporatedTaoistphilosophy, emphasizingtheharmonybetween humanityandnature.Thisphilosophyhelped mereconcilewithmypastanddevelopinner strength,makingAwayWayadeeply personalandtransforma�vebodyofwork.
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A:Spontaneityandstructureo�enclash duringthecrea�veprocess,butI’ve developedamethodtobalancethem.Ibegin withaperiodofexperimenta�on,tes�ng differentideasandtechniques.WhenIfeel I’veexploredenoughpossibili�es,Istepback toreflect—o�enthroughmedita�on.
Thisreflec�veprocessallowsmetoclarify myideasandestablishastructured frameworkfortheproject.Bybalancing intui�veexplora�onwithdeliberate planning,Iensurethatmyworkisboth emo�onallyresonantandconceptually coherent.
Q: Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Thefuturedirec�onofmyworkliesinthe themeofhealing.Behindmyexplora�onof socialpower,individualwill,andZen philosophy,Iaimtoencourageaudiencesto facetheirownchallengeswithposi�vityand resilience.
Iamexcitedtocreateworksthatnotonly cri�quesocietalstructuresbutalsooffer pathstowardpersonalgrowthand understanding.Photography,forme,isatool
forfosteringreflec�onandhealing,andI hopetodeepenthisaspectinmyfuture projects.
Right: “AwayWay7” Photograph 69cmx75.5cm
SheldonWongispursuinganMFAinStudio Artwithanemphasisinceramicsatthe UniversityofHawai’iatMānoa.Hiswork focusesonin�mate,medita�vemarkmakingthroughclay,exploringthe intersec�onofpersonalandancestral experienceswiththepoli�csofmemory.
Wong’sartprac�ceques�onswhohasthe authoritytoclaimspacewithindiasporic contextsandinterrogatesthestructuresthat dictatewhichnarra�vesarepreserved. Throughhiswork,heposi�onshimselfasan ac�vepar�cipantincrea�ngand safeguardinganew,liberatedsenseof history.
Heistherecipientofseveralpres�gious awards,includingtheH.JohnHeide FellowshipinArt,theJohnYoungScholarship intheArts,andtheGraduateMerit AchievementScholarship.
Right: “shrinetoanalcoholic” Porcelain,WoodPallets 130cmx130cmx133cm www.instagram.com/sheldonwongclay/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Iamprimarilyself-taught.Myearly mentorsandthecommunityofar�stsI workedalongsideinvariousstudiosweremy firstteachers.FromthemomentItouched clay,Iknewitwouldbecomealifelong companion.Over�me,myprac�ceevolved intoadeeperdialoguewiththematerial.I beganexploringclaynotjustasamedium butasacollaborator.There’ssomething uniquelyspecialaboutthetac�lityofclay— itsabilitytoholdmemory,respondtotouch, andrecord�me.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Theconnec�onswehold—witheach otherandwithinourownbodies—have beenmygreatestinfluence.Iamfascinated bythewaysmemoryisstored,notjustin themind,butinmuscles,bones,andthe earthitself.
Myearlypieceswereexperimentsinform andfunc�onality,buttheyquicklybecame inquiriesintocontainment,memory,and therela�onshipbetweenthebodyandthe earth.Arthasgivenmeaspacetoprocess andhonorbothpersonalandancestral experiences.Iseemyworkasabridge betweenthepastandthepresent,theself andthecollec�ve.
Iamdeeplyinspiredbythein�macyof making—howasinglemarkcanbeboth deeplypersonalanduniversallyresonant.To me,everypieceIcreateisnotjustanobject butanoffering,afragmentofmysoulgiven totheongoingdialogueofartandhumanity. Thatactofofferingiswhatkeepsme returningtomyprac�ce.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Myworko�encirclesbacktoideasof humanness,butIconsistentlyrevisitthe conceptofin�macy.I’mdeeplyinterestedin whatitmeanstobein�matewithmyself, withothers,andwiththeland—andhow theseconnec�onscanbringaboutboth empathyandviolence.
Comingfromafamilydisplacedforthree genera�onsfroma"homeland,"Io�en navigatenarra�vesfromwhichI’vefelt excluded.Myworkbecomesawayof inser�ngmyselfintothosestoriesand reclaiminganewsenseofbelonging.
Clay,asamaterial,allowsmetoconnectto somethingprimordial.It’sadialoguewiththe ancient.Throughclay,Ifeeltheweightof �meandthegenerosityoftheearth.It teachesmepa�ence,reciprocity,andthe transforma�vepowerofcrea�ngspace.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Myprac�cetrulyflourishedwhenIbegan ac�velylisteningtomyartandthematerials Iwasusinginsteadofprojec�ngontothe work.Earlyinmycareer,Iwastrainedbya produc�onpo�er,whichgavemeastrong founda�oninthefundamentalsofclay.
Over�me,Idevelopedaloveaffairwiththe
materialandbecamemoreconcernedwith crea�ngavisuallanguagethatreflectsthe reali�esIinhabitwhileimagining alterna�vefutures.Iseemyworkasaway toreimaginetheworld,offeringmoments ofreflec�on,connec�on,andpossibility.
Q: Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: Failureandexperimenta�onarevitalto myprocess.Ifailo�en,butIfindthat exci�ng—itkeepsartfrombecoming predictable.Ifeverythingworkedas planned,IthinkI’dgrowboredwiththeact ofmaking.
Lately,I’vebeenespeciallyconsciousof stayingopentothepossibili�esof“what couldbe.”Experimenta�onallowsmeto pushboundariesanddiscovernewwaysof crea�ng,eveniftheresultsareunexpected.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Myinstalla�on,shrinetoanalcoholic, holdsaspecialplaceinmyheart.It’soneof thefew�mesIallowedmyselftobefully presentinmyvulnerabilitywhile conceptualizingandcrea�ngthepiece.
O�en,myworkfeelsasthoughitemerges fromasubconsciousplace,andIonly understanditssignificancea�er comple�on.However,withthispiece, everythingcametogetheratpreciselythe rightmoment.Iwasfullyimmersed,living andbreathingthrougheachstep.Bythe �meIunveiledittotheworld,itfeltlesslike comple�nganartworkandmorelike finishingapilgrimage.
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A:Iloveworkingwithideasofabundance andmul�ples,ge�nglostintheprocess whereoneformevolvesintomany.That repe��onandaccumula�onprovidea naturalrhythmtomywork.
Forme,themostimportantaspectof crea�ngisbeingphysicallyandemo�onally present.Idon’tliketoimposerigid boundariesonmyprocess.Maintainingan empathe�cunderstandingofboththe materialsandtheideasI’mworkingwith keepsthecrea�veflowintactandensures theworkremainsfluid.
Q: Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: I’mexcitedabouttheunexpected, allowingmyworktoevolvebeyond tradi�onalformatsandintonewterritories ofvisualstorytelling.Iwantmyworktogrow larger—bothliterallyandmetaphorically— invi�ngviewersintosurprisingspaceswhere theycanlosethemselvesanddiscovernew ideas.
Mostofall,I’meagertocon�nueuncovering moreaboutmyselfandmyownhistory.I hopetounearthstoriesIhaveyettodiscover andtranslatethemintoworkthatfosters reflec�onandconnec�on.
Right: “chainedsilhoue�e”
Porcelain,JuteRope 66inx40inx1in
LeylaCui(b.2002)isasurrealistar�stbased inNewYorkCitywhoseworkexplores themesofiden�ty,transforma�on,andthe interplaybetweenmemoryanddreams. CurrentlystudyingIllustra�onattheSchool ofVisualArts,shehasearnedrecogni�onfor herabilitytoevokeprofoundemo�ons throughasurrealistlens.
Herar�s�cjourneybeganattheageof17 withthepublica�onofherpoetrycollec�on IWasMeanttoMeetYouWhileWandering byBeijingArtsandCra�sPublishingHouse. Thecollec�onincludesnearly200poems alongsideheroriginaloilpain�ngsand illustra�ons,showcasingherinterdisciplinary talentandearlycrea�vevision.
Leylahasexhibitedherworkinprominent galleriesworldwide,includingHoldingHands atTheSpaceGallery,Shanghai(2019); Metamorphosis(SoloExhibi�on)at HongtangCultureCommunica�onCo.Ltd, Shanghai(2021);ResonanceatBarney Gallery,NewYorkUniversity(2023);A
HappyBeginningatLATITUDEGallery, NYC(2023);andGenesis:ANew Genera�onofChineseAr�stsatChambers FineArtGallery,NY(2023).
Mostrecently,herworkwasfeaturedin TheImaginaryMadeRealatBerry CampbellGallery,Chelsea,NYC(2024); hersoloexhibi�onBetweenDreamscapes atTempleGallery(2024);andBeyond BoundariesatArtsinsquare(2024).In 2023,LeylawashonoredwiththeNew TalentMeritAwardattheiJungleGlobal Illustra�onCompe��on,solidifyingher posi�onasacompellingvoicein contemporaryart.
Right: “ToProduce” Mixed-Medium 36inx28in www.instagram.com/leyla_c_art/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Myar�s�cjourneybeganasawayto communicateemo�onsandideasthatwords alonecouldnotfullyexpress.Earlyon,I foundmyselfsketchinginnotebooksand wri�ngfree-versepoetry,drawntothe interplayofwordsandvisualsasaformof storytelling.Myloveforliteraturehasalways beenaprofoundsourceofinspira�on, shapingmyunderstandingofnarra�vesand thecomplexityofhumanemo�ons.
At16,Ishi�edmyfocustowri�ng, publishingapoetrycollec�onat17that integratedvisualandtextualelements.This blendofmedialaidthefounda�onformy transi�onintovisualarts.Myacademicpath beganatNYUwithafocusonStudioArt,but mydesiretospecializeinnarra�ve-driven, illustra�veworkledmetotransfertothe SchoolofVisualArts,whereIamnow pursuingadegreeinIllustra�on.Livingin NewYorkCityhasfurtherinfluencedmy crea�vevoice,asthecity’svibranturban environmentanddynamicsocialinterac�ons con�nuallyinspiremywork.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Thebiggestinfluenceonmylifeasan ar�sthasbeentheinterplaybetweenmy innerworldandtheexternalenvironments I’veinhabited.Growingup,Iwassurrounded byablendofancienttradi�onsandrapid moderniza�on,whichshapedmyawareness ofcontrasts—betweenthepastandthe present,thepersonalandthecollec�ve—and sparkedmycuriosityaboutiden�tyand memory.
MovingtoNewYorkCityamplifiedthis perspec�ve.Thecity’sceaselessenergy,
diversity,andlayersofhumanstorieshave beenalivingcanvasthatcon�nually challengesandinspiresme.Beyondplaces, mydeepestinfluencesarequiet,unspoken moments:flee�ngemo�ons,fragmentsof dreams,andlingeringmemories.
Literaturehasalsobeenaprofound influence.AuthorslikeAlbertCamusand HarukiMurakamitaughtmehow narra�vescouldblurthelinesbetween realityandimagina�on,lifeanddeath. Theirworks,richinmagicalrealism, resonatewithmydesiretoexplorewhat liesbeneaththesurfaceofhuman experience.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A: Io�enreturntothemesofiden�ty, memory,femininity,andtheunconscious. Thesethemesreflectmyfascina�onwith theliminalspacesbetweenwhatisseen andwhatisfelt,rememberedand forgo�en.Throughsurrealistelements,I aimtocreateadialoguebetweenthe consciousandunconscious,revealingthe complexi�esofhumanemo�onand collec�vememory.
Iden�tyinmyworkisfluid—atapestry wovenfrompersonalandshared experiences.Femininityisarecurring theme,notmerelyasabiologicalconstruct butasadynamicinterplayofvulnerability andstrength,tradi�onandrebellion.
Right: “ToCreate” Mixed-Medium 36inx28in
Thelong-hairedfemalefigure,afrequent mo�finmyart,servesasavesselfor naviga�ngemo�onalstatesandembodying thetensionbetweenconnec�onand autonomy.
Memoryinmyworkisfragmentedand layered,capturingflee�ngmomentsofjoy, loss,andlonging.Byjuxtaposingopposites likeaspira�onandlossortranquilityand unease,Iaimtoevokeasenseofdissonance thatmirrorsthecomplexityofhuman emo�on.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Myar�s�cstylehasevolvedsignificantly over�me.Earlyinmyprac�ce,Iwasheavily influencedbysurrealismandArtNouveau, focusingonsymbolicstorytellingand intricatedecora�vedetails.AsImatured,I developedamorepersonalvisuallanguage, incorpora�ngrecurringmo�fslikeeyes,long hair,andexaggeratedformstoexpress complexemo�onalstatesandexplore themesofiden�tyandmemory.
Atransforma�veperiodcamewhenIbegan experimen�ngwithmixedmedia,integra�ng threads,clay,andfoundobjectsintomy work.Thisshi�allowedmetomovebeyond tradi�onaltwo-dimensionaltechniquesand embracemul�-dimensionalstorytelling. Par�cipa�nginexhibi�onsinNewYorkin 2023and2024exposedmetodiverse ar�s�capproaches,inspiringmetoexplore larger-scaleworksandtac�lecomposi�ons.
Over�me,mystylehasbecomeasynthesis ofsurrealism,symbolism,and experimenta�on,pushingtheboundariesof howpersonalanduniversalstoriescanbe conveyed.
Q: Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: Experimenta�onisatthecoreofmy crea�veprocess,notjustasamethodbut asaphilosophy.Failureisanessen�alpart ofthisjourney,teachingmepa�ence, resilience,andthevalueofvulnerabilityin art.Eachmisstep,whethertechnicalor conceptual,revealsnewpossibili�esand uncoversdimensionsofcrea�vityIhadn’t yetconsidered.
Experimen�ngwithunconven�onal materialslikethread,clay,andfound objectsini�allyledtofrustra�ons— unpredictabletexturesandstructural challenges.However,thesestruggles ul�matelyreshapedmyapproach.Ibegan toseethesematerialsasintegralpartsof thenarra�ve,withtheirimperfec�ons addinglayersofmeaningandauthen�city tomywork.
Failure,forme,isnotanendpointbutan entrypoint—awaytodelvedeeperintomy ar�s�cins�nctsandpushbeyondthe familiar.It’sinmomentsofuncertaintythat Ifindthecouragetotakerisks,allowingmy worktoevolveorganically.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: MyseriesToProduce,ToCreate,To Nurture(2024)isespeciallymeaningfulto mebecauseitexploreslifecycles,fer�lity, andthecrea�veprocess.Eachpieceuses symbolicelementslikeshells,spirals,and pearlstocapturedifferentstagesof transforma�on—produc�on,crea�on,and nurturance.
ToProducesymbolizesthestruggleand beautyofbringingsomethingpreciousinto existence.ToCreatereflectsthebalance betweenresilienceandfragility,represented byashell’shardexterioranditscapacityto houselife.ToNurtureexploresthemesof growth,support,andregenera�on.
Thisseriespushedmetoexperimentwith ceramicsandpastelsandallowedmeto reflectonmyrela�onshipwithcrea�on— bothasanar�standasahumanbeing.
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Balancingspontaneityandstructureis essen�alforachievingemo�onaldepthand conceptualclarityinmywork.Structure providesthefounda�on—Ibeginwith deliberatesketchesthatexploresymbolic elementsandthema�cnarra�ves.This planningphaseensuresthework’sbackbone ismeaningfulandcoherent.
Spontaneity,however,breatheslifeintomy art.Duringexecu�on,Iletthematerialsand theprocessguideme,allowingfor unexpectedshi�sindirec�on.These momentsofunpredictabilityo�enleadto discoveriesthatcouldneverhavebeen planned,imbuingtheworkwithauthen�city andrawemo�on.
ThisbalancereflectsthethemesIexplorein myart:iden�ty,transforma�on,andthefluid natureofhumanexperience.Spontaneity ensuresmyworkremainsconnectedtothe presentmoment,whilestructureprovides thegroundingneededtocommunicateits deepermeanings.
Q: Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Inthefuture,Ienvisionmyworkdelving deeperintotheintersec�onsofillustra�on, life,andphilosophy.Iaimtoexplore ques�onsofmemory,iden�ty,and transforma�onthroughavisuallanguage thatcombinesintricatesymbolismwith emo�onalresonance.
I’mpar�cularlydrawntothe impermanenceoflifeandhowflee�ng momentsshapeus.Iwantmyworkto engagewiththesetransientreali�es, capturingthetensionbetweenthetangible andintangible,theseenanddeeplyfelt.
Whatexcitesmemostistheopportunityto bridgethepersonalanduniversal,crea�ng illustra�onsthatfeelbothin�mateand expansive.Ihopetopushtheboundariesof visualstorytelling,usingmyarttoexplore life’sfundamentalques�onswhilefostering asharedsenseofwonder,introspec�on, andconnec�on.
Image: “ToEmbrace” Mixed-Medium 36inx28in
WeizhiCaoisadigitalar�stspecializingin crea�ngartthroughar�ficialintelligence, blendingAI-generatedvisualswith tradi�onalartformstocra�adis�nc�veand innova�vevisuallanguage.Bornwithadeep passionforbothtechnologyandcrea�vity, Cao’sworkexplorestheintersec�onof humanimagina�onandmachinelearning, resul�nginartworksthatareboth conceptuallyrichandvisuallycompelling.
Cao'sarthasbeenshowcasedinnumerous exhibi�onsacrosstheglobe,earningcri�cal acclaimforitsuniqueapproachto integra�ngAIintothecrea�veprocess. Theseexhibi�onshavehighlightedthedepth andversa�lityofCao’swork,further establishingtheirreputa�onasapioneerin thefieldofdigitalart.Inaddi�on,Cao’swork hasreceivedmul�plenomina�onsand awardsatpres�giousinterna�onalfilm fes�vals,underscoringtheirabilitytopush ar�s�cboundariesandcap�vatediverse audiences.
AprominentfigureonChinesesocialmedia pla�orms,Caohasbuiltabroadand dedicatedfollowing,inspiringothersto
explorethepoten�alofAIinart.Through thispla�orm,Caosharesinsightsintotheir crea�veprocessandengageswitha growingcommunityofartandtechnology enthusiasts.
Caoisdeeplycommi�edtoexploringthe limitlesspossibili�esofAIindigitalart, constantlyseekingnewwaystomerge innova�onwithar�s�cexpression.By embracingthesynergybetweencu�ngedgetechnologyandtradi�onalcrea�ve methods,Caobelievesinpushingthe boundariesofwhatispossibleinart.For Cao,theintegra�onofartandtechnology representsatransforma�veforce,enabling ar�ststotranscendtradi�onallimita�ons andredefinethefutureofcrea�vity.
Right: “Bloom” Mixed-MediaPhotograph 3:4 www.instagram.com/williamccao/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Myar�s�cjourneybeganwithanendless curiosityabouttheintersec�onof technologyandcrea�vity.Fromayoungage, Iwasfascinatedbythediversityand expressivepowerofart.Theemergenceof ar�ficialintelligenceopenedawholenew doorforme,eventuallyleadingmeto discoverAIGC(AI-GeneratedContent),a crea�vemediumthatdeeplyresonatedwith me.
TherealturningpointcamewhenIbegan experimen�ngwithAItoolssuchas MidJourneyandStableDiffusion.Ini�ally, thesetoolsservedasawaytovisualizeideas inmymind,butasIdelveddeeper,Irealized thatAIisnotjustatoolbutapowerful collaboratorinart.Itamplifieshuman crea�vity,injec�ngunprecedented possibili�esintothear�s�cprocessrather thansimplyreplacingtradi�onalformsofart.
Myearlyworksquicklygaineda�en�onon socialmediapla�orms,amassinga substan�alfollowingandbeingfeaturedin severalrenownedmagazinesandart exhibi�ons.Theserecogni�onsreinforcedmy beliefthatAIGCpossessesuniquear�s�c valueandcanbreathenewlifeinto contemporaryart.Addi�onally,myworkhas wonawardsatartcompe��onsand interna�onalfilmfes�vals,furtherinspiring metopushtheboundariesofcrea�vity.
Today,Iamdedicatedtoexploringthe rela�onshipbetweenhumanityand technologyandenvisioningthefutureof crea�vity.Throughmywork,Iaimto demonstratetheinfinitepossibili�esof combiningtechnologyandart,inspiringmore peopletoembracear�ficialintelligenceasan indispensablepartnerintheircrea�ve journeys.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Thegreatestinfluenceonmyjourneyas anar�sthasundoubtedlybeentherapid advancementoftechnologyandits profoundimpactonhumancrea�vity.The developmentofAIGChasrevealednew possibili�esinar�s�ccrea�onandignited myboundlesspassionfordigitalart.Art hasneverbeenconfinedtoaspecific medium;itisanever-evolvingdialogue aboutcrea�vityandinnova�onshapedby the�mes.Theintegra�onofar�ficial intelligenceintothecrea�veprocesshas becomeacatalystformyar�s�c explora�on,enablingmetoreimaginethe limitlesspoten�alofartinthedigitalage.
Atthesame�me,Istrivetoexplorethe intersec�onofhumanityandtechnology, seekingtounderstandhowAIperceives beauty,imperfec�on,andemo�on.This collabora�verela�onshipbetweenhumans andmachineshasprofoundlyshapedmy ar�s�cphilosophy,drivingmeto con�nuallypushtheboundariesofcrea�on andencouragingaudiencestoreflecton thecomplexrela�onshipbetweenthe creatorandthecreated.
Inmanyways,theworldaroundme— whetheritbetechnologicaladvancements, culturalevolu�on,orthelegacyofar�s�c tradi�ons—hasservedasamentor, constantlyinspiringandshapingme.These elements,intertwined,havebecomethe drivingforcebehindmyexplora�onof AIGC,fuelingmyimagina�onandpassion toshowcasenewpossibili�esforthefuture ofartthroughmycrea�ons.
Images: “Bloom”
Mixed-MediaPhotograph 3:4
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Inmywork,Io�enreturntothemesof profoundsignificance,suchas"Technology andHumanity,""TheBoundariesof Crea�vity,""Imagina�onoftheFuture," "SustainableDevelopmentand EnvironmentalProtec�on,""WarandPeace," and"Humanitarianism."Thesethemesare notonlycrucialtomypersonalar�s�c explora�onbutalsodeeplyreflecttheerawe liveinandthespiritualpursuitsofhumanity.
"TechnologyandHumanity"isoneofthekey themesinmywork.Intoday’sageofrapid advancementsinar�ficialintelligenceand technology,IaimtoshowcasehowAI understandsandinterpretshumanemo�ons andcrea�vity.AIprovidesmewithanew wayofexpression,allowingmetopresent humancomplexityinemo�onsandthoughts moredeeplywhileexpandingthescopefor expressinghumanityinart.
"TheBoundariesofCrea�vity"isaques�onI havealwayspondered.Arthastradi�onally beenseenasauniqueexpressionofhuman crea�vity,andwithAI'sinvolvement,weare invitedtoreconsidertheboundariesofart. Myworkstrivestobreaktheseboundaries, exploringthear�s�cpossibili�esofhumanmachinecollabora�onandseekingthe intersec�onbetweentradi�onand modernity,realityandvirtuality.
Atthesame�me,"Imagina�onoftheFuture" isanotherimportantthemeinmywork.To me,artisnotjustareflec�onofreality;itis alsoaprojec�ontowardsthefuture.My crea�onso�enconstructfuturevisions, showingthetransforma�vepossibili�esthat arisefromtheinterac�onbetween technologyandhumanity,invi�ngthe audiencetoimaginethefutureinnewways.
Themessuchas"SustainableDevelopment andEnvironmentalProtec�on,""Warand Peace,"and"Humanitarianism"also frequentlyappearinmywork.Asanar�st, Ihopetoevokeaesthe�cexperienceswhile inspiringdeepreflec�ononcurrentglobal issues.Thesechallengesaresharedby humanity,andthroughar�s�cexpression, Iaimtosparkdialogueandreflec�on, contribu�ngtosocialprogress.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Overthepastfewyears,myar�s�cstyle andcrea�veapproachhaveundergone con�nuousevolu�onandprofound explora�on.Ini�ally,Iexperimentedwith variousar�s�cstyles,relyingheavilyon tradi�onalmediumsandtechniques.From realismtoabstrac�on,from representa�onaltoconceptualart,I exploredawiderangeofprac�ces.
However,asIdelveddeeperintothe essenceofartandastechnologyreshaped thecrea�velandscape,Igradually discoveredapreferenceforsurrealist expressions.Thisstyleblurstheboundaries betweenrealityandimagina�on,allowing viewerstoconfrontdeepermeaningswhile reflec�ngthecomplexi�esanddiversityof therealworld.
Thelanguageofsurrealismenablesmeto constructavisionthatexistsbetweenthe realandtheimagined,servingasamirror tosocietalissuesandtheintricaciesofthe humanpsyche.Throughthisapproach,I aimtocreatevisuallyimpac�ulworks whileguidingviewerstocontemplatethe emo�onsandphilosophiesconcealed beneaththesurface.
Withtherapiddevelopmentofdigital technology,par�cularlyinAIGC,mycrea�ve methodshavealsotransformed.Inow embracetechnologyasavitaltooltoexplore human-machinecollabora�on.AIhas infusedmyworkswithfuturismand experimenta�on,allowingmetocapturethe complexi�esofhumanemo�ons—love, loneliness,hope,andloss—withgreater nuance.
Q: Whatroledoesfailureorexperimenta�on playinyourdevelopmentasanar�st?
A: Failureandexperimenta�onareessen�al tomygrowthasanar�st.Failureisnotan endpointbutavitalpartofthecrea�ve process,teachingmetoconfrontmy shortcomingsandfindinspira�oninthe unexpected.Eachfailurebringsnewlessons, o�enleadingmetowardunchartedar�s�c direc�ons.
Experimenta�ondrivesmyar�s�cprogress. Bybreakingfreefromconven�onalpa�erns andexploringdifferentmediums,styles,and narra�vetechniques,Iuncovernew possibili�esinart.Thefusionoftradi�onand technology,aswellastheinterplaybetween realityandthevirtual,deepensmy understandingofar�s�cboundariesand helpsmediscoveruniqueformsof expression.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A:Bloomisespeciallymeaningfultome.This piecewasinspiredbyaflowerbreaking throughthespine,symbolizingresilienceand growth.Itconveysthespiritofstriving upwardinthefaceofadversityandreflects thephilosophyofenduringstrugglesto blossomintoone’sfullestpoten�al.
Throughitssurrealbeauty,Bloomservesas areminderthatnoma�erthechallenges weface,holdingsteadfasttoourbeliefs canleadtoprofoundtransforma�on.
Q: Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Inthefuture,Iplantocon�nueexploring theintersec�onofartandtechnology.I aimtointegratear�ficialintelligencewith ar�s�cformsininnova�veways,crea�ng workswithdeepemo�onalresonanceand strongvisualimpact.
Iampar�cularlyexcitedabout experimen�ngwithgenera�veAIto captureandexpresscomplexhuman emo�ons,aswellasexploringnew methodsofpresen�ngartinvirtualand augmentedreality.Bypushingtradi�onal ar�s�cboundariesandpursuing interdisciplinarycollabora�ons,Ihopeto inspiredeeperreflec�onsonhumanity, technology,andthefuture.
WillianJosephsRadfordisafineart photographerwhoseworkexploresbeautyin provoca�veando�encontroversialsubjects. Radfordfocusesonthemessuchascondoms, crucifixes,andcigare�es,usingthese elementstoevokereac�onsandprovoke deeperthought.
Throughtheuseofbold,vibrantcolors, Radforddrawsviewersintohiswork,invi�ng themtoconfrontthemesthatmayini�ally feelunse�ling.Byblendingsymbolicimagery withaesthe�cappeal,hechallengesviewers tolookbeyondthesurfaceandques�ontheir percep�onsofbeauty,taboo,andmeaning.
Radford’sgoalistoevokeamixofa�rac�on anddiscomfort,encouragingaudiencesto reflectontheirassump�onsandengagein deepercontempla�onoftheideaspresented inhisart.
Right: “WhiteKnight” Photograph 6000pxx4000px www.instagram.com/JosephsRadford/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: WillianJosephsRadford’sar�s�cjourney hasalwaysinvolvedacrea�veoutlet. Growingup,heo�enfoundhimselfdrawing inclass,spending�medoodlingasaformof escape.Whilehisteachersdidn’talways appreciatethishabit,twoclasses—English andreligion—stoodoutasexcep�ons. GrowingupinanatheistBri�shhouseholdin Spain,Radfordfoundhimselfdisengaged fromthesesubjects,andartbecameanact ofdefianceforhim.
Laterinschool,aninspiringITteacher introducedhimtophotography,sparkinga lifelongpassion.Althoughtheclassfocused oninforma�cs,itbrieflycoveredcameras andpost-produc�on,whichimmediately cap�vatedRadford.Thisteacherevenpulled himandafriendoutofEnglishclasstowork onphotographyprojects,furtherdeepening hisinterest.
RadfordchoseArtsashisprimarysubjectin Bachilleratoandprac�cedphotographyin hisfree�me,eventuallypursuingformal studiesinphotographyattheUniversityof Gloucestershire.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Onapersonallevel,Radfordcreditshis mother,anar�st,asasignificantinfluence onhisdecisiontopursueacrea�velife. Growingupinacrea�vehouseholdshaped hisar�s�ciden�ty,andhismother’simpact remainsakeymo�vatorinhiscareer.
Stylis�cally,hehasdrawninspira�onfrom ar�stssuchasBenoîtPaillé,MomoOkabe, ChemaMadoz,AndresSerrano,Damien Hirst,andSophieCalle.Morerecently,ar�sts
likeMaxSiedentopf,BenZank,andFemale Pen�mentohavecapturedhisa�en�on withtheiruseofsymbolismandcompelling aesthe�cs.Theirworkcon�nuestofuelhis curiosityandcrea�vity.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,and why?
A: Radford’sworkisdeeplypersonal,and itsthemesevolvealongsidehim.The commonthreadthroughoutis controversy—exploringtopicsthatprovoke strongemo�onalreac�ons,suchassex, drugs,andreligion.
HisprojectsObjec�fica�onand Defloweredexploreconceptsofsexfrom mul�pleperspec�ves,whileSubs�tu�on andSemi-detachedtouchonthemes relatedtodrugs.Recently,Radfordhas revisitedmortality,athemeexploredinhis earlierprojectCharacterBuilding,which reflectsonhischildhood.Followinghis father’spassinginSeptember,Radford delvedintolifeanddeaththroughanew lensinhislatestproject,WhiteKnight.
Manyofhisworksserveastherapeu�c outlets,helpinghimprocessemo�onswhile addressinguniversalhumanexperiences.
Right: “WhiteKnight” Photograph 6000pxx4000px
Q: Howhasyourstyleorapproachevolved overtheyears?
A:Radford’sstylehasgrownincreasingly abstractinrecentyears.Ini�ally,hefocused onachievingperfec�oninligh�ngand composi�on,butover�me,helearnedtolet goofthisobsession.Hisrecentprojects incorporateexperimentaltechniques,such asinten�onalcameramovement(ICM),lens masking,ghos�ng,andsmearingVaseline onthelens.Thesemethodsallowhimto createemo�onallycharged,abstractimages withgreaterdepth.
Radfordlikenshisrepertoireoftechniques toalanguage,witheachmethodexpressing conceptsinitsownway.Hisuseofso�, blurry,painterlyimagesevokesasenseof escapismanddetachment,aligningwiththe emo�onsheseekstoconvey.
Despitehisexperimenta�on,Radford remainscommi�edtominimalpostproduc�onedits,limi�ngadjustmentsto basiclightandcontrastcorrec�ons.
Q: Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A: Radfordbelievesfailureand experimenta�onarevitaltothecrea�ve process.Heviewsthemasintertwined aspectsofar�s�cgrowth,essen�alfor innova�onanddevelopment.Eachframe representsanopportunitytotrysomething new—whetheradjus�ngcomposi�on, ligh�ng,orexposure—leadingto incrementalimprovements.
Radfordlikenstheprocesstoaspider buildingaweb,wheretheini�althreads maynotcatchafly,butpersistenceand refinementeventuallyyieldsuccess.Even
whenprojectsdon’tmeetexpecta�ons,they contributetothejourney,pavingtheway forfuturebreakthroughs.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: AstandoutpieceforRadfordisLightning Thief(2020),aphotographtakenduringa lightningstorm.Theimagedepictshim standingtoplessona�nroof,wearingapair ofstockingsonhishead,andstrikinga primalposewhilelightningflashesbehind him.
Thisphotographholdsspecialmeaningdue tothesheerexcitementandenergyofits crea�on.Theprocessinvolvednaviga�nga dark,stormynightwiththecamerasettoa longexposure.Usingaremotetrigger, Radfordwouldposi�onhimself,ac�vatethe flash,thenwaitfortheperfectlightning striketocompletetheimage.
Right: “WhiteKnight” Photograph 6000pxx4000px
JinyangLiisapassionatefilmmakerand storytellerdedicatedtoexploringthedepths ofhumanexperiencethroughthelensof cinema.Herjourneyintheworldoffilmhas beenbothexci�ngandfulfilling,witheach projectpresen�ngnewchallengesand opportuni�esforgrowth.
Lihasbeenhonoredwiththepres�gious Be�y-ThomasAwardinboth2023and 2024.Herworkfrequentlyexploresthemes suchaswomen'sfriendships,psychological disorders,andthestrugglewithdeeply personalissues.Usingfilmasamedium,she navigatesthespacebetweenrealityand fantasy,cra�inguniqueandimmersive experiencesforviewers.
In2023,Liwrote,directed,andeditedBack totheLake,ashortfilmthatreceived significantrecogni�on.Thefilmwas nominatedandselectedasanofficialentry attheTorontoInterna�onalWomenFilm Fes�val2024andtheLondonWomenFilm Fes�val2024.Italsowonmul�pleawardsat theArtGiraffeInterna�onalFilmFes�val 2024,includingBestShortFilm,Best ExperimentalFilm,andBestStudentFilm.
HerothernotableworksincludeBurgeoning (2022)andHaveaPicnic(2021),whereshe
servedaswriteranddirector.Eachofthese projectsshowcasesherabilitytoweave compellingnarra�veswithastrong emo�onalcore.
Li’screa�veendeavorsaresupportedbya talentedteam,includingadedicated composerandame�culouscolorist, ensuringthateveryaspectofhershort filmsiscra�edtoperfec�on.Shefinds inspira�oninthecollabora�venatureof filmmakingandisdeeplycommi�edto bringingstoriestolifethroughthefusionof visualandauditoryar�stry.
Right: “Embers” Film 1920pxx1080px
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: Forthefirst22yearsofmylife,Ihadli�le connec�onwithart.WhileIsporadically a�endedinterest-basedclasses,thesewere morehobbiesorac�vi�esmeanttogive adultssomethingtoboastaboutsocially. GrowingupwithinChina’sexam-oriented educa�onsystem,Iinternalizedthebelief thatenjoyingartforitsownsakewas imprac�cal.Irememberaskingmyparents andteachersinhighschoolifIcouldpursue ascreenwri�ngmajor,buttheideawas rejectedalmostinstantly.Atthe�me,I lackedtheconvic�ontochallengesocietal expecta�onsormyparents’authority.
WhenIenteredcollegeandexternalgoalsno longerdroveme,Iwasforcedtoconfront myself.Mymentalstatebegantodeteriorate
almostimmediately,andIrealizedhow muchIhadsacrificedbytryingtofitinto themoldothersexpectedofme.The disconnectbetweenmysoulandbodyfelt overwhelming,thoughIs�lldon’tfully understandwhynotpursuingartcaused suchaheavyburdenonmyspirit—itmight simplybedes�ny.
Theonlyclearpathtoallevia�ngmy sufferingwastocreate.SinceIlackedthe couragetoleavethisworld,Ipickedupa pentoconfrontmypastandembracedmy long-suppressedpursuitofstorytelling. Filmbecamemychosenmediumbecauseit feltlikeagatewaytoanotherworld. Prac�cally,itwasalsothemostaccessible formformetostartcrea�ngatthe�me.I beganwithscreenwri�ng,andonceI started,Iwantedtoseemyscriptsbrought tolifeonscreen.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Theemo�onalconnec�onsIsharewith peoplearoundme,especiallywomen,have hadthegreatestinfluenceonmylifeasan ar�st.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: ArecurringthemeinmyworkiswhatIcall "femalerela�onalambivalence,"whichcan bedirectlyunderstoodas“femalesame-sex hatred.”Whilethismightevokethoughtsof internalizedmisogyny,itisfarmorecomplex, encompassingalove-hatedynamicrootedin societalstructuresandinternalized expecta�ons.
Inmymostrecentprojects,theprotagonists aretwogirlswhoarebestfriendsbutwhose rela�onshiposcillatesbetweendeeplove andintenseresentment.Malecharactersin thesestoriesserveassymbolicbackdrops, represen�ngtheexternalsocietalstructures thatintrudeontheirbond.
ThesetwowomenuseeachotherasThe Othertoestablishtheiriden��es.However, thisbondisinherentlyfragilebecause societallogic,designedformen,undermines theirconnec�on.Theresul�ngconflict manifestsasanamelessangeroverlosinga mirroredself—notfromrivalryformale a�en�onbutfromtheinabilitytobridge theirconnec�oninawaythatfeelsvalidand secure.
Thisdynamicisnottheoppositeoflesbian love,liketherela�onshipinMulholland Drive,butmoreakintothebondbetween LilaandLenuinTheNeapolitanNovels.As the"secondsex,"womeno�enlackaclearly definedsocialpathwaytoauthen�cself-
discovery.Insuchcontexts,another womanwhogrowsalongsideusbecomes bothamirrorandapathforselfexplora�on.
Weseeglimpsesofalternate�melinesin eachother,reflec�ngwhatourlivescould havebeen.Throughloveandconnec�on, wecometounderstandourselves,butthe sha�eringofthismirroredOthercreates thecentralconflictinmystories.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: WhenIbeganwri�ngscriptsfiveyears ago,myworkfocusedonextremedrama�c situa�ons,likemurder,whicharerarein everydaylife.Atthe�me,Iaimedtograb theaudience’sa�en�onwithcompelling, drama�cstories,asthisapproachfelt easiertoexecute.
However,I’vealwaysaspiredtocreate "slice-of-life"narra�ves,whichrequirelife experienceIlackedearlier.Filmschooland theprocessofshoo�ngshortfilmsallowed metograduallyinfusemoreauthen�city andvulnerabilityintomywork.
Whilecrea�ngmylastshortfilm,Backto theLake,Iconfrontedmyrealpast, experiencingoverwhelmingpain.Irealized mypreviousfocusondrama�cscenarios was,at�mes,awaytoavoidaddressing woundsIcouldn’tar�culate.Subtle,deeply personaldetailso�enfeeltoorawtoface directly,butI’velearnedthatbeinghonest withmyselfandembracingvulnerabilityis essen�altomeaningfulcrea�on.
Right: “Embers” Film 1920pxx1080px
Q: Whatroledoesfailureorexperimenta�on playinyourdevelopmentasanar�st?
A: MybackgroundinChina’sexam-oriented educa�onsystemini�allymademefear failure,asIwasalwayssearchingforthe "correct"answer.Over�me,I’veletgoofthis mindset,thoughIrecognizeits�llinfluences howIapproachcrea�vechallenges.
Duringfilmschool,eachprojectfeltlikea testofmyabili�esasawriteranddirector, butwithoutastandardanswerkey.I commi�edfullytoeachproject,pushing myselftothelimit.Thefailuresand experimentsthatarosefromthiseffortwere o�enthemostvaluable,allowingmetogrow andgainnewinsights.
Pushingmycrea�veboundariescanbe painful,likethemusclesorenessa�erintense exer�on,butitgeneratesnewstrengthand clarityinmywork.
Q:Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto
A: Myshortfilm,originally�tled BurgeoningandlaterrenamedBurgeoning: FallingUpward,holdsdeepmeaningfor me.ItreflectsthegrowingpainsI experiencedbetweentheagesof13and 15,tellingthestoryofagirlfromafamily onthevergeofdivorcewhonavigates changeandfindsgrowth.
Theoutlineforthisstorywaswri�enin 2019,butIstruggledwiththescript becauseIhadn’tyetgainedtheemo�onal distanceneededtoapproachitobjec�vely. A�ermovingtoanothercountryand allowingthestorytosimmer,Irevisitedit withclarityandcompletedthefilminApril 2022.
Thisprojectmarkedthebeginningofmy journeytoincorporatemypersonalvoice intomywork.Ittaughtmethat�meand distanceareo�enessen�alforcrea�ng meaningful,deeplypersonalart.
Interdisciplinaryvisualar�stReggieDavis focusesonenhancingequitable environmentalwellnessthroughhisart prac�ce,Crea�veWellnessthroughArt.His workemphasizesConstruc�ngtheSacredin SpaceandPlacebyanchoringculturaland spiritualvalues,aswellascommunity rela�onships,totheland.Davisviews sacraliza�onasbothaprocessinartanda vehicleforspiritualtranscendence, facilita�ngsocialbondingandcollec�ve healing.
Davisinheritedanac�vistmindsetasachild ofthe1960sCivilRightsMovementandthe concurrentBlackArtsMovementintheSan FranciscoBayArea.Growingupsurrounded byacommunityofBlackac�vists,ar�sts, andintellectuals,hewasimmersedina vibrantenvironmentofsit-ins,marches, picketlines,andparades.Thisforma�ve experiencewasfurtherenrichedbythe crea�veoutpouringofvisualar�sts,writers, poets,andmusicians,allshapedbythe aesthe�csandethosofPan-Africanism, reflectedinthedesigns,hairstyles,fashion, themes,andrhythmsoftheera.
Davisgrewinparallelwiththese movements,embodyingtheirspiritand emergingasalivingtes�monyto Blackness.Hisworkservesasapowerful voiceforthediverseandmul�faceted expressionsofBlackcrea�vity,con�nuing tocelebrateandamplifytheculturaland spirituallegacyofhiscommunity.
Right: “TheVanishingBlack” HandWatercoloredMetallicInkWashed DigitalPrintonMetallicPaper. 24inx24in www.instagram.com/rdavis6560/
AlysiaMacaulayisamixedmediacollage ar�stwhointegratesphotography,pain�ng, andlinedrawingintoherwork.Byhandcu�ngandoccasionallyweavingher photographicimages,Macaulayequally honorsboththeposi�veandnega�ve elementsofform.Interconnectednessisa recurringvisualthemeinherwork,asshe exploresindividualityalongsidethe�esthat bindustothepast.
MacaulayearnedaBAinArtHistoryfrom WilliamSmithCollegeandstudiedatthe Interna�onalCenterofPhotographyfrom 2009to2011.Herworkhasbeenfeatured innumeroussoloandgroupexhibi�ons, includingattheFortWayneMuseumofArt andtheDanforthArtMuseum.Severalofher piecesarepartofthepermanentcollec�on oftheMicroso�ArtCollec�on.
Right: “DoubleSheathAbstrac�ononPaleLilac” Mixed-MediaCollage 30.5cmx30.5cm www.instagram.com/alysia_macaulay_art/
TongWu(b.1999)isaLondon-based Chinesear�stborninHunanProvince, China.A�erearningaBachelor'sdegreein FineArtfromSichuanUniversityin2021, WucompletedaMaster'sinPain�ngwith Dis�nc�onatCamberwellCollegeofArts, UAL,inLondonin2022.
Wu'sworkreflectshisdis�nc�veperspec�ve oncultural,socio-poli�cal,andsocialmedia issuesincontemporarysociety,conveyed throughhispersonalobserva�onsand interpreta�ons.Hisvividlycolorfuland figura�vepain�ngsexplorecultural,societal, andphilosophicalthemes,rangingfrom ancientmythologytopostmodernism,as wellaspressingissuesrelevanttomodern life.
Throughhisart,Wuchallengesthe"grand narra�ves"ofpostmodernism,favoring ra�onalideologyandrejec�ngtradi�onal mechanismsandmeanings.Drawing inspira�onfromhisearlylifeinaChinese collec�ve,hisworksfusenaturalis�c elementswithvibrantcolorsanddynamic figures.Wu'spain�ngsjuxtaposesweetness withdanger,utopiawithdystopia,and fantasywithreality,crea�ngatension betweentheseopposingideas.His narcissis�cfigures,o�enreferencingGreek mythologyandJapaneseanima�on,inhabit aspacebetweendesireanddaydream, reflec�ngthecomplexi�esofiden�tyand aspira�on.
Wu'sworksfrequentlyfeaturedreamy gardensjuxtaposedwithscenesofdisaster andhorror,reflec�ngthesubconscious influenceofcontemporarysociety's preoccupa�onswithnarcissism, materialism,commercialism,socialmedia, andtechnology.Hisstyleisboththeatrical andnarra�ve,employingboldcolorsand strikingcomposi�onstocra�glamorous yetbizarrestagesthatunderscorethe ar�ficialityandperforma�vityofmodern societalissues.
Absurdyetvisuallycap�va�ng,Wu's pain�ngsinviteviewersintoa metaphoricalandcontradictoryjourney, filledwithanuncannysenseofuneasethat compelsreflec�onontheparadoxesof contemporarylife.
Image: “Lovers” AcryliconCanvas 128cmx158cm www.instagram.com/evren.sungur/
EvrenSungur,borninIstanbul,Türkiyein 1980,isaprominentcontemporaryar�st withadiversebackgroundinarchitecture andsculpture.Heearnedhisbachelor’s degreeinArchitecturefromYeditepe Universityin2002andlaterstudied sculptureatMimarSinanFineArts University.Sungurhasheldsixsolo exhibi�onsinIstanbul,includingLive Broadcast(AkademililerArtCenter,2010), TourdeForce(GalleryZilberman,2012), OrganicMachines-SketchforaSculpture (SummartArtCenter,2015),Personator(Art OnIstanbul,2017),GodComplex(ArtOn Istanbul,2020),andDoubleHeads–Big Cats(Merkur,2024).
Inaddi�ontohissoloexhibi�ons,Sungurhas par�cipatedinnumerousgroupshows,such asFic�onalReali�es(2ndÇanakkale Biennial,2010),Ar�st’sJournal(44AGallery, Istanbul,2013),100PaintersofTomorrow (BeersContemporary,London,2014),
ModernTimes(SummartArtCenter, Istanbul,2015),VenueAtelier(CerModern, Ankara,2018),andRespectforExistence (Merkur,Istanbul,2023).Hisworkshave beenfeaturedinpres�giousinterna�onal artfairsacrossci�eslikeIstanbul,London, Berlin,Basel,andMarrakech,including BerlinerListe(2011),MarrakechArtFair (2011),Volta10(2014),LondonArtFair (2015),START(2016),andContemporary Istanbul(2011–2023),aswellasArt WeeksIstanbul(2023–2024).
CurrentlybasedinIstanbul,Sungurworks fromhisatelier,wherehecon�nuestopush theboundariesofhisar�s�cprac�ce. Recognizedasoneofthemostpromising ar�stsofhisgenera�on,Sungurwas featuredin100PaintersofTomorrow,a bookauthoredbyKurtBeers.Hisworkis celebratedforitsinnova�veapproachand contribu�ontocontemporaryart.
Image: “Influencer”
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: ItallbeganwhenIwasatanudedrawing sessionwhilepreparingforfinearts university.Mylong-termplanwastobecome anarchitect,butinthatmoment,while exploringthehumanbody,Ifeltaprofound senseofinnerpeaceandatruefeelingof existence.ItwasthenthatIdecidedto pursueacareerasanar�st.
Despitethisdecision,Istudiedarchitecture andlatersculpture,whilealsolearning pain�ngundertheguidanceofan accomplishedar�stinIstanbul.Combining thestructuralknowledgeIgainedfrom architectureandsculpturewithpain�ng, alongwithtradi�onalelementsfrommy culturalheritage,providedmewithasolid founda�onforanexperimentalpain�ng process.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: Manyofthegreatsinarthistory,suchas Picasso,Ma�sse,Kirchner,DeKooning, Pollock,Miro,Moore,Baselitz,Kiefer,Serra, Golub,andKossoff,havesignificantly influencedmydevelopmentasanar�st.
However,thebiggestinfluencehasalways beentheminiaturear�stsoftheO�oman eraandtheHi�tesculpturesofancient Anatolia.Thesehistoricaltreasureshave providedafounda�onalbaseformywork. WhenIfeeluncertainabouthowtoproceed, Io�enrevisitthesesourcesforclarityand inspira�on.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Forme,pain�nghasalwaysbeena
"struggleforexistence"onthesurface, ratherthansimplycrea�ngoilpain�ngson canvas.Thisthemenaturallyemergesin thestoriesIdepict.
Io�endrawinspira�onfromglobalnews, asitreflectssharedhumanconcernsabout existence.Istrivetocreateworkthat allowsviewerstoiden�fywiththe charactersinmypain�ngs,enablingthem tofeeltheexisten�alstrugglethatdrives mycrea�veprocess.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Inmyearlyyears,myworkwasmore improvisa�onal,characterizedbylarge areasofmonolithiccolorwiththehighest chromaIcouldachieve.Mycomposi�ons featuredwell-definedspacesandcavalier perspec�ves.
Over�me,themesbecamemoredetailed, andsurrealistdesignsbegantoemergein mycomposi�ons.Igravitatedtoward mul�-figurepain�ngs,whichwerea significantfocus.
Inrecentyears,mystylehasshi�edtooneortwo-figurecomposi�ons,wherethe figuresareoversized,fillingando�en extendingbeyondthecanvas.Themass andpresenceofthefiguresnowtake precedenceovercolor.Thisevolu�on reflectsthegrowthofmythoughtsand character.However,someelementsremain constant,suchasmystrongsenseofcolor, myexperimentalapproachtopain�ng,and thedominantcharactersinmyworkthat cap�vateviewerswiththeirexci�ngand joyfulfinishes.
Q: Whatroledoesfailureorexperimenta�on playinyourdevelopmentasanar�st?
A: Icannotimaginepain�ngwithout experimenta�on.Forme,experimenta�onis theembodimentofthe"strugglefor existence"thatImen�onedearlier,and failureisaninherentpartofthisprocess. Everypain�nginvolvesa�emptsthatmight ini�allybeconsideredfailures,butIview themasopportuni�estorefineandpush forward.
Perhapsbecauseofmystubbornnature,I con�nueworkingonpiecesun�lIachievea sa�sfyingresult.IonlyshareworksthatI considersuccessful,butthejourneytoget thereo�eninvolvesmul�pleitera�onsand experiments.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: WhileIdon’thaveasinglepiecethat standsout,aseries�tledTheTrainof Madnessholdsspecialsignificance.This seriesincludesfourlargeworks,each measuringfourtofivemetersinlength. Inspiredbynewsaboutwar,thesepieces cri�quesociety'senthusiasmforviolence. Thecomposi�onsfeaturegroupsoffigures packedintoawoodenvehicleresemblinga trainthatcannotmove.Thesefiguresare aggressive,believingtheyareheading somewhere,whilesurrealistdesignsconvey theirdesiresandpassions.Thisseriesmarked aturningpointinmypersonalandar�s�c development,leadingtoanewphaseinmy work.
Anothersignificantpiececomesfrommy Influencerseries(2024).Thispain�ng featurestwooversizedfigures—asocial mediainfluencerandherbestfriend—posing
joyfullyagainstanimaginaryAegean landscapeinautumn.Theirsizereflects theiregos,whiletheirpropor�onallylarge handssymbolizetheirconfidence.This pieceispar�cularlymeaningfulasitwas inspiredbyapersonalmomentsharedwith mywifeduringthatseason,crea�nga connec�onbetweenartandmemory.
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A:Everypain�ngIcreateisbuiltonan abstractdesignandageometrical structurethatunderpinsthecomposi�on. Theseelementsserveasamap,ensuring thateverythingisplacedcorrectly.
Inaddi�ontothisstructure,culturalcodes guidemydecisions,helpingmeexpress myselfuniquely.Thisunseengroundwork enrichesandaddsconsistencytomywork, allowingmetobalancespontaneityand structureeffec�vely.
Q: Wheredoyouseeyourworkheadingin thefuture,andwhatareyouexcitedto explorenext?
A: Ienvisionmyfutureworkincorpora�ng moredistortedandreformedfiguresto representthegrowingcontradic�ons betweenhumannatureandideals—two forcesthatseemincreasinglydistantfrom eachotherincontemporary�mes.
Ialsohopetoreturntomul�-figure composi�ons,aformatIdeeplymiss. Findingdeeplypersonalthemeshas becomemorechallenging,soIplanto exploremorepersonalstoriesand memoriesasImovetoward2025.This journeyexcitesmebecause,asalways,the outcomeremainsunknown,makingita con�nuousprocessofself-discovery.
Image: “Influencer”
MoyanWang,borninChina,iscurrently pursuinganMFAatUNC-ChapelHill.Her workexplorestheintersec�onsofpersonal, social,andhistoricaltraumaexperiencedby Chinesepeople,drawingconnec�ons betweentheprivateandthepublic,the mythologicalandtherealis�c.
Usingdiversematerialswithdeepcultural significanceinChina'scollec�vememory, Wangaddressesthemessuchas immigra�on,diaspora,gender,surveillance, andresistance.
Herartisimbuedwithanatmosphereof silenceandrestraint,reflec�ngthe challengesofexpressingemo�onsand trauma.Throughlayersofencrypted symbolism,sheseekstoevokeboththe weightofhistoryandtheresilienceofthose whonavigateit.
Image: “Growth” Mixed-MediaonPaper 30cmx40cm www.instagram.com/moyanwang.art/
Q: Canyoutellusaboutyourar�s�c journey—howdiditallbeginforyou?
A: I'vebeeninterestedinartsincechildhood, butitwasn'tun�lIwasfinishingmyBA programthatIdecidedtopursueit professionally.Thatmomentofclaritysetme onmypathtoday,andIamfullycommi�ed tomyprac�ce.
Q: Whoorwhathasbeenthebiggest influenceonyourlifeasanar�st?
A: BeingacceptedintomycurrentMFA programandreceivingascholarshiphave beenamongthemostsignificantinfluences onmyjourney.Theprogramhasprovidedme withthefinancialsecuritytocon�nuemy workandhasbolsteredmyconfidence. Construc�vecri�queandfeedbackfrommy peersandmentorshavealsobeen instrumentalinshapingmyar�s�c development.
Q: Whatthemesormessagesdoyoufind yourselfreturningtoinyourwork,andwhy?
A: Io�enreturntofragmentedhuman figures,whicharebothsymbolicand mysterious,reminiscentofbrokenBuddhist statues.Animals,par�cularlydeer, frequentlyserveasrepresenta�onsofhuman emo�onsinmywork.Thecolorblackalso holdsspecialsignificanceforme—it’sdeep, solemn,andaddsasenseofweighttothe themesIexplore.
Q: Howhasyourstyleorapproachevolved overtheyears?
A: Over�me,myworkhasincorporated moreunconven�onalmaterials,suchas pain�ngwithgroundcharcoalandwaterbasedoilcolors.Myapproachhasalso becomemoreminimalis�candsymbolic,
fosteringastrongerdialoguebetweenmy pain�ngsandmy3Dworks.
Q: Whatroledoesfailureor experimenta�onplayinyourdevelopment asanar�st?
A:Failureisacri�calpartofmyprocess. Foreverysuccessfulpain�ng,thereare o�enthreefailedonesbehindit.These failureshaveallowedmetobe�ermaster mymaterialsandrefinemystyle,pushing metoexperimentandgrowasanar�st.
Q: Isthereapar�cularpieceyou’vecreated thatstandsoutasespeciallymeaningfulto you?Why?
A: Onepiecethatholdsspecialmeaningfor meismypain�ng�tledSunflower.It markedasignificantshi�inmyprac�ce, transi�oningfrommoreillustra�veworkto adeeperexplora�onofpain�ng.Thepiece featuresasymbolicplantalongsidea fragmentedhumanfigure,represen�ng centralthemesinmywork.Iexperimented withusingcharcoalpowdermixedwith watertocreateaso�,fuzzytexture,and thistechniquebecameadefiningelement inmylaterpieces.Themutedpale�ealso helpedevokeaquiet,introspec�vemood, whichcon�nuestoinfluencemyapproach tocolorandtexture.
Q: Howdoyoubalancespontaneityand structureinyourcrea�veprocess?
A: Myideaso�enemergespontaneously, butmyprac�ceisquiterestrainedand refined.Iliketosaveini�alideasina notebook,givingmyself�metoreflect beforedecidingwhichonestoexplore further.Thisapproachstrikesabalance betweenintui�onandcarefulplanning.
RubicavonStreng’sPortLandcyclecreates anintriguinginterplaybetweenabstract portraitandlandscapepain�ng.These mul�layeredandaesthe�callysophis�cated oilpain�ngs,whileappearingwatercolorlike,exudeasurprisinglightnessthat contrastswiththeweightyandcomplex themestheyexplore.Thiseffectisachieved throughvonStreng’sself-developed “arpeggio”pain�ngtechnique,whereshe applieswafer-thinlayersofdilutedoilpaint sequen�ally.Thismethodresultsina dynamicensembleofoverlappingcolor spacesandforms.
VonStrengfrequentlyengageswiththemes ofnatureconserva�on,biodiversity,and climatechange.ThePortLandcycle,which shebeganin2018,reflectstheseconcerns andnowcomprisesthreeconsecu�veseries withover100pain�ngsandonesculpture.
ThecyclebeginswithTowardsPortLand (2018–2019),aseriesthatexploresthe interconnectednessandrootednessof individualsandtheirenvironments.The secondpart,LimitsofPortLand(2020–2021),bringstogetherportraitsand landscapeswherebordersseemtodissolve
orblur.Inthefinalpart,BeyondPortLand (2022–2023),tradi�onalformsof landscapeandportraitpain�ng disintegrate,takingonflee�ngand some�mesgaseousquali�es.
InthevastexpansesofBeyondPortLand, boundaries—whetherphysicalormental— aretranscended,extendingintotherealm ofpossibility.Here,colors,lifeforms, construc�ons,and�melinesarepresented invisuallycap�va�ngwaysthats�mulate theviewer’simagina�on.Ratherthan providingdefini�veanswers,vonStreng’s workinvitesprofoundques�onsaboutthe complexi�esofourworldandthe challengeswecannolongerignore.
Image: “HarvestMoon” OilonCanvas 100cmx80cm www.instagram.com/rubica_von_streng/
YinzhuYaoisanaccomplishedarchitectand mul�disciplinarydesignerbasedin Washington,D.C.Herworkexploresthe intersec�onsofarchitecturalinnova�on, culturaliden�ty,andenvironmental sensi�vity,blendingtechnicalprecisionwith crea�vevision.SheholdsaMasterof ArchitecturefromWashingtonUniversityin St.LouisandaBachelorofArchitecturefrom SuzhouUniversityofScienceand Technology,reflec�ngherdeepfounda�onin bothEasternandWesternarchitectural principles.
Yao’sprofessionaljourneyincludes significantrolesatrenownedfirmssuchas Gensler,KengoKuma&Associates,andSou FujimotoAtelier,whereshecontributedtoa widerangeofprojects,fromcultural landmarkstoconceptualdesigns.Herglobal experiencespanstheUnitedStates,Japan, andChina,enrichingherprac�cewitha diverseculturalandtechnicalperspec�ve.
Hercontribu�onstothefieldhavebeen widelyrecognized,earninghernumerous pres�giousawards.Theseincludemul�ple GoldandSilveraccoladesfromtheMuse DesignAwardsacrosscategoriessuchas Cultural,Memorial,andConceptual Architecture,aswellashonorsfromthe FrenchDesignAwardsandNewYork
ArchitecturalDesignAwards.Yao's innova�veapproachhasalsobeen celebratedininterna�onalcompe��ons, whereshehasachievedfinalistandspecial men�onstatuses,includingtheReusethe Fortresscompe��onandtheYoung ArchitectsCompe��on.
Yao’sworkisinformedbyherdedica�onto sustainability,herinterestinarchitectural storytelling,andherpassionfor photography,whichhasgarneredher recogni�onincompe��onsliketheGlobal PhotographyAwardsandtheIPA Interna�onalPhotographyAwards.Her abilitytointegratelight,form,andcontext intoherdesignsestablishesherasa forward-thinkingarchitectwhoseeksto createmeaningfulandimpac�ulspaces.
CurrentlyaTechnicalDesigneratGensler, YinzhuYaocon�nuestopushthe boundariesofarchitecturaldesign,driven byacommitmenttoinnova�onand excellence.
Image: “Drowning”
Photograph
80cmx100cm
Photographer:Tsung-HsuanChang www.instagram.com/eugeneyee_/
Image: “Drowning”
Photograph
Photographer:Tsung-HsuanChang
80cmx100cm
Right: “Drowning”
Photograph
Photographer:Tsung-HsuanChang
80cmx100cm
NathalieSlowakisanAustrianar�stbornin Vienna,whoseworkbridgestherealmsof autobiographyanduniversalhuman experience.WorkingbetweenVienna,New YorkCity,andTokyo,herinkdrawingsdraw deeplyfromherpersonallife,intertwining in�matememorieswithreflec�onson fundamentalhumanemo�onssuchas serenity,madness,devasta�on,andsorrow. Slowakdelvesintothefluidrela�onship betweenhumansandtheirenvironment, capturingthevola�leandever-changing natureofmemory.Throughherdepic�onof memorabiliaandsen�mentalvalues,her workevokesin�macy,transformingflee�ng momentsandevolvingmemoriesinto tangible,spiritualen��esthatblurtheline betweenrealityandfic�on.
AtthecoreofSlowak’sprac�celiesa confronta�onwithexisten�althemes—�me, oblivion,loneliness,anddeath.Herart embodiesafighttopreservetheeternityofa singlemoment,mys�fyingearthlyreali�es andexploringthetensionbetween permanenceandimpermanence.
Slowakspentherforma�veyearsin Vienna,wheresheearnedaBachelor’s degreeinSociologywithaminorin JapaneseStudiesfromtheUniversityof Viennain2021.Sheiscurrentlypursuing anundergraduatedegreeinArtHistoryat thesameins�tu�onwhileworkingasa freelancefinear�st.Herar�s�cjourney hasalsotakenhertotheSchoolofVisual ArtsinNewYorkCity,whereshestudied FineArts.Slowak’sdiverseacademicand culturalbackgroundinformsherprac�ce, enrichingherexplora�onofthe intersec�onsbetweenpersonalnarra�ve andcollec�veexperience.
Image: “Un�tled” Mixed-MediumonPaper 59.4cmx42cm www.instagram.com/nana.xx9x8/
Intheshadowsofsprawlingmetropolises, whereartconvergeswithinfinity,resides Ma�hewMorpheus—amasterofabstrac�on whosegivenname,SerhiiMatveichenko, reflectshisUkrainianheritage.Acelebrated ar�st,hisworkshaveearnedinterna�onal acclaimandrecogni�on,fromBeijingto Moscow,NewYork,andacrossEurope.Each brushstrokeandvibranthueisimbuedwitha spiritofinnova�onandpassion.
Fromanearlyage,Morpheusexhibitedan extraordinaryabilitytoreinterprettheworld aroundhim.Whilemostchildrenwere learningtoobserve,hewasalready recrea�ngrealityoncanvas,channelinga rawexplosionofemo�onthroughlinesand colorsthatchallengedconven�onal perspec�ves.
HavinglivedinUkraine,Israel,andnowthe UnitedKingdom,Morpheushastransformed hisartintoacosmopolitandialogue.Each pieceservesasale�ertotheworld,richwith symbolismandprofoundmeaning.His techniquesembodyaharmoniousblendof
tradi�onalandcontemporary,featuring abstrac�onscra�edwithgellyrollpens, fluorescentcosmiclandscapes,and collagesthatexplorecurrentthemes. Together,theseelementsconstructa bridgebetweentherealmsofrealityand fantasy.
Morpheusismorethananar�st;heisa philosopherofhisera.Hisworksserveasa mirrortothe21stcentury,reflec�ngthe culturaldiversity,contrasts,and discoveriesthatdefinemodernity.Through hisart,hecapturestheessenceofaworld influx,cra�ingaportraitofcontemporary lifethatisbothvisionaryandthoughtprovoking.
Image: “SecretLifeofMonaLisa” Collage 29.7cmx21cm www.instagram.com/ma�hew_morpheus/
SheydaAzar(Persian: شیدا آذر,she/they)isa NewYork-basedar�stwhobringstolife realmsofterroriza�on,otherness,and transforma�onthroughsculpture, performance,andinstalla�on.Theirwork examinesthebody’sresistancetononconsensualcontrol,expressedthrougha visuallanguagerootedinritualismand BDSM.Bycrea�ngimmersive,sensory,and transitoryexperiencesthatchallengemaledominatedprac�ces,Sheydaseeksto dismantlethesystemicviolencehistorically inflictedonwomxnandmarginalizedbodies.
SheydaearnedaBFAinPain�ngandholds dualMFAsinStudioArtsfromUNCChapel Hill(2021)andSculptureandDimensional StudiesfromAlfredUniversity(2023). Theirworkhasbeenexhibitedingalleries, ar�st-runspaces,andnon-profit ins�tu�onsacrossIranandtheUnited States.In2024,theywereawarded fellowshipsfrombothTheVermontStudio CenterandtheNARSFounda�on.
Image: “PillarsofMothers”
MorphicSculpture,SteelArmature,Chain,Organic Wick,Beeswax,BlackandBluedye,SeaMinerals
FragranceOil
250cmx76cmx76cm www.instagram.com/sheydaazar.studio/
Le�:
“Alliswellthatendsswell”
OilonCanvas 115cmx100cm www.instagram.com/theoovergaauw/
Below: “Alliswellthatendsswell”
OilonCanvas 120cmx95cm
TheoOvergaauwisa contemporaryar�st whoseworksappearin privatecollec�onsboth na�onallyand interna�onally.
Hisar�s�cprac�ceis oneofconstant evolu�onand experimenta�on, shi�ingbetweenideas andtechniquestokeep theprocessfreshand challenging.Beginning withfigura�veart duringhisearlydaysat theacademy,he embarkedona transforma�ve trajectorythatincluded periodsofabstrac�on andareturnto figura�vepain�ng. Theseshi�soccur deliberatelyand gradually,rekindlingthe ar�s�cchallengeand infusingfreshvitality intohiscrea�ons.
BorninTheHague,the Netherlands,hestudied attheVrijeAcademie, TheHague.Hewas invitedtoa�enda week-longworkshopby JörgImmendorffatthe Rijksakademiein Amsterdam.
Today,Theolivesand worksinSellingen, Groningen,the Netherlands.
Le�:
“SpringTeapot”
Spo�edYellowClay,Grog,Ceramic decals,Glaze,High-Fired. 27cmx20cm
www.instagram.com/talktome.nicely/
Below:
“Greekvessel,Andros”
Spo�edYellowClayGrog,Natural CoarseBrownClayfromAndros(Greece), Glaze,High-Fired. 17cmx6cm
Tamarisaself-taughtceramicistwhoexplores therela�onshipbetweenfunc�onalityand aesthe�cs,transformingeverydayobjectsinto worksoffineart.Withabackgroundinart historyandexperienceworkingingalleriesand museums,shediscoveredherpassionfor ceramicsthroughclassesatalocalstudio, whereshelatertaughtwheel-throwing.Her prac�ceiscenteredoninfusingbeauty,joy,and emo�onintodailylife,encouragingustolook beyondtheprac�calfunc�onofobjects.
Inspiredbythephilosophyofearlyminimalism, Tamarseekstouncoverbeautyinsimplicity, modesty,andtheoverlooked,exploringthe meaningswecanderivefrommateriality.Her crea�veprocessisguidedbycuriosityandfocus, emphasizingthetextureofclaybodies,the interplayoflightonsurfacesandforms,aswell astheassocia�onsevokedbycolor.Through experimenta�onandintui�vecrea�on,she revealsthespiritualdepthinherentinthe objectsthatsurroundus.
Withplayful,func�onaldesigns,Tamarinvites viewerstoexplorethesubtlemagicofdailylife andtoappreciatethevibrantcolorsand texturesthato�engounno�ced.Byuncovering thesehiddenlayers,herceramicobjectsremind usthatbeautyexistsintheeveryday,makingart anessen�alpartofhowweliveandexperience theworld.
Le�:
“ThePoemofChaos”
ArchitecturalProjec�onFilm
3840cmx2160cm
www.instagram.com/reraner_art/
Below:
“Alliswellthatendsswell” Interac�veProjec�onMappingInstalla�on 1920cmx1080cm
YetongXinisaninterdisciplinaryar�st specializingindynamicgraphics,3Dvisual art,AI-generatedcontent,XRtechnologies, projec�on,andinterac�vemedia.Herwork spansanima�on,film,gaming,adver�sing, immersiveexhibi�ons,andarchitectural projec�ons.Throughdigitalmedia,Yetong explorestheintersec�onofthevirtualand real,crea�ngimmersiveexperiencesthat challengepercep�onsofiden�ty,space,and reality.
Asacollabora�ngar�stwithRefikAnadol StudioandHarvardCAMLab,shehas contributedtoseverallarge-scaleimmersive exhibi�onprojects.Herpersonalworkshave beenexhibitedininterna�onalci�essuchas NewYork,Melbourne,Beijing,Shanghai, andBudapestandfeaturedinexhibi�ons suchastheUtopiaNYCArtExhibi�on, METAXIS+PROMPTFes�val,DARCH,and
theBrooklynFilmFes�val.Shehasreceived theMUSEDesignAwardandtheA+D MuseumDesignAward,andherworkhas beenselectedforacademicconferences includingNeurIPSandChineseCHI.
Yetongearnedherbachelor'sdegreefrom TsinghuaUniversityandiscurrently pursuinggraduatestudiesatHarvard University.ShehasspokenatTEDxYouth andtheBDADanceForum,sharing profoundinsightsondigitalartandvirtual reality.Herworkshavegainedsignificant a�en�onatinterna�onalexhibi�ons, con�nuallypushingtheboundariesofart andtechnologywhileinspiringaudiencesto rethinktherela�onshipbetweenthevirtual andthereal.
Le�: “TheSkyofHighland” DigitalIllustra�on 15cmx22.5cm www.instagram.com/sun_lin2019/
YuqingShengisanillustratorandconcept designer.ShegraduatedfromtheAcademyof ArtandDesignatTsinghuaUniversityin2021 andiscurrentlypursuinganMFAin Illustra�onatSCAD.From2021to2023,she workedasaseniorar�statNetEaseGames, focusingonillustra�onandcharacterdesign. Shealsoservedasanartleaderfora deriva�veprojectofOnmyoji,overseeingstyle developmentandcomprehensiveconceptual design.
BorninHubeiProvince,China,Yuqing developedastronginterestintradi�onal cultureandnaturalthemesfromayoungage. Herworko�endrawsinspira�onfromancient Chineseliteratureandfantasy,withastyle andgenrethatremaindiverse.
Herpublica�onsincludeGi�ofaHundred Colours,TheWanderer’sTrail,andTheForm ofAnatman.
Le�:
“GeometryforSquareWoodenS�cks(Geometryseries)”
Mixed-MediaSculpture
99cmx85cmx77cm
www.instagram.com/noriyuki______suzuki/
Below: “InvisibleHand”
Kine�cSculpture
314cmx170cmx170cm
NoriyukiSuzuki(b.1985,Fukushima,Japan)isanar�stcurrentlyresidinginBremen, Germany.HestudiedarthistoryatKanazawaCollegeofArt,wherehedevelopeda fascina�onwiththetransienceofurbanenvironmentsandindividuals.Hisar�s�capproach isinspiredbytheJapaneseexperimentalphotographymovementofthe1960s,Ciclovsky's formalistapproach,andtheconceptofdefamiliariza�on.
Suzuki'searlyworkinfilmmakingexploredtheephemeralnatureofci�esandtheir inhabitants,earningrecogni�onatinterna�onalfilmfes�vals.Sincereloca�ngtoGermany in2014,hehasincorporateddigitalmediaintohisprac�ce,crea�nginstalla�onworksthat examinesocietalritualsandrecomposeperspec�vesoftheworld,offeringrepresenta�ons ofdifferentpossibleconstella�ons.
Le�: “Terreno-(Terrene)”
SculptureInstalla�on 140cmx140cmx200cm
Photographer:LucasMelloNogueira
www.instagram.com/bim.dbf/
DalberdeBrito,aninterdisciplinaryar�st,exploresthe ambiguousrela�onshipsbetweenthesabotagedandthe saboteurwithintheclasswarfareofcontemporarysociety. Diasporicmovements,exiles,escapes,andmigra�onsrun throughhisworkasacommentaryonthelatentviolence thatendures.Hispiecesarecharacterizedbyspa�al rela�onshipsthatevoketerritoryandmemorythrough objects,sculptures,films,performances,andinstalla�ons.
DeBrito'sresearchandproduc�onaredeeplyinfluenced byhisiden�tyasaBlackmanandhisconnec�ontohis homeland,thehistoriccityofSabaráinMinasGerais, Brazil—aplacethatissimultaneouslyasuburbanda miningtown.Sabaráliesattheconfluenceofbandeirante terrorismandpopularmys�cism,coloniality,andcountercoloniality.Thisconnec�onmanifestsinhismanualityand gestures,o�enturningthelaborinvolvedincrea�nghis worksintoperforma�veacts.
InworkslikeTerreno(2023),wherethear�stnavigates thornbushesandrustybarbedwireatopamountainto gathermaterials,orEldorado(2022),whereheuseswood thatprovokessevereallergies,hisbodybecomesan integralpartofthear�s�cprocess.DeBritohasworked acrossvariousar�s�cfields,includingmusic,cinema, theater,carpentry,andlutherie,inMinasGerais,São Paulo,RiodeJaneiro,andFrance.Theseexperiences contributetohis�ghtlywovennarra�ves,offeringviewers andaudiencesamplefic�onalandinterpre�ve possibili�es.
Hefrequentlyemploysunconven�onalmaterialssuchas termitemounds,�es,andthorns,transformingthe synesthe�cexperienceintoacri�calaspectofhiswork. Throughthesematerials,hecommunicatesfeelingsand sensa�onsthatemergefromhisresearch,crea�ngdeeply engagingandthought-provokingpieces.
Le�: “thereisnoout” TulleFabric,Thread,AssortedChains,Fishhooks. VariedDimensions
www.instagram.com/czhang_art/
ChangZhang(she/they)isaninterdisciplinaryar�stbasedin Brooklyn,NY.A�erleavingtheirhomeinTianjin,China,Chang dedicatedtheir�metopersonalandar�s�cdiscovery, fosteringgrowthbothinternallyandexternally.Workingwitha diverserangeofsculpturalmedia—includingwood,wax,felt, plaster,andtex�les—theirworkaddressespoignant experiencesandemo�onssuchasgrief,isola�on,andfear, conveyedthroughmaterialityandbodilyempathy.
Chang’scurrentprac�cefocusesontex�lesandso�sculpture, usingthesemediumstocreateastrikingcontrastbetween beautyandcruelty.Throughthisapproach,theyaimtoexpose andsubvertsystemicandsocialexploita�onofwomenand theirbodilyautonomy.
ChangholdsaBAinStudioArtfromColbyCollegeandanMFA fromPra�Ins�tute.Theyhaveexhibitedtheirworkinvenues suchasTutuGallery,BlackBricksProject,SchaflerGallery,and ColbyCollegeMuseumofArt.Theyhavealsoreceivedfunding andawards,includingtheGraduateStudentEngagementFund AwardandtheCharlesM.HoveyPepperPrize.Theirworkhas beenfeaturedinpublica�onssuchasSuboartsMagazineand ApricityPress.
BornandraisedinTupelo,Mississippi,Anna Stoneisanaspiringar�stwhohasloved crea�ngartforaslongasshecan remember.Herpassionforartdeepened a�ershewasdiagnosedwithdyslexiaand beganusingdrawingandpain�ngtocope withthestressofheracademicchallenges. Yearsofchannelingherstrugglesintoart paidoff,asshebecamehighlyskilledinoil pain�ng.WhilestudyingattheUniversityof Mississippi,shedevelopedheruniquestyle ofabstractandnon-objec�vepain�ng.She earnedherBachelorofFineArtsdegreein Pain�nginMay2022andisnowpursuing herMasterofFineArtsdegreeatBowling GreenStateUniversity.
Herabstractandnon-objec�veworksserve asvisualrepresenta�onsofherexperiences withdyslexiaandthechallenges neurodivergentmindsfaceinprocessing andinterpre�ngnewinforma�on.The balanceshecreatesbetweenstrikingcolor pale�esandperplexingvisualelements evokesasenseofotherworldliness, unboundbynaturallawsandshapedbyher
ownimagina�on.
Theimageryinhercomposi�onsisinspired bythewaylightinteractswitheveryday objects,highligh�ngsmallnuanceso�en overlookedindailylife.Shereimagines thesesubtle�esthroughherown percep�on,transformingtheminto composi�onswithnewiden��esand spa�aldepic�ons.Thesurrealimagery ins�llsasenseofwonder,encouraging viewerstoexplorefurther.Uponcloser inspec�on,theyencountercontras�ng visualelements,withabrasivemarksonthe surfacerevealingtracesoftheunderlying colorsbeneath.
Right: “Serenity” OilonCanvas 12inx12in
www.instagram.com/astoneart1/
Adom-BinfoAsante(b.2003)isavisual ar�standstorytellerbasedinNewYorkCity. Hisenerge�cworkisrichinsymbolism, vibrantcolor,andheavyyetsurrealor abstractimagery.Adom'sapproachto pain�ngisoneofchaos,impulse,and harmoniouscomposi�on.Throughsporadic mark-makingcombinedwithsubtleimagery createdinatrance-likeflow,hedelvesinto theunseenworldofhismindanditsmyriad narra�ves.
Adeepfascina�onwiththeOccult,African spirituality,myth,andmodernculture
heavilyinfluenceshiswork.However,he doesnotseehisartasconfinedtothese subjects.Instead,heviewshispiecesas windowsintothemindofanotherworld, invi�ngviewerstoimmersethemselvesin feeling,cra�theirownnarra�vesabout whattheysee,orsimplyobserve.
Adom’sworkhasbeenfeaturedinmul�ple galleriesaroundNewYorkCity,andhe con�nuestoexpandhisbodyofwork, exploringtheboundariesofhiscrea�vity acrossvariousdisciplines.
Le�: “GedeRebirth” OilPaint,Charcoal,OilPastel,OilS�ck 76cmx56cm
Ka�eSimmonsisanar�st,educator,and wildlifebiologistfromthefoothillsofthe AppalachianMountainsinTennessee.She holdsbachelor’sdegreesinarthistory, visualart,andwildlifebiology,aswellasan M.A.ineduca�on.Ka�eiscurrentlyanMFA candidate,adrawinginstructor,andan exhibi�onsassociateatColoradoState University.Shealsoteachesdrawingat FrontRangeCommunityCollege.
Below:
“Lupinusli�oralis”
Ka�e’sartworkhasbeenexhibited interna�onallyinbothgroupandsoloshows acrosstheUnitedStates,WesternEurope, andSouthAmerica.In2024alone,herwork wasfeaturedinover20interna�onallyand na�onallyjuriedexhibi�ons.Herresearch onfeministaesthe�cs,theuncanny,andthe commodifica�onofbodiesthroughsex traffickinghasbeenpresentedatregional andna�onalconferencesandiscurrently underreviewforpublica�on.
BallpointPenDrawingOnCo�onAndSilk,DyedWithHomemadeDyeMadeFromSeashoreLupine (LupinusLi�oralis)AndFeatherBoaSeaweed,FeaturingCut-OutLayersOfLoomWeaving,Translucent Rayon,AndSmocking.
42inx74in
Sheisanac�veadvocateandvolunteerfor theSexualAssaultVic�mAdvocacyCenter andtheWomenandGenderAdvocacy CenterinFortCollins,Colorado.Ka�e’s accoladesincludebeinganArcGallery AthenaFundFinalist,arecipientofthe CharlieandGwenHatche�eCrea�vity Award,aPrismaArtPrizeFinalistin Pescara,Italy,andanar�st-in-residenceat
theOregonCoastSchoolofArtandthe CharlesDarwinResearchSta�oninthe GalápagosIslands.
A�ercomple�ngherMFA,Ka�eplansto pursueaPh.D.inanthropologyand con�nueteaching,withthegoalofmaking artandarteduca�onmoreinclusiveand accessible.
Below:
“Arctostaphylosuva-ursi” BallpointPenDrawingOnSilk,DyedWithHomemadeDyeMadeFromBearberry(ArctostaphylosUvaUrsi)LeavesAndPonderosaPineNeedles,CutAndSplicedTogetherWithTranslucentRayon. 32inx56in
MasonWeiss(b.LosAngeles)isa mul�disciplinaryar�stwhoseworkexplores playtheoryandqueertheorythroughcra�basedtechniques,payinghomagetohis journeyasaqueertransgenderindividual. Heemploysamethodof“freestyles�tching” withbeadsandfabric,rejec�ngtheuseof pa�ernsasaformofresistance.This approachreflectsplayandqueernessas spacesexis�ngoutsidetherigidityof societalrules.
Weissgraduatedwithhighdis�nc�onfrom CaliforniaCollegeoftheArtsin2019, earningaBachelorofFineArtsinSculpture withaminorinWri�ngandLiteraturewhile receivingvariousscholarships.Heisa featuredar�stinTheBureauofQueerArt Vol.2andappearsinothervolumes publishedbyArtGalleryStudiosinMexico City,Mexico.Weisscurrentlyhasasolo exhibi�on,BareAll,onArtsyandisalsopart ofTheBureauofQueerArtgroupexhibi�on onthepla�orm.
Weisspar�cipatedina residencyatGlogauAIR inBerlin,Germany,from October2022through March2023,andheisa currentar�stin residenceintheonline INCUBATORprogram withTheBureauof QueerArt.Hisworkhas beenincludedina varietyofgroup exhibi�ons,including ClavoFeriadeArte (MexicoCityArtWeek), TheEternalNetwork (BerlinArtWeek),and ContemporaryArt: Folklore,Fakelore, PersonalMyths Narra�vesattheBonita MuseumandCultural CenterinSanDiego,CA, amongothers.
Le�: “Un�tled(Self-Portrait)”
Mixed-Medium 34cmx21cmx22cm
www.instagram.com/masonweissart/
BorninRomebutraisedacrosscon�nents, FlaminiaBonciani'sjourneyhastakenher fromearningabusinessdegreeinNewYork toexploringtheworldofac�ng,includinga smallroleintheOscar-winningLaGrande Bellezza.However,hertruepassionliesin art.SheearnedherBachelorofArtswith HonorsattheRomeUniversityofFineArts (RUFA)andhassincepar�cipatedinvarious exhibi�onsacrossItaly,Switzerland,and England,withherworkalsofeaturedin severalonlinemagazines.
A�eryearsofresearchanddevelopment, Boncianicreatedtheworld’sfirstoil-based spraypaint,whichsheincorporatesintoher prac�cetoachieveuniqueeffectsthrough personalizedcolorblends.Sherecently completedherMaster’sdegreeinFineArts attheCityandGuildsofLondonArtSchool, wheresheexhibitedfourworksinthefinal show,receivingsignificantpublicacclaim.
Le�: "Whenyou'realonesinging,wesome�messee yoursaddenedheart"
Mixed-Medium
150cmx150cm
Below: "Yourshiningstareyesamazeme"
Mixed-Medium
150cmx150cm
www.instagram.com/flaminiabonciani/
Le�: “GorgonIII” Whitebronze,aluminum,metal,synthe�chair,foaminsula�onpipe,PVC 12cmx489cmx12cm
www.instagram.com/pavlinavagioni/
PavlinaVagioniisaGreek-bornmul�mediaar�stwhose kaleidoscopicprac�cespanssculpture,pain�ng,sound,and digitalart.Sheadoptsasite-specificapproach,crea�ng installa�onsinvarioussizesthatincorporatebothabstractand figura�veelements.
Vagioni’sworkreflectsherpersonalandprofessionaljourney, deeplyinfluencedbyhermul�cultural,mul�lingual,and diasporicbackground.Herexperiencesofcon�nuousinternal andexternalfluxarechanneledintoherart.Centraltoher prac�ceistheexplora�onofarchetypalsymbolismasameans ofre-enchantmentandmetamorphosiswithinclassical mythologicalthemes.Hercrea�veprocessisanchoredina rigorousstudyofliterarytexts,withpar�cularemphasison etymologicalanalysisbeforetherealiza�onofeachpiece, invi�ngtheaudiencetouncoverdeeperlayersofmeaning.
Vagionireceivedformaltraininginpain�ng,sculp�ng,ceramics, andstagedesignattheAthensSchoolofFineArts,gradua�ng withhonorsattheMaster’slevelin2016.Inaddi�on,sheisa classicallytrainedsopranosoloistwithstudiesinpiano,music theory,andcomposi�on,amul�disciplinaryfounda�onthat informsherar�s�cprac�ce.
Vagioniac�velymaintainsstudiosonbothsidesoftheAtlan�c, inHouston,Texas,andAthens,Greece.Sheexhibitsingalleries andins�tu�onsacrosstheUnitedStatesandEurope.Notable groupexhibi�onsincludevenuessuchastheByzan�ne& Chris�anMuseum(Athens,Greece),theHellenicAmerican Union(Athens,Greece),andtheLawndaleArtCenter(Houston, TX).Hersoloexhibi�onsspanloca�onssuchasKappatos Gallery(Athens,Greece),TANKSpace(Houston,TX),Carillon Gallery(FortWorth,TX),andtheOpeningGallery(NewYork, NY).
Max-MaltePosmyk,knownbyhisar�st nameMM.POSMYK,isacontemporary impressionistpainterbasednearBerlin.His workblendsthedelicatelanguageof Impressionismwiththeexpressivepowerof contemporaryart.Thema�cally,heexplores femininity,thevastnessofthesea,andthe longingformaternalsecurity.Hisart reflectsprofoundhumanemo�onsandthe �melessrela�onshipbetweennatureand in�macy,whilealsofostering interdisciplinarydialogueacross genera�onsandcultures.
In2024,MM.POSMYKcompletedhis Master’sdegreeinArtandManagement. Histhesis,�tledPersonalBrandingfor Ar�sts,underscoreshisambi�ontomerge crea�veprac�cewithstrategicthinking, proac�velyshapingtheartworld.
Underthementorshipofrenownedpainter OlafThiede,hehonedhisar�s�cskillsand cul�vatedhisdis�nc�vestyle.Hisworkand ar�s�cphilosophyhavebeenfeaturedin regionalnewspapersandna�onalpodcasts, offeringcompellinginsightsintohiscrea�ve journey.
MM.POSMYK'sartinvitesviewersto immersethemselvesinarealmofboundless horizonsandemo�onaldepth.Throughhis abilitytouniteuniversalthemeswith in�mateexperiences,heisestablishing himselfasasignificantemergingvoicein contemporaryart.Asayoungar�st,he bridgestheworldsofhistoricalandmodern art.Heisdeeplyinspiredbytheworksofthe OldMasters,notonlyfortheirtechnical virtuositybutalsofortheirprofound understandingoflight,shadow,and atmosphere.
Right:
“NaturalSolitude”
OilonCanvas
80cmx100cm
www.instagram.com/mm.posmyk/
Ka�aKrudiscoveredherpassionfor pain�ng,building,andcra�ingatanearly age,immersingherselfincrea�ve expressionasawaytoexplorethevibrant andlimitlessworldofherimagina�on.For her,thisimaginaryrealmhasalwaysbeen larger,morediverse,andsaferthanthe outsideworld,servingasasanctuaryof inspira�onandself-discovery.Over�me, sherefinedherabilitytotranslateher visionsintocolorandform,crea�ngworks thatreflectbothherinnerworldandher uniqueperspec�veonlife.
Thenatureofthings,folklore,andtheallure ofmysteryarecentralthemesinKru'swork, ac�ngasguidingforcesinhercrea�ve process.Herartisdeeplyinfluencedbyher admira�onforhonest,soul-drivencreators, includingVincentvanGogh,Nicholas Roerich,FridaKahlo,GeorgiaO'Keeffe, J.M.W.Turner,HayaoMiyazaki,Mikhail Vrubel,andArkhipKuindzhi.Thesear�sts, knownfortheiremo�onaldepthandability totranscendtheordinary,inspireherto
createworkthatresonatesonbotha personalanduniversallevel.
A�eryearsofprac�cingcarefulobserva�on, Kruhasdevelopedaprofoundapprecia�on forthemagnificenceoftheworldwhen viewedthroughalensofloveand acceptance.Thisperspec�vehasbecomea cornerstoneofherar�s�cphilosophy.Her worksaimtocapturethebeautyshe perceivesintheeverydayandtoconveya senseofwonderanduncondi�onalloveto heraudience.
Throughherart,Ka�aKruseekstobridge thegapbetweenthetangibleandthe intangible,invi�ngviewersintoaworld shapedbybothherpersonalexperiences andtheuniversalthemesofconnec�on, compassion,andtheenduringpowerof crea�vity.Hermissionistoinspireothersto seetheworldnotjustasitis,butasitcould be—magnificent,mysterious,andfullof love.
Le�: “TheJourney” OilonCanvas 32cmx32cm
www.instagram.com/ka�akru.art/
Image: “Beauty&Mystery”
OilonCanvas
60cmx50cm
OriAviramwasborninJerusalem,Israel,in 1965.Hisjourneyasaself-taughtar�st beganduringhismilitaryservice,wherehe usedclaytocreateportraitsofhiscomrades intheAirForce'srescueandevacua�onunit topassthelongstandbyhours.A�er comple�nghisservice,hepursuedadegree inphilosophyandcinematographyat university.Forseveralyears,heworkedasa producerandeditorinthepublicand commercialsectorsofthecommunica�on industry.Itwasduringthis�methathis interestinpain�nggraduallytransi�oned fromahobbyintoafull-�mecareer.
CurrentlybasedinTelAviv,Aviramdevotes his�metooilpain�ng.Whileheprimarily
worksoncanvas,heo�enventuresinto unconven�onalterritory,pain�ngonold books,includingBibles,artbooks,and otherprintedmaterials—aprac�cehe humorouslyreferstoas"commi�ng blasphemy."
Ini�allyfocusedonfigura�vepain�ng, Avirameventuallyfoundhimselfdrawnto abstrac�on,exploringbasicformsandtheir intricaterela�onshipswithcolor.Hiswork reflectsadeepengagementwiththe interplayofsimplicityandcomplexity, crea�ngpiecesthatinviteviewersto experiencetherawemo�onalpowerof formandcolor.
NellieGreyEckert(she/her)wasbornin Durham,NorthCarolina,whereshespent herchildhoodconvincingotherstocallherby hermiddlename.A�erearningdualBAswith academicminorsinstudioart,graphic design,photography,andarthistoryfrom CoastalCarolinaUniversity,shepursuedan MFAinstudioartattheUniversityofSouth Carolina.ShenowteachesatCoastal CarolinaUniversity.
Eckert’sfiber-basedworkdelvesinto tradi�onallydismissedformsoffeminine expression—suchasTaylorSwi�’sar�stry, lovestories,and"cra�"art—andexamines thechronicdisdaintheyo�enendure.Her currentprac�cecentersonembroidery, specificallyworkingwithpre-exis�ngcrosss�tch.
Historically,cross-s�tchservedarela�onal purpose,portrayingfemininevirtues, domes�cresponsibili�es,andspousal
devo�ontoa�ractpoten�alsuitorsand securesociallyadvantageous"love" matches.Eckertreimaginesthistradi�on bysubtrac�ngtextfromfoundcross-s�tch piecesinaprocessakintoerasurepoetry. Shetransformslengthy,predetermined versesintobriefu�erances—sweet nothings,passionatemusings,andlovelorn pleas—thatsuperimposeacontemporary lovestoryontothetradi�onalmarital narra�vescross-s�tchwasoriginally intendedtosupport.This recontextualiza�onbothreclaimsthe dismissedartformandvalidatesthe expressivepowerof"girlish"handicra�.
“Theresul�ngworkisnotonlyaneleva�on ofanartformthatisn’to�engivenitsdue; it’sthereclama�onandlibera�onofa tradi�onal,restric�veexpressivemode. TheburstsoflanguageEckertembroiders brimwithtenderfeelingandinnuendo, gentlyasser�ngtheiragency”(New VisionaryMagazine,Issue7).
www.instagram.com/nelliegreyeckert/
CarmenSchaeferisanaward-winningar�st whotransformsherlifelongjourneyof constanttravelintocap�va�ngvisual narra�ves.
RaisedinaNavyfamily,hertransient upbringingins�lledasenseofrootlessness thatresonatesthroughoutherwork.Inspired bythemastersofImpressionismandNeoImpressionism,par�cularlyToulouseLautrec,Carmenblendsexpressive techniqueswitharefinedsenseofrealism. Herdiversebodyofwork—spanningdrawing, pain�ng,andmixedmedia—exploresthemes ofiden�ty,memory,andemo�onwith haun�ngbeauty.
Carmen’sarthasbeenfeaturedinover50 exhibi�onsworldwide,earningwidespread acclaimforitsintrospec�vedepth.Dividing her�mebetweenalakesideco�ageon ConesusLake,NY,andahistoricstudiolo�in Rochester,shecon�nuestopushcrea�ve boundaries,mergingpersonalreflec�onwith universalhumanexperiences.Eachpieceshe createsinvitesviewersintoalayeredworldof emo�ons,wherepastandpresentintersect.
Right: “SelfPortraitinStudio” Graphite,Charcoal,andColorPencilonPaper 81.28cmx60.96cm www.instagram.com/carmen.schaefer.art/
NiccolòFalaschiwasborninCi�àdiCastello (PG,Italy)in1998.
HeiscurrentlypursuingaMaster'sDegreein theHistoryofArtattheUniversityof Florence.
Forhim,pictorialprac�ceandartarenot merelytechnicalorstylis�cexercisesbut genuineactsofmentalengagement.As LeonardodaVincifamouslystated,"Artisa mentalthing,"asen�mentalsosharedby Duchamp,whocri�cizedthepostRenaissanceartperiodforbecomingoverly "re�nal"—focusedsolelyonpleasingtheeye.
Niccolòbeganexploringpain�ngand developinghisar�s�clanguageduringthe firstlockdowninearly2020.Fromhis earliestworks,hehasfavoredacrylicashis primarymediumandthefigura�vegenre, apprecia�ngthevividcolorandmateriality oftheresul�ngpieces.
Currently,hisresearchfocusesonthe interplaybetweenimages—understoodas shapesandcolors—andwords,whichhe integratesintohiscomposi�ons.These wordso�entaketheformoflogos,slogans, orquotes,pairedwithimagessourcedfrom films�lls,musicalbumcovers,andthe internet.
Individually,theseimagescommunicate dis�nctmeanings,butwithinthetwodimensionalspaceofthepain�ng,their rela�onshipwiththetextualelements createsaninternalconnec�on.This interplayproducestheintendedmessage thear�stseekstoconveytotheviewer, whoseengagementisessen�alforbringing theartworktolife.
Right: “INSEGNELUMINOSEATTIRANOGLI ALLOCCHI”
AcryliconCanvas
50cmx50cm
www.instagram.com/_______wallace_______/
LauraStewartDeRosaisavisualar�stbased inDenver,Colorado.ShestudiedatColgate UniversityinNewYorkandSACICollegeof Art&DesigninFlorence,Italy,andearneda MasterofFineArtsdegreefromtheSchoolof theMuseumofFineArts,Boston.
Herworkspansavarietyoftwo-dimensional media,withaprimaryfocusonoilpain�ng. Sheexploressubjectma�errootedin personalhistories,drawinginspira�onfrom individualsandemphasizingfoldsand draperyasuniversal,tac�leexperiences.
HerworkhasbeenexhibitedinAtlantaand NewYorkandisincludedinnumerous privatecollec�onsacrossthecountry.
Right: “MifepristoneintheLivingRoom” OilonPanel 24inx36in www.instagram.com/lstewartderosaart/
Right: “GloryDays”
OilonPanel 11inx14in
TomDayisadigitalandtradi�onalpainter basedinRogers,Arkansas.Hiswork examinestheintersec�onofconsumerism, wealth,andChris�anNa�onalism,drawing stylis�cinspira�onfromcontemporary ar�stssuchasSamSpra�,AlexisFranklin, andKehindeWiley.
BornandraisedinIndianapolis,Daybegan hisar�s�cjourneyathome,bringinghis scribbledfigura�vedrawingstolifewith crayons.HelaterearnedaBFAinPain�ng fromtheHerronSchoolofArtandDesign, wherehisexperienceswithministryat ArsenalTechnicalHighSchooldeeply influencedhisperspec�ve.Itwastherethat DayfirstbegantograpplewithAmerica’s socialinequi�esandtheirroleinshapinghis ar�s�cvision.
DayhasexhibitedhisworkinNewJersey, Utah,Indiana,Ohio,andArkansas,with showsatHCA,ClaraArts,andPARProjects.
Currently,hisworkfocusesonthe intersec�onsofChris�anNa�onalism, commercialconsumerism,andthe Americanclassstruggle.
Right: “ForUS” MixedMedia 106.68cmx152.4cm www.instagram.com/tomday_art/
ChanyaVitayakul(they/them,b.2003)isa mul�disciplinaryar�stfromBangkok, Thailand,currentlypursuingaBFAin GraphicDesignattheRhodeIslandSchoolof Design(RISD).
Growingupinacollec�vistculture,their workisdrivenbythefusionofpersonallived experienceswithanexplora�onof materiality,highligh�ngthebody’s rela�onshipwiththeworldandtheno�onof individuality.Chanya’sworkinves�gates conceptsofiden�tyanditsvarious components,whethershapedbysexual, queer,familial,orpersonalexperiences.Their bodyofworkcaptureswhatitmeansto inhabitabodyindifferentspaces.
Right: “Dependency:DripsDesensi�zed” MixedMedia 170cmx80cmx30cm www.instagram.com/chanyavita/
Le�: “EverythingIWould'veTaughtMyNow AbortedChild”
Mixed-Medium
36inx187in
Image: “BothEnds” Mixed-Medium 24inx80in
