TrooRa is committed to building a sustainable business model promoting and protecting the environment. Our digital platform on troora.com offers a conscious approach, creating an immersive space. With your help in building robust online support, TrooRa will print fewer magazines to ensure we remain a leader in the industry. However, when TrooRa produces print issues, we will uphold the highest quality of sustainability standards.
TrooRa’s Reforestation Impact
82,470kg
CO2 Absorbed
189 4,632
618.5m2
Trees Planted Workdays Created Countries Supported Forested
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TrooRa’s Reforestation Commitment
TrooRa's reforestation commitment in partnership with a leading environmental organization, Click A Tree, advances toward a greener future through our global communities’ collective impact. For every print subscription or print copy sold, a portion of the proceeds is donated to advance our efforts to actively fight climate change. Join us in this noble cause, and let's make the world a better place, one tree at a time. Order your copy of our magazine today and help us plant more trees!
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In Ghana, we plant over twenty different tree species through our reforestation system called “syntropic farming,” which creates both a forest and fruit trees, enabling the local community to eat and sell the fruit as we create a forest. We also support an educational program teaching Ghanaians entrepreneurship.
In Thailand, we plant over forty different tree species, creating a habitat for elephants and other endangered animals, as well as a food source for the local community and the animals.
In the Philippines, we plant thirteen different tree species, and for each tree planted, we remove 1 kg of plastic from the ocean in the Philippines.
THE MAGAZINE YOU ARE READING IS:
Crafted using 100% recycled paper Imprinted with vegetable-based inks and encased in biodegradable laminates
For every print copy sold, a tree is planted
Lucid Motors Luxury mobility company reimagining what a car can be.
reimagining what a car can be.
Lucid Motors Luxury mobility company
vicnate.com
CRAFTED TO REFLECT THE NATURAL BEAUTY OF EACH FEATHER
Introducing our new rust colorway Lionfish collection in collaboration with INVERSA™ Leathers.
Our Nowood Thin Cuff, Afton Multi Bezel Hoops and Orin Stud Earrings artfully feature leather made from Lionfish, an invasive species found in the Caribbean Reefs.
Elevate your environmental impact this fall with accessories that restore nature.
CRAFTED TO REFLECT
THE NATURAL BEAUTY OF EACH FEATHER
EDISTO RIVER SHAD BELT
The Edisto River Shad Belt showcases the true art of a single feather. Our artisans expertly hand-layer each partridge feather to create a one-of-a-kind, wearable piece of art. Designed to be dressed up or down as the warm colors of brown, tan, and black allow this belt to be truly versatile.
Each belt is offered in sizes ranging from 34 to 44.
To determine belt size is to simply add 2 to your off-the-rack trouser size—if you wear a 36" trouser, purchase a 38" sized belt. The belt silhouette is crafted in soft, wearable buffalo leather measuring 1.5” in width, with hand-finished detailing. The signature buckle measures 3” in width and 2” in height, featuring an antique gold plated finish and a hand-placed feather inlay. Each feather used in production is all-natural and sustainably sourced. Feathers for each belt are individually selected, giving each finished piece a unique coloring.
PASSION FOR TRAVEL AND EXQUISITE APPAREL
« People come, live and go » And we are here to celebrate the diversity of the world.
SUSTAINABLE LUXURY DESIGNED IN LONDON CRAFTED IN THE UK.
Photographers
THE ART ISSUE SPECIAL ‘24 ISSUE 4 VOLUME 7 EDITION 25
A
Alecia Soto
Alexandre Tsuchiya
Anita Hart
Artelier
Art Recognition
D
Daniel Nicoletta
Dayne Topkin
Dameon Priestly
E
Elsa Young
Erik Tomasson
F Foghorn
G
Gary Stockbridge
Gerry Sonas
Golden Gate Business
Association
Gladden Space
Gregangelo
Greg Cox
H
Hiromi Yoshida
I Ignacio Lopez
J
John Scallan
Jordan Patterson
Jump the Gun
K Kitchenista
L
Lindsey Rallo
Lindsay Thomas
N
Niki Rhodes
R
Robin Dozier
Robin Fadtke
Robin Renèe Photography
S Scott Saraceno
Simone & Marcel
Z
@zarahana_kargbo_arts
TRANSFORM TO TRANSCEND
It's much more than a Hookah. It's a Krysalis. Krysalis are Hookahs Evolved. Kaloud’s Krysalis Eltheria offers the best smoking experience. It combines high quality materials, jawdropping aesthetics and state-of-the-art technology to create tastier, smoother, cleaner clouds from each shisha puff.
DOLCE VITA IN SILK BLACK
Introducing our exquisite collection of bags crafted with the finest Tuscan Silk Leather in Silk Black, offering a polished texture and a luxuriously soft touch. The unique design includes a delicately bent thin Bamboo Handle seamlessly attached to a metal framing, allowing for a graceful 45-degree movement in each direction. Standing tall on four bottom studs, these bags showcase meticulous craftsmanship and attention to detail. Elevating the design further is the distinctive Benjamin Babadi "Bote Jeghe" Logo, meticulously crafted in brass and double gold plated, adding a touch of sophistication to each piece.
Breathing New Life Into Antique Fabrics A Sustainable Take On Luxury
DEAR TROORA READERS,
What is art? While it’s nearly impossible to define, you know it when you see it. According to our talented team of writers, art, regardless of the medium, evokes an emotional response. In the case of our features, this emotional response may even inspire action. Our recent issue takes readers from South Africa to Eastern Europe, Northern California, and beyond on a journey to better understand artists, the lives they lead, and the art they create.
TrooRa’s team of writers paints with a broad stroke as our issue includes artists from a multitude of disciplines, including painters, photographers, designers, innovators, community builders, curators, and more. In this issue, we learn how one dancer is redefining our image of the modern ballerina in "Toes Pointed Toward Change." In "Light, Love, & Legacy," we meet life and business partners, Simone & Marcel, who blend art and engineering to transform raw materials into timeless lighting fixtures.
As you flip through this month’s issue, you’ll become enchanted with the works of art displayed from page to page and our writers' ability to transcribe art, artist, and artistic process into prose. This issue's features go beyond the art of creation itself and explore the nuanced world of curation and collection and even detail how one women-led startup is helping detect forgeries using AI.
While it’s easy to identify art as the common denominator uniting this issue's features, a closer inspection reveals that each featured artist hopes to do more than wow critics; they aim to foster change, inspire others, and create opportunities for future generations. Happy reading!
MORGAN BERNARD Associate Editor
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HELLO TROORA READERS,
Art has always been a reflection of our collective spirit— both a mirror of the times and a guidepost for what lies ahead. In this post-election season, as the fragility of democracy underscores its vital role in our society, the arts stand as a powerful force—healing wounds, igniting inspiration, and uniting us in shared purpose.
Toni Morrison once said, “This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no room for fear. We speak, we write, we do language. That’s how civilizations heal.” These words resonate profoundly as we navigate a world that demands both resilience and creativity.
In this Art Issue, we celebrate the artists, creators, and innovators who are shaping the future through their work. Their creations remind us of the transformative power of art—not just as an aesthetic pursuit but as a vehicle for storytelling, connection, and societal change.
Among these visionaries is Luna Moreno, founder of Luna Design Studios, who bridges heritage and innovation by blending the floral traditions of her upbringing with cutting-edge event design. Her work speaks to the power of embracing one’s roots while boldly forging new paths. Similarly, Jess Marra, known as the "Kitschenista," transforms fresh produce into edible masterpieces, proving that the intersection of food and art is a place where magic happens.
Simone and Marcel, the couple behind a serene workshop in Spain, craft timeless lighting fixtures that illuminate the beauty of collaboration and craftsmanship. In Mallorca, Casa Serena embodies simplicity and serenity, reminding us that sometimes less truly is more. In Johannesburg, Lezanne Viviers redefines modern living with House Viviers, harmonizing architectural heritage with contemporary creativity.
This issue also highlights the indelible contributions of immigrants to the arts and to America’s promise. Artists like Reyna Noriega, whose vibrant canvases blend Caribbean heritage with universal themes of love and beauty, and Zarahana Kargbo, whose work fuses Sierra Leonean landscapes with Louisiana’s rich history, remind us that the immigrant story is America’s story. Their art, and the stories of so many creatives featured here, ensure that America continues to live up to its ideals of diversity, opportunity, and innovation.
In San Francisco, Melonie and Melorra Green use their leadership at the African American Art & Culture Complex to strengthen the Bay Area community and celebrate the rich contributions of Black artists. Cheryl Fox TrooRa Contributing Photographer captures the soul of her subjects with her deeply evocative photography, blending fine art and storytelling to inspire reflection and dialogue.
The promise of art and democracy is also reflected in cutting-edge innovation. William Close’s Earth Harp stretches the boundaries of sound and space, offering immersive musical experiences, while Swiss entrepreneurs harness AI to protect artistic authenticity in an age of counterfeits. Ignacio "Nacho" Lopez uses augmented reality to elevate street art to new dimensions, creating digital landscapes that expand our understanding of creativity and place.
This winter, TrooRa Magazine proudly crowns Angela Watson, recipient of the Trio Covers, as The Art Issue Cover Feature —a celebration of our TrooRa Signature three-cover tradition. A direct descendant of the Shinnecock Indian Nation and racially identified as African Native American, Watson redefines ballet for a new generation. As a corps de ballet member with the San Francisco Ballet, she seamlessly blends diversity with tradition, inspiring young Black and brown dancers to envision themselves in spaces once closed to them.
At TrooRa, we remain committed to amplifying the voices of those who use their creativity to build a better world. Individuals from all walks of life— particularly Native Americans, immigrants, women, communities of color, and LGBTQ+ individuals—are not only driving the evolution of the arts but also safeguarding the promise of America, weaving diversity, resilience, and beauty into the fabric of our shared future.As we look ahead this holiday season, I invite you toimmerse yourself in the stories within these pages. Let them inspire your own acts of creativity and courage. Whether through painting, writing, music, or simply reimagining the world with fresh eyes, now is the time to go to work—to speak, to write, to create.
Here’s to a season filled with light, love, and the enduring legacy of art. Et a plus!
TRYSTANNE CUNNINGHAM Founder Creative Director Executive Editor In Chief
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Vintage-inspired yet refined and modern colored glass collection that starts a revival of colored glass that is reminiscent of a past time.
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REYES RUG
Hand-dyed using native plant extracts, our Reyes Rug features an eye-catching combination of color. Its soft grey base, with accents of peach, black and ivory, create a striking palette that’s perfect for styling in a bedroom or kitchen.
This rug is crafted with love and pride by a women's weaving cooperative in Oaxaca that was founded to support women who have been widowed, have absent husbands or who have been left without a family. By purchasing this rug you are supporting these women who have shown incredible courage and conviction to create a new life for themselves.
Woven from locally sourced wool, this flat-weave rug is incredibly durable, perfect for the day-to-day. From start-to-finish, each one takes about a week to complete - all handcrafted by a fair trade weaving cooperative in Oaxaca, Mexico.
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NOMA Collective partners with talented artisans across the globe to bring you consciously designed, ethically curated, homeware, textile, and accessory collections.
Home Design
Greg Cox
Tucked away behind a stone wall in a lush, landscaped garden on the west coast of the Balearic island of Mallorca, this discreetly private holiday home is a celebration of simplicity .
WORDS | ROBYN ALEXANDER
STYLING | TILLE DEL NEGRO
IMAGES | GREG COX
House Casa Serena
Home Design Feature
Carefully sited for maximum enjoyment of the property’s spectacular views of the Mediterranean Sea is the miramar, a specially designed viewing area that is two terrace levels lower than the house. The lower terrace has been conceived as a place to gather friends and hold major events, with the wall screening a bar, outdoor kitchen, pantry, and guest toilet/WC. The area seen here includes built-in perimeter benches and a vintage drinks table that was sourced by the homeowner.
"Simplicity is the ultimate sophistication" is a remark often attributed to Leonardo da Vinci, and this very contemporary sentiment does seem as if it could have originated with the legendary Renaissance artist, designer, and architect.. For those leading successful, busy, twenty-first-century lives in a large city, simplifying one’s existence can seem like a utopian dream rather than a genuine possibility—which is probably why the owners of this recently renovated holiday home in Deià on the west coast of the Spanish
island of Mallorca decided to acquire this particular property and why they asked Deià-based design firm Moredesign to work on its rejuvenation with them.
The homeowner, who is the creator of more than one coolerthan-cool fashion label, and her partner, a famous musician, were instantly attracted to the extensive spread of land that surrounds the house and its magnificent exposure to the wild coastline, explains Oro del Negro of Moredesign. "The site is well known
Adjacent to the house is this dining area, perfect for meals alfresco. The statement table was designed by Moredesign: "We found this magnificent rock while excavating the foundations [of the house]," says del Negro, "and kept it to 'float' a teak wooden top onto it." The table and accompanying benches were both made by Mallorquin artisan, Pedro Casanovas, and the scene is completed by a pair of pendant lights sourced by the homeowner and hung directly from the branches of the tree that shade the space during the day.
At the rear of the house, which faces the Mediterranean Sea, stone paths made from local Santany stone that has been "aged" to obtain a pale, worn patina are a recurring detail. They are designed to appear to emerge from the more solid walled and terraced areas, forming paths that flow out into the green spaces of the garden and gradually "dissipate" into the greenery.
The pre-existing concrete beams, finished in a simple lime wash, from the old porch were reused for the ceiling of the new enclosed patio. Metal and glass doors used to enclose the space by Mairata (https://www.mairata. com/index_en.html) are used to enclose the space and were manufactured using Swiss-made Janisol Arte components by Jansen Building Systems (https://www.jansen.com/en/building-systems-profile-systems-steel/ products/detail/1994-janisol-arte-20.html). The homeowner’s multiple sofa components were reupholstered in a soft linen fabric by Tapicéria Tomas Riera (http://tapiceriatomasriera.com/) in Manacor, Mallorca, and similar scatter cushions and throws can be manufactured by Tapicéria Tomas Riera or at Teixits Vicens (https://www. teixitsvicens.com/) in Pollença, Mallorca. <The sheepskin in picture 22 is from IKEA https://www.ikea.com/gb/en/ products/textiles-rugs/rugs/sheepskin-cow-hide-rugs/); find similar rustic wooden stools at vintage stores or try Tine K Home (https://www.tinekhome.com/en/)>
Home Design Feature
The breakfast/patio dining area is situated alongside the kitchen. The floors throughout the interiors are made from a lime mortar base (in the family of polished cement) and the new ceiling beams here were made from chestnut wood. "We love chestnut as it is harder than pine, has a lot of character, and can be treated with natural processes to create very interesting effects and patinas," says Manuel Villanueva of Moredesign(http:// www.moredesign.es/). The ceramic wall lights are from Moredesign’s own Drop series, and the hanging lampshade was sourced by the homeowner. Del Negro says that the "quite typical ‘70s Mallorquin stools" made from leather and wood are the only furnishings that remain from the original house. The striking amber glass vase was found at the flea market in Consell, Mallorca’s largest flea market that takes place every Sunday, and the animal heads, woven from palm leaves, were made by the traditional craftspeople of the area around the city of Valencia in mainland Spain.
as the old orchards of Son Bleda farm," says del Negro, and the property included "a typical summer cottage built in the 1970s: open plan, very basic and rudimentary, but honest." That was the upside. The downsides included the fact that the home’s layout was highly compartmentalized into small areas and that the building had not been constructed well.Del Negro explains that although the project was technically a renovation, it rapidly] became a full-blown new build, albeit one that respected the original footprint and volume of the pre-existing house.
From the very beginning, the team at Moredesignfelt that the most important aspect of the renovation would be "to keep it simple," says del Negro. "'Discretion' and 'humility' are words that come to mind," he adds, as "both the client and ourselves believe [that] bold gestures are often best exposed with an understated nature." The completed home includes three bedrooms and three bathrooms, as well as open-plan living, dining, and kitchen spaces. Neither the private nor the public areas are especially large—indeed, the house has the feel of a country cottage rather
Home Design Feature
The newly built fireplace in this living area off the kitchen is finished with two large pieces of cuarcita (quartzite) stone and a metal grill custom built by ironmonger Toni Calafell. The metalwork art piece above the mantelpiece is from the homeowner’s collection and the glass vessels, which are traditional Mallorquin wine and olive oil storage bottles, are flea-market finds. The Berber wool rug was bought in Marrakech.
In the kitchen, the curvaceous extraction hood is a custom element by Moredesign(http://www.moredesign.es/) finished in lime plaster. The countertop and basin are made from a dark gray cuarcita (quartzite) stone, sourced from mainland Spain and worked by artisan Juan Camposol, who is a frequent contributor to Moredesign’s projects. Multidisciplinary Mallorquin design practice Senaia Studio (http://www.senaiastudio.com/) created the design of the single hanging light, and it was made by local ceramicist Dora Good (http://doraceramics.com/). The glasses are from local glass makers Gordiola (http://www.gordiola.com/en/home), and the wooden boards were sourced from a store in the nearby town of Søller. A cooker and hob by Lacanche (https://www.lacanche.com/) and taps by Barber Wilsons & Co (http://barberwilsons.com/) add a traditional feel to the space. The small terracotta jugs are also by Dora Good.
than a rambling holiday villa—but the use of multiple built-in furniture pieces and a restrained interior design scheme that prioritizes natural textures and colors combine to make it cozy and contained while still being light-filled and laid-back.
Wood, natural stone, wrought iron, and glass complement locally sourced textiles and decor, such as vintage glassware and traditional woven palm accessories, throughout the interior spaces. Every element has been carefully selected, with the emphasis placed on subtle layering without any sense of clutter or confusion.
A sheltered, comfortably furnished veranda and numerous glass doors lead out onto the remarkably lush garden. The garden brief was to respect the mature trees in the wild forest on the lower part of the property and create a traditional Mallorquin patio with plenty of greenery close to the house. The planting was carefully designed by Katerina Christensson of the Garden Company.
According to Christensson, "Here, given the perfect situation surrounded by wind-protecting dry stone walls, we could plant a tropical, evergreen courtyard with typically cold-sensitive plants
Steps from the living space take you into a mezzanine that is home to Button’s ensuite bedroom.
The built-in bed [in the main bedroom] and other built-in elements such as wardrobes, bedside and bathroom cabinets, and bathtubs are crucial to the task of making small rooms feel more spacious, explains del Negro. "I am a firm believer that Mediterranean design should encourage an uncomplicated lifestyle," he says.
All the components of the en suite bathroom are custom-made elements by Moredesign(http://www. moredesign.es/), including the cast-iron bath covered with micro-cement, and the stone basin and shelf, which were made by Juan Camposol from the same cuarcita (quartzite) stone that is used in the rest of the house. The pivoting brass mirror was custom built by local artisans Toni Calafell and Cristaleria Colomes and the taps are from Barber Wilsons & Co (http:// barberwilsons.com/).
Home Design Feature
that might [ordinarily] be difficult to grow in Mallorca." These include exotic banana trees (Musa ensete or Ensete ventricosum) and the very fragrant red frangipani (Plumeria rubra), as well as a lime tree and a passion fruit vine. Rounding off the planting are some gorgeous ferns with the Philodendron selloum’s poignant foliage combining with sago palms (Cycas revoluta) and slender lady palms (Rhapis humilis) to give the garden close to the house "the ultimate tropical look."
An utterly tranquil atmosphere has been created both outdoors and inside the house As del Negro says, the most satisfying effect of how the finished project has turned out is the way "it appears rustic and simple, yet preserves all the comforts life has to offer." Whether its occupants are spending a relaxing afternoon reading on the veranda, clustered at the kitchen island preparing a meal together, or gathered around the interior fireplace to chat while enjoying a glass of wine on a cool autumn evening, the house enlarges and enriches these everyday holiday pastimes. Interviewed in Harper’s
In this hallway, a vintage, wooden storage chest sourced by the homeowner perfectly complements basketware created by local crafters in the Mallorcan town of Artà (http:// www.artamallorca.travel/en/getto-know-arta/8/arts-and-craftsshops) and a sheepskin rug from IKEA (https://www.ikea.com/gb/ en/products/textiles-rugs/rugs/ sheepskin-cow-hide-rugs/).
Bazaar in 1923, Coco Chanel declared that "simplicity is the keynote of all true elegance." This pared-back and considered holiday home is proof that the legendary designer was most definitely correct.
www.moredesign.es
FOUNDERS
Manuel Villanueva & Oro del Negro
The built-in bed in the main bedroom and other built-in elements such as wardrobes, bedside and bathroom cabinets, and bathtubs are crucial to the task of making small rooms feel more spacious, explains del Negro. "I am a firm believer that Mediterranean design should encourage an uncomplicated lifestyle," he says. "Fewer objects mean more time to daydream." The embroidered bedspread was found in a store in the picturesque nearby town of Søller.
Home Design Feature
a
(http:// barberwilsons.com/) and a
This bathroom features
rough-hewn basin made by Juan Camposol from local Mallorcan stone, which is complemented by classic taps by Barber Wilsons & Co
custom-made brass mirror, created by local artisans Toni Calafell and Cristaleria Colomes embedded flush into the wall.
"FEWER OBJECTS MEAN MORE TIME TO DAYDREAM."
TIMELESS AND UNIQUE VESSELS. MODERN MINIMALISTIC CERAMICS AND PAPER MACHÉ VESSELS HANDMADE TO FILL YOUR HOME.
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Plant-based designs bringing the outside in & celebrating the natural world fableandbase.co.uk
LIGHT LOVE & LEGACY
WORDS | KATARINA ŠKIPIĆ
IMAGES | SIMONE & MARCEL
The Artistic and Romantic Journey of Simone & Marcel
In a quiet village nestled in the heart of Spain, a workshop hums with the steady rhythm of creation. Here, we found a couple of life and business partners blending art and engineering, transforming raw materials into timeless lighting fixtures. The story of Simone & Marcel is not merely about the birth of a design company; there is also love, perseverance, and an unyielding pursuit of beauty.
A SEEMINGLY UNLIKELY UNION
It began in the sun-soaked landscapes of California. Simone, a vivacious French student, was deep into Supply Chain Management studies when she met Marcel, a Spaniard nearing the completion of his mechanical engineering degree. Their backgrounds were as distinct as the cities they hailed from—Paris and Madrid—and the cultural mosaic of California served as the perfect backdrop for the meeting.
The odds were against them from the beginning: four years apart in age, different nationalities, and diverging academic futures. Yet, their bond grew stronger by the day.
FROM CALIFORNIA TO THE WORLD
The year they spent together in California was filled with the typical joys and uncertainties of young love. Marcel focused on securing a job in
the United States while Simone was preparing to return to France to pursue her master's degree.
The academic year ended, and the daily routine together was soon to be replaced by long-distance communicationrelationship, an endeavor that often comes with its own challenges. Undeterred by visa restrictions, Marcel began his career at a lighting company in Los Angeles. Simone was determined to remain close to him and extended her stay through the summer, waiting for her master's program in France to start next September. These early days were also marked by a struggle to find stable housing, and a converted garage became their first home.
Marcel worked as a design engineer, translating creative concepts into technical drawings and 3D models, which slowly ignited a strong passion for design. Simone, meanwhile, found an internship in the freight forwarding industry, helming international logistics, processing shipment information, verifying tariff codes, and managing shipping details. Still without a trace of their mutual future endeavor in sight, the precious experience they had been acquiring would soon make it possible.
As their time in the United States drew to a close, an unexpected opportunity emerged. Marcel's employer offered him a promotion in Dongguan, China.
The move was daunting, especially for Simone, who had yet to complete her studies. Nevertheless, they embraced the challenge together and, in January 2016, embarked on a new chapter overseas.
A LEAP INTO THE UNKNOWN Within weeks of arriving in Dongguan, Simone was hired by Miele, a renowned German appliance manufacturer. Her new role as an industrial engineer involved optimizing production processes, a task that required both technical acumen and adaptability. Marcel oversaw a network of factories, managing the production of complex lighting fixtures, ensuring quality control, and overseeing the implementation of new designs.
This period was marked by intense professional growth and a deepening understanding of their capabilities as a team. But nothing felt final yet. The couple kept looking for an opportunity to settle for longer and, much to Marcel's initiative, work together. "He always wanted to have his own business but didn't want to do it alone. He wanted me to be part of it. I was a bit more scared at the beginning to do that step. And one day, I said, okay, why not? Let's go for it!"
THE BIRTH OF SIMONE & MARCEL
The idea for Simone & Marcel's new venture didn't emerge from a single moment of inspiration. Rather, the genesis of their brand was as organic as the
In a world where the ephemeral often overshadows the enduring, Simone and Marcel offer a refreshing perspective.
materials they cherish. Determined to make things work, they finally decided to take the plunge, quit their jobs, and move to Europe. The familiar environment and family support provided the ideal conditions for starting a business fueled by their professional backgrounds and driven by their desire to create. "It was a big change for me personally," Simone reflects on exchanging bustling cities for a small Spanish village. "Integrating into a different cultural milieu, building a business—it all required a lot of adaptability."
Back in Spain, they began designing furniture for their apartment, discovering a shared passion for craftsmanship during the process, which also revealed their complementary strengths. "We realized that we were working very well together and liked to do things." Marcel's experience provided the technical foundation, while Simone's logistical expertise and creative flair added a unique dimension.
"When we first started the business, it was a bit complicated to manage the fact that we were twenty-four hours together, that we're taking decisions. Who's taking the decision, who is right, who is wrong… And then, as well, working with your partner—there's a lot of things to handle. You shake it, and sometimes… sometimes it's explosive. But we polished it, and now it's very good. Now we are aligned in almost everything."
CRAFTING TIMELESS ELEGANCE
The creative process at Simone & Marcel is fluid, which is not so different from the designsforms they craft. It is also reflective of their relationship since both prefer to allow the ideas to mature and evolve naturally. As for the inspiration, it comes from everyday experiences, often outside the formal brainstorming sessions.
While travels may not directly dictate their designs, the exposure to diverse environments, foods, and everyday objects subtly informs their creative choices. "Inspiration often strikes when we
“Working with your partner—there's a lot of things to handle. You shake it, and sometimes… sometimes it's explosive.”
“Do whatever you think is right, and do not listen to people giving their advice all the time.”
least expect it," Marcel notes. "It's these unplanned moments that lead to our most cherished designs. A walk down the street, a movie, or even a meal can spark ideas that later transform into exquisite forms."
Simone & Marcel's creations exhibit a profound appreciation for natural materials and traditional craftsmanship. They source marble, alabaster, wood, and ceramic locally from Spain and Portugal, always looking for new ways to emphasize the natural beauty of these elements.
Rather than just marketing themselves overtly as a sustainable brand, they focus on creating enduring products. "Sustainability is very subjective," Simone emphasizes. "For us, it's about quality, in a way that what we make is going to last a really long time," Marcel adds, challenging the throwaway culture prevalent in much of today's consumer market, and positioning their creations as heirlooms rather than mere commodities. He elaborates, "We want to make products that last generations.
Our lamps are designed to transcend fast fashion's temporary aesthetic pleasure. This way is better for the environment." Following this philosophy, the couple pays close attention to detail and the finishes of the products. Their designs, both decor and lighting, are characterized by minimalistic elegance that gives them a timeless quality.
BELIEVE IN YOURSELF
Despite their success, this team remains grounded, continuously refining their collaborative dynamic. The onset of COVID-19 added another layer of challenge, testing their resolve. Yet, it also fortified their bond, proving that their partnership could weather even the most unpredictable storms.
When asked about the future, their vision remains clear yet modest. Innovation in their industry, such as advancements in battery technology, excites them, offering new possibilities for portable lighting solutions. However, they remain wary of fleeting trends, preferring to anchor their brand in steadfast principles.
For aspiring designers and entrepreneurs, Simone and Marcel offer sage advice rooted in their own experiences. "Do whatever you think is right, and do not listen to people giving their advice all the time. Being natural and true to yourself is very important in business."
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WORDS | GEORGE DIKE IMADES | ARTELIER
Redefining spaces and experiences with visionary art projects.
There are authorities in every industry who critique and, either explicitly or by proxy, define the rules governing the industries. In the art world, these professionals often decide the value of an artwork. Sometimes, a piece may only be seen as decorative and have little to no value, while other pieces are deemed worthy of millions of dollars.
MEET DAVID KNOWLES
When you think about art, you might imagine grand galleries, prestigious auction houses, and the occasional splash of color at a modern museum. But behind the scenes, a dedicated group of visionaries works tirelessly to bridge the gap between remarkable art and eager audiences. One such visionary is David Knowles, founder and creative director of Artelier.
With a master's in fine art, vast art market knowledge, and curatorial experience, Knowles believes no definite line defines art. For him, art is extensive and cannot be limited to the definitions of a few. Knowles holds that when one puts his heart into his craft, is passionate about honing their skill, and makes conscious efforts to bring his thought process to life, we can appreciate the results of art in that form.
Artelier, a play on the word "Atelier," was born from a desire to bring to light various artists who are remarkable but may lack experience or exposure. As a consultant business, Artelier partners with worldwide talents, giving them an international audience and exposing clients to unlimited heart-warming masterpieces.
SPOTLIGHT ON ARTELIER
Artelier is an art consultancy and advisory brand that redefines how international artists and art consumers connect. From folk and ancestral art to contemporary rarities, Knowles and his team work to curate unique art that will transform any space into one that starts conversations and satisfies artistic cravings.
Artelier stands as a bridge between artists and clients. They examine future trends and encourage creativity, providing forward-thinking ideas and techniques for today's art collectors.
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ARTELIER AS AN ARTADVISORY AND CONSULTANCY
Artelier champions the incredible diversity of global art. They advise and oversee various art projects, from cultural to modern, corporate, and public art. Artelier's consultancy services cater to a plethora of art ventures that will surely accommodate the needs of collectors, big and small.
PUBLIC ART PROJECTS
Boasting over fifteen years of experience, Artelier has been an industry leader in developing large-scale public art projects scattered across Asia, Europe, and the Middle East. Their specialty in art strategy and large-scale artwork gives them the foresight to provide world-class consultancy services for public art and all that concerns it.
Their portfolio covers public parks, residential developments, landscapes, and more. Undoubtedly, Artelier has been a game-changer in its industry.
ART INVESTMENTS
If you want to get started with art investments or expand your existing art collector's portfolio, Artelier's Art Concierge service provides a dedicated team of professional advisors. They offer professional consultancy and procurement services to help you secure art that speaks to you and stands out.
Artelier has a knack for spotting untapped or emerging talents. Embarking on your art investment journey with the team exposes you to artists whose works are unique, priced right, and show great promise for investments.
Art is inherently subjective. What resonates with one person might not resonate with another.looking at it.
Artelier has access to established artists through years of collaborations and mutually beneficial relationships with top galleries. So, they bring you access to renowned pieces and guide you every step of the way as you make selections that pique your interest.
WHAT MAKES ARTELIER OUTSTANDING?
Artelier's approach to art advisory is refreshingly personal. Instead of relying solely on traditional industry norms, they work closely with a mix of emerging and established international artists to showcase their work innovatively.
A BREAK FROM THE NORM
One of the standout projects that Knowles and Artelier have undertaken is their groundbreaking work with art inside a Bombardier Global 5000 jet. Imagine entering a sleek, high-end jet and being greeted by luxury and meticulously installed artwork that transforms the flying experience.
For Knowles, "this project wasn't just about adding aesthetic value. It was about creating a unique, immersive experience that redefined how art can be presented."
Knowles's enthusiasm for these projects is inspirational. He proves that art can be accessible and engaging, no matter where it is displayed. Whether in a jet, a corporate office, or a home, the goal is to make the art experience as impactful as possible.
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“Our goal is to celebrate this diversity and make sure that every piece we work with has its chance to shine, regardless of where it comes from or who might belooking at it.”
EMBRACING MULTIPLICITY AND SUBJECTIVITY
Art is inherently subjective. What resonates with one person might not resonate with another. Knowles and his team embrace this by including artists from different cultures, backgrounds, and styles. This diversity is what makes Artelier's curatorial approach so vibrant and dynamic.
"We believe that art should reflect the broad spectrum of human experience," Knowles explains. "Our goal is to celebrate this diversity and make sure that every piece we work with has its chance to shine, regardless of where it comes from or who might be looking at it."
SUSTAINABILITY WITHIN CREATIVITY
In today's world, the conversation around sustainability isn't just a trend but has become necessary. Artelier curates art while considering how every decision impacts the environment. They commit to this cause by supporting artists and prioritizing sustainable techniques and eco-friendly materials.
For Knowles and his team, sustainability in art isn't just about materials. It fosters an ongoing dialogue about creating a more responsible and conscious art world.
DIVERSE PROJECTS
Aside from the awe-inspiring Bombardier 5000 project, Artelier has worked on numerous other high-profile projects, highlighting their innovative approach. From interactive installations in unexpected locations to collaborations with international art fairs, Artelier continues to push the boundaries of what art can be.
In a world where art often gets pigeonholed into traditional formats, Artelier stands out as a beacon of innovation and inclusivity. Knowles's dedication to working with a diverse range of artists and his commitment to sustainability ensures that Artelier is showcasing art rightly and shaping its future.
A PROMISING FUTURE FOR LOVERS OF ART
Recently, virtual and augmented reality offers thrilling possibilities for creating immersive art experiences that transcend physical boundaries. Looking ahead, art lovers and the world remain excited about the potential for new technology to enhance how art is experienced.
Knowles started Artelier with a clear mission: to bring exceptional artworks from across the globe to a broader audience while offering unbridled consultancy services to lovers and consumers of art. The next time you hear about a unique art project or an unexpected installation, it may be the visionary work of David Knowles and the Artelier team.
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KITCHENISTA A Fusion of Fresh Produce, Taste and Beauty
WORDS | TOBI ADEBANJO IMAGES | KITCHENISTA
Food is art, and Jess Marra, known as Kitschenista, brings food to life in ways that delight the senses and push the boundaries of culinary creativity. In her Instagram bio, Marra succinctly captures her passion with the phrase "kitsch ingredients → foodie dreams," and it’s a fitting summary of her journey as a creator who transforms food into visual masterpieces. In a world where innovation is at the heart of artistry, Marra’s work reminds us that the intersection of food and art is a place where magic happens.
Jess Marra’s journey as a culinary artist began with a deep love for both food and beauty at a very young age. Marra’s journey has always involved food, from a childhood filled with constant kitchen experiments to an appearance on a cooking show on local TV at the age of thirteen. Even when she took a hiatus from the kitchen to study business at Boston University to pursue a corporate career, Marra constantly explored restaurants, cuisines, and dishes.
Eventually, Marra moved to Los Angeles, where she was constantly inspired by the bounty of seasonal and local produce. The colors and textures of fresh vegetables became the starting point for her culinary creations, leading her to document her cooking methods and ultimately establish Kitschenista, a brand that blends her passion for food and art. She admired the colors and aesthetics that the simplest bits of produce could bring to a meal, and so a focus on color, freshness, and balance became the hallmark of Kitschenista. For Marra, even a simple dish like roasted
potatoes can be elevated with a sprinkle of fresh herbs and a drizzle of olive oil, creating a plate that is not only delicious but also visually stunning.
Marra’s journey into the world of food artistry gained momentum on Instagram, where she began sharing her creations in 2020. The platform allowed her to showcase her artistic approach to cooking, turning everyday meals into captivating visual experiences. Her meticulous attention to detail quickly set her apart in a sea of food bloggers, and her brand flourished.
CREATING EDIBLE MASTERPIECES
For Marra, food is not merely sustenance—it’s pure art. Her approach to cooking mirrors the work of traditional artists, with color, texture, and composition serving as her primary focus, along with taste. When asked how she views food as an art form, Marra emphasized the importance of the visual elements.
“Food is such a creative expression. There are so many different ways to play with it, just like an artist uses different materials and techniques.”
"My recipes are very vegetable or produce-forward. I’m always looking for the fusion of art and function, taste and beauty."
Her creative process often starts with a trip to a farmer’s market or local produce stand, where the vibrant colors of fruits and vegetables spark new ideas. From there, she considers how different textures and compositions will interact on the plate. It’s not enough for a dish to taste good—it must look good too. Marra balances these two elements expertly, ensuring that each recipe is as visually striking as it is flavorful.
An example of her aesthetic-driven approach can be seen in her heirloom tomato carpaccio, topped with an anchovy dressing, fresh herbs, and lemon zest. The deep reds and yellows of the tomatoes contrast beautifully with the greens of the herbs, creating a dish that is as much a feast for the eyes as it is for the palate. Art pushes boundaries, and Jess Marra does the same in her culinary creations. She challenges conventional ideas about food presentation and ingredients, constantly seeking ways to innovate.
One of the ways she does this is by incorporating unconventional ingredients into her dishes, like zucchini flowers or edible flowers, elements that are rarely seen in everyday cooking but are commonplace in her artful recipes. This approach not only surprises the diner but also elevates the meal into an experience. Her lemon herb spatchcock chicken, with its crisp skin and juicy meat, is a perfect example of how she transforms a rustic dish into something extraordinary.
By pushing the limits of traditional food presentation, Marra’s dishes challenge diners to rethink their relationship with food. Her ability to make even simple dishes feel luxurious and artful has cemented her as a leader in the food-as-art movement.
PERSONAL IDENTITY IN FOOD
For Marra, food is deeply personal. "I always hold the integrity of whatever the dish is, but I bring in my own touch—my signature," she shared. This signature often comes in the form of vivid color, fresh herbs, and thoughtful presentation. Whether it’s a plate of scrambled eggs or a lavish dinner party spread, Marra’s creations are unmistakable, marked by her careful composition and artistic flair.
Beyond aesthetics, Marra also infuses her food with elements of her identity and experiences. Her travels to places like France and Italy have greatly influenced her approach to cooking, introducing her to new ingredients and techniques.
Marra’s culinary artistry isn’t just about the final product—it’s about the journey. Her recipes reflect her personal history, her
travels, and her love for fresh, seasonal ingredients. They tell stories, evoking emotions and memories with every bite.
TELLING STORIES WITH EVERY PLATE
In many ways, Marra views food as a form of storytelling. Like a painter uses a brush, she uses ingredients to tell stories about her experiences and the cultures she’s encountered. Her dishes often draw on the flavors and ingredients she’s discovered in her travels, reimagined with her own personal twist. Whether it’s a simple cucumber salad sliced in a unique way or a dish inspired by her time in Provence, each recipe carries with it a narrative both personal and universal.
GETTING INTO FOOD ART
For those looking to elevate their cooking into an art form, Marra has simple yet profound advice: "Start with what excites you."
Whether it’s a dish you loved at a restaurant or an ingredient that caught your eye at the market, use that as a starting point and experiment. "Give yourself grace," she added, "and don’t strive for perfection." Marra provides a springboard for more people to join the food-as-art movement with two cookbooks to guide anyone looking to experiment with new and classic recipes.
Marra’s journey as Kitschenista is a testament to the power of creativity in the kitchen. By blending art and function, taste and beauty, she has transformed food into something more than a meal—it’s an experience, a story, and a work of art.
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FOUNDER JESS MARRA
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Ellerman House — Where Art and Hospitality Find Harmony
H VEN
Perched on the slopes of Lion’s Head in Cape Town, South Africa, this luxury boutique hotel is a haven for discerning travelers and a significant player in the South African art scene. Ellerman House offers guests an unparalleled experience, blending world-class service with an extraordinary private art collection that tells the story of South Africa’s rich artistic heritage.
The whole philosophy behind Ellerman House is sharing the best of South Africa with the rest of the world.
In the heart of Cape Town lies Ellerman House, a boutique hotel that has elevated the concept of hospitality to an art form. Known for its stunning private art collection, Ellerman House has positioned itself as a cultural landmark, offering guests luxury accommodation and an immersive experience into South Africa’s rich artistic legacy. Guided by Talita Swarts, a leading figure in South African art tourism, visitors are taken on a journey through the country’s artistic milestones, making their stay an unforgettable exploration of culture and history.
THE AFRICAN ART SCENE AND ELLERMAN HOUSE’S UNIQUE POSITION
The African art scene, particularly in South Africa, is experiencing a dynamic transformation. Recent years have seen a shift from a hyper-focus on African art by the global community to a broader interest in the Global South. This expansion of focus has opened new avenues for artists
to explore a variety of themes and styles, moving beyond the previously dominant trends of Black figurative portraiture. South African art now includes a mix of abstract, figurative, and conceptual works, each telling a story deeply rooted in African experiences and perspectives. This diversity not only reflects the multifaceted nature of African society but also serves as a powerful medium for addressing societal issues and driving change.
Ellerman House, with its breathtaking views of the Atlantic Ocean, is more than just a luxury hotel; it is a sanctuary of South African art history. The art collection at Ellerman House was initiated in the late 1980s by Paul Harris, the hotel's owner. His vision was to share the best of South Africa with the world, a philosophy beautifully reflected in the hotel's art collection. What makes this collection particularly special is its focus on South African artists, as one of the most representative private collections of South African art in the world.
The best way to support an artist is actually to buy their work, which is something Ellerman House constantly does. So they constantly buy work of new artists, young artists.
"The collection spans works originating from 1820 to the contemporary period, offering a comprehensive overview of South African art history. Harris’s approach to collecting is deeply personal, only acquiring pieces that resonate with him rather than relying on external advisors. This eclectic approach has resulted in a collection that is both diverse and deeply reflective of South Africa’s artistic landscape. The collection includes works from well-known artists, emerging talents, and even family members, providing a unique perspective and platform for both established and underrepresented voices in the art world.
THE ART TOUR EXPERIENCE WITH TALITA SWARTS
At the heart of this artistic haven is Talita Swarts, the art tour guide at Ellerman House, who brings the collection to life with her deep knowledge and passion for South African art. As the founder and CEO of Artroute, Swarts has significantly impacted the local art scene by curating bespoke art tours showcasing the best galleries and collections in Cape Town, Pretoria, and Johannesburg. Her expertise and innovative approach have made Artroute a leading name in art tourism in South Africa.
Swarts’s collaboration with Ellerman House enriches the guest experience with personalized tours that provide insights into the stories behind the artworks. The tours are not just about viewing art; they are about understanding the cultural and historical context of each piece, making the collection more accessible and engaging for guests. Under her guidance, visitors can explore the diverse themes and styles represented in the collection, from the colonial era to contemporary works, each reflecting a unique aspect of South Africa’s rich history and artistic journey.
It’s very much a personal collection for the owner, Paul Harris. He would see things and he would just buy it…it’s very much Paul Harris buying what he finds interesting and what he likes.
THE INTERSECTION OF ART AND HOSPITALITY AT ELLERMAN HOUSE
The art at Ellerman House is not just a decorative element; it is an integral part of the guest experience. Guests are invited to explore the collection through the bespoke private tours led by Swarts, which are complimentary for those staying at the hotel.
These tours present a unique opportunity to delve into South African history and culture, as the artworks serve as a visual narrative of the country’s complex past and vibrant present.
Feedback from guests has been overwhelmingly positive, with many expressing how the art collection, enhanced by Swarts’s insightful
commentary, enriched their stay and provided a deeper connection to South Africa’s rich cultural heritage.
The hotel also hosts special events and programs related to the art collection, such as the annual Art Angels charity auction, which raises funds for literacy and computer skills programs for children in townships.
Additionally, during the Investec Cape Town Art Fair, Ellerman House grants VIP access and private tours through Artroute, allowing guests to experience the best of South African and African art.
INNOVATION AND INSPIRATION AT ELLERMAN HOUSE
Ellerman House continues to innovate in how it curates and displays art. The hotel’s approach is not static; it evolves with new acquisitions and exhibitions, reflecting the dynamic nature of the South African art scene. One of the most exciting recent acquisitions is Willem Boshoff’s piece titled Die Dood Van Afrikaans (The Death of Afrikaans), which explores the complexities and controversies surrounding the Afrikaans language in South Africa. This artwork, like many others in the collection, serves as a conversation starter, encouraging guests to engage with South Africa’s cultural and political history.
Looking ahead, Ellerman House will continue expanding its collection, with a focus on emerging South African artists. The hotel’s commitment to supporting the local art community is unwavering, and it is poised to remain a significant player in the South African art world.
BROADER IMPACT
Ellerman House’s contribution to the broader art community in South Africa cannot be overstated. By showcasing the works of South African artists to an international audience, the hotel plays a crucial role in promoting cultural understanding and social change. The art collection at Ellerman House is more than just a private collection; it is a cultural treasure that highlights the importance of non-traditional art spaces in the art world. As the intersection of art and society continues to evolve, places like Ellerman House are at the forefront, fostering a deeper appreciation for art and its role in shaping our understanding of the world. In a world where art is increasingly being recognized as a catalyst for change, Ellerman House stands as a testament to the power of art to inspire, provoke, and transform.
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THROUGH HIS ART, VUK VUČKOVIĆ INVITES VIEWERS TO EXPERIENCE THE BEAUTY AND COMPLEXITY OF HIS WORLD.
In an age where the digital often overshadows the tangible, Vuk Vučković's art still makes the case for the enduring power of the painted canvas. Rich in color and emotion, these depictions explore urban landscapes, perhaps resembling some cheerful tourist maps at first glance but revealing much more beyond the surface as you engage. The vision is broad: Vučković's journey as an artist has taken him across continents, from opening a gallery in Pančevo, Serbia, to the bustling avenues of New York, with each location leaving an indelible mark on his artistic eye.
This award-winning painter’s exhibitions involve solo and group shows worldwide, including in Washington, DC, the Mourlot and DSGNRR galleries in New York, and the Markowicz Fine Art Gallery in Texas, where they successfully reached a diverse audience and achieved critical acclaim.
FROM PANÇEVO TO BELGRADE: THE GENESIS OF A VISION
Vučković's artistic voyage began in the old, graceful, architecturally and culturally diverse town of Pančevo. Bordering the Serbian capital of Belgrade, this place has the threads of personal history tightly woven with the fabric of his identity. "Belgrade was the first city from the Exciting Cities series," Vučković recalls. "No, actually, Pančevo was. That's my hometown. So that was the first painting I've done probably twenty years or so ago."
The next depiction’s rich past and dynamic present hold a special place in Vučković's heart. "Belgrade is a city where I was studying. I lived there for a short period during my studies and after," he explains. Belgrade's streets, its architectural marvels, and a unique blend of cultures were vividly brought to life on a large canvas, where each brushstroke represents a breeze of its enduring spirit.
THE AMERICAN EXPERIENCE
Despite the enthusiastic reception, little did he know at the time that these initial explorations would lay the foundation for a growing series that would encompass some of the world's most iconic cities and take him to unexpected places.
The allure of the American metropolis soon seduced the painter. Summers spent in New York, initially through a Work and Travel program, left an indelible mark. "I was a lifeguard on the beach, using every
YOU SEE THE DIFFERENCES , AND YOU JUST DEVELOP A DIVERSE KIND OF VIEW OF THINGS. IT FUELS CREATIVITY , PROVIDING A CONSTANT SOURCE OF INSPIRATION . AND INTROSPECTION.
opportunity to visit museums and galleries. And this city fascinated me so much. That was the third city I knew the best. So then I painted New York," Vučković recounts. Towering skyscrapers, ceaseless energy, and cultural diversity are vividly depicted in this artwork in a way that a viewer can almost perceive a movement and feel the city's distinctive vibes.
Despite the deep love at first sight, Vučković's American sojourn didn't end with New York. His artistic curiosity took him to other major cities like Chicago and Washington, DC. Each ended up immortalized as a part of the series. "I love traveling. So I find every city unique in some way. There is no lack of inspiration at all."
ABSTRACT REFLECTIONS
Vienna, with its rich history and significant Serbian community, also finds a place in Vučković's repertoire. His depictions of its historic quarters are imbued with a sense of familiarity, bridging his roots with the broader European landscape. "We have the most people from Serbia living in that city. Almost wherever you go, you meet a country fellow."
In addition to his cityscapes, Vučković delves into abstract art, using creative techniques and concepts to seamlessly integrate traditional painting with modern technology. This fusion of old and new defines much of his recent work, adding one fresh perspective to the contemporary art scene.
"I'm trying to utilize everything I can find," Vučković says, describing his process of creating digital sketches and stencils to complement his paintings. "Everything I do somehow is related to the material I use. Sometimes, even the inspiration itself comes from the technique I'm exploring at the moment."
BETWEEN EMOTION AND TECHNIQUE
Geometry and patterns are significant in Vučković's abstract pieces. The complex interplays between form and substance make his works as thought-provoking as they are visually striking.
But before we even reached this point of the interview, it became apparent just how much emotion was also involved. "When you include feelings in whichever business you're in, you just don't feel like you're working on it. You feel like it's your free time, almost, or your hobby," he explains. "How do they say it? 'Do what you love, and you will never have to work a day in your life'?"
I ALSO WORK ON THE COMPUTER , CREATING SOMETHING I CAN CUT WITH A MACHINE AND MAKE A STENCIL OR MAKE MY OWN PAINTING TOOL
ONE OF THE EASIEST WAYS TO DEVELOP SOMETHING NEW IS TO TRY TO INCLUDE SOMETHING NEW IN YOUR ART.
Indeed, this philosophy is evident in his art, infused so much with passion. Buoyant, sometimes almost childish shapes communicate on many levels with the observer. But beyond that, Vučković's paintings are a symphony of hues, each chosen to evoke specific feelings or atmospheres. His cityscapes come alive with a vibrancy that almost transforms canvases into sensory experiences. "I have a university background behind me, and I studied colors. But it also comes organically; I follow my passion and feelings about them," he says.
Vučković's artistic influences are as diverse as his art. From the powerful philosophic concepts of Bosch and Bruegel to the heartfelt expression of Naïve art, he draws a lot of inspiration from traditions. "I also like folk art because it's more about feeling, and they're not so much into all the technological and other stuff I learned during my studies."
Among his recent works, Vučković highlights "Snow Land," a painting that merges abstract elements with classic landscape imagery. "It really is something between abstract painting and landscape. It's again about the use of color, only this time in a very different way, with more pastel tones," he describes. Personally, I think this is an understatement. The piece, with its phosphorescent colors, captures a magical, almost ethereal quality that needs to be seen in vivo to be adequately experienced.
NAVIGATING DUAL REALITIES
Living between Serbia and the United States presents unique challenges and opportunities for Vučković. "It can be tricky when you live in two different places, from the practical point above all, because it's hard to bring everything you need— especially when you are a painter." Yet despite these logistical hurdles, the duality of his life enriches his perspective, allowing him to draw from an even broader spectrum of influences.
"You have to take it as a gift to explore and then compare, like, what's good in this country, what's good in that country. You see the differences, and you just develop a diverse kind of view of things. It fuels creativity, providing a constant source of inspiration and introspection." As the art world grapples with the digital age, Vučković remains optimistic about the future. "One of the easiest ways to develop something new is to try to include something new in your art," he says. And we couldn't agree more. His work is borderless in every possible way; it transcends geographical and cultural divides to ensure that the spirit of the canvas not only endures but evolves.
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Artist Dameon Priestly focuses on times and events of social and cultural change
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WORDS | SHAMEYKA MCCALMAN
IMAGES | WILLIAM CLOSE TEAM
In a stunning space located in DTLA, the Earth Harp, a captivating musical installation by internationally acclaimed artist William Close, finds its permanent home. Known for his groundbreaking, one-of-a-kind creations, Close redefines the boundaries of musical art, offering visitors an immersive and mesmerizing experience.
INthe vibrant cultural landscape of downtown Los Angeles, a transformative art experience is taking shape at Lucky Mizu. This restaurant has become a nexus for an extraordinary convergence of art, music, and culinary excellence. At the heart of this innovation is William Close, an internationally acclaimed artist known for his pioneering work in musical and visual art. With a career defined by groundbreaking inventions like the Earth Harp, Close’s work transcends conventional boundaries, merging acoustics with aesthetics to create immersive experiences that captivate and inspire. In this feature, we delve into Close's artistic journey, his unique approach to integrating music with dining, and his vision for the future of creative expression.
William Close, renowned for creating the Earth Harp and other inventive instruments, recently shared insights into his creative process, the challenges and triumphs of integrating music into a dining experience, and his visions for the future.
An Artistic Odyssey: The Earth Harp and Beyond
Though the creative has a deep-seated connection to the East Coast, Close's journey began with a unique mix of interdisciplinary studies at the Art Institute of Chicago. There, he delved into performance art, sculpture, architecture, sound art, and music, setting the foundation for his innovative artistic approach.
Growing up on sailboats in New England, he saw the potential of the rigging and masts as musical instruments. This early inspiration led him to experiment
“It's interesting because you are interacting with people who are hungry and communicating with each other, thinking a lot about the food,” Close says. “Giving them a narrative to follow within the music is important.”
with creating his own instruments, free from traditional rules and constraints. As a result, over one hundred fifty unique instruments were made, including the flagship Earth Harp, which has captivated audiences worldwide.
The Earth Harp, a massive stringed instrument, transforms spaces into immersive acoustic environments. Its strings, stretching up to a thousand feet, resonate with ethereal tones, making it visually and sonically spectacle. The instrument has been seen in installations from the Field Museum in Chicago to the temples of Burning Man, and it has even secured a Guinness World Record for the longest playable stringed instrument.
The Residency at Lucky Mizu
Lucky Mizu's unique dinner theater experience features the signature piece by Close, the Earth Harp. The residency at Lucky Mizu has been a long-time experiment in merging concertlevel performances with a delicate dining environment. The challenge? Captivating an audience equally focused on their meal as they are on the music. This innovative approach has successfully created a unique blend of culinary and auditory delight, enhanced by sound effects like thunderstorms and waves, which align with the restaurant's water theme.
Designing for Sound and Visual Appeal
Creating new instruments involves a meticulous process where sound quality and visual design are equally important. For the Earth Harp, the focus is on acoustic excellence. Close draws inspiration from the design of classical instruments like the cello, which has a resonating chamber that amplifies sound. For percussive pieces, the visual appeal often takes precedence, with stunning designs that captivate the audience before a note is played. This meticulous focus on sound and visual aesthetics is evident in his diverse creations, from the Earth Harp to drum jackets. Each piece is a testament to the harmony of art and innovation.
Future Visions: Electronic Music and Beyond
Looking ahead, Close envisions more collaborations and installations, like a recent commission for Royal Caribbean, and performances such as the upcoming Burning Man festival, where he will perform as the last voice of the event.
By blending different mediums, pushing the boundaries of traditional instruments, and creating immersive experiences, he continues to inspire and captivate audiences. Close’s work exemplifies the endless possibilities when art and innovation unite, whether through the surreal tones of the Earth Harp or the dynamic fusion of acoustic and electronic music.
As his residency at Lucky Mizu continues to evolve, it stands as a beacon of what's possible when we dare to dream beyond the conventional and embrace the uncharted territories of creativity.
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WORDS | LINDSAY HEIMAN IMAGES | KARLA DROEGE
Filmmakers Karla Droege and Natasha McCrea use subtlety and layered storytelling to challenge perceptions and explore the power of understanding.
In “Jump the Gun,” filmmakers Karla Droege and Natasha McCrea craft a layered narrative that questions the impulse to make snap judgments. By retelling the same scene with more context, the film reveals how bias shapes perception, inviting viewers to reflect on their own assumptions.
“It’s all about subtlety,” McCrea explains. “I didn’t want to hit the audience over the head with anything. I wanted the story to unfold in a way that felt organic, where the realization creeps up on you.”
In an era where many filmmakers strive for shock value or heavy-handed messages, some turn to the subtler forms of storytelling, trusting that audiences will engage with a narrative that requires patience and reflection. Karla Droege and Natasha McCrea, the creative minds behind the short film "Jump the Gun," belong to this latter group. Their film, which revolves around the theme of misperception, achieves its impact not through dramatic twists but by gently revealing layers of truth. Each retelling of the same scenario shifts the audience's understanding, ultimately challenging viewers to confront their own biases to make snap judgments.
At its core, "Jump the Gun" presents a simple premise: one story told three times, with each version offering a bit more information than the last. What starts as a seemingly straightforward encounter gradually unfolds into a complex meditation on how easily we misinterpret situations when we lack crucial context. “We wanted to make people sit with that
discomfort,” McCrea explains. “The first time you watch it, you think you know what’s going on. By the third time, you’re led to question your initial perceptions and think about why you jumped to those conclusions.”
The brilliance of this vantage point lies in its ability to engage the audience in a process of discovery. Droege, who wrote the script, describes it as “peeling back the layers of a story to show that truth isn’t always what it seems at first glance.” As the details accumulate, the audience is invited to reconsider their initial assumptions about the characters and also about the broader societal prejudices that influence those assumptions. The film’s exploration of misperception is not just a clever narrative device— it taps into a deeper social commentary. The quick judgments made by the characters reflect the way people often perceive others based on incomplete or skewed information. These assumptions can be based on anything from appearance to gender, race, or social status.
“I wanted the film to be a mirror ,” McCrea says, “to hold up that reflection of how quickly we judge people based on what we think we know. A lot of it comes down to implicit bias. We make assumptions based on limited data points, but there’s always more to the story.”
“I wanted the film to be a mirror.”
McCrea's own experiences as a Black woman informed her approach to directing the film. She recalls moments in her life when she was misperceived by others—whether based on race, gender, or some other factor—and how those perceptions were often wildly mistaken. “There’s a kind of power in storytelling when you take the time to show that, by giving the audience the full picture, they realize how wrong they were in the beginning,” she says.
Droege adds, “That’s what we were aiming for. We’re not just telling a story for the sake of entertainment; we want to spark something in people’s minds. We want them to leave the film thinking, ‘Wow, I do this in real life.’”
What makes "Jump the Gun" so effective is its understated approach. The film never overtly preaches its message. Instead, it trusts the audience to pick up on small clues embedded within the dialogue and visuals. With each retelling, the changes are extremely minimal but still significant, perhaps a shift in tone
or a brief interaction that wasn’t visible before. These details gradually accumulate until the full picture is revealed.
This subtlety extends to the technical aspects of the film as well. McCrea’s direction ensures that each retelling feels different enough to maintain interest yet familiar enough to remind the audience that they’re watching the same scenario. She uses lighting, framing, and performance to guide the viewer’s perception, planting the seeds of doubt that eventually lead to a deeper understanding.
“I think subtle storytelling is one of the hardest things to pull off because you have to trust that your audience is paying attention,” McCrea notes.
“You have to give them just enough information to stay engaged but not so much that you spoil the discovery process.” Droege agrees, emphasizing the importance of leaving space for interpretation.
“There’s a balance between guiding the audience and letting them figure it out on their own. We didn’t want to give away too much too soon, but we also didn’t want to confuse people. It’s a tightrope walk, for sure.”
Despite the film’s relatively quiet, understated approach, it manages to build a palpable sense of tension. The audience becomes increasingly invested in uncovering the truth, even though there are no grand plot twists or unfolding revelations.
The tension stems from the gradual revelation of information, as each new version of the story sheds a bit more light on previous misinterpretations.
How To Build Tension in a Subtle Way
“One of the things we talked about early on was how to build tension in a subtle way,” Droege says. “We didn’t want it to feel like a thriller, but we did want the audience to feel that rising sense of anticipation. It’s like putting together a puzzle—you start with just a few pieces, and as more pieces are added, the picture becomes clearer.”
The slow burn heightens the emotional stakes as the audience becomes complicit in the misjudgments they initially made. By the time the third retelling occurs, the viewers have slowly become aware of their incorrect first assumptions, adding an element of emotional guilt to the experience. McCrea calls it “a shift in perspective that sneaks up on you.”
In addition to its narrative structure, "Jump the Gun" employs a unique approach to character development. Rather than having the characters evolve over time, the film shifts the audience’s perception of them. The characters themselves remain consistent throughout the three retellings, but as new information comes to light, the audience’s understanding of their motivations and personalities changes.
“We wanted to play with the idea that perception is often more important than reality,” Droege explains. “The characters don’t change—they’re the same people all along. But because you’re getting more information with each retelling, you start to see them differently. It’s a reflection of how we operate in real life. People don’t change as much as our understanding of them does.”
This technique underscores the film’s broader commentary on misperception. The characters, like people in the real world, are often judged too quickly based on limited information. As the audience gets more context, they have to rethink their first judgments, much like how people revise their opinions when they learn more about someone. “We wanted to give the audience that ‘aha’ moment,” McCrea says. “Where they realize, ‘Oh, I was wrong about that character.’ It’s not just about the story—it’s about making you think about how you judge people in your own life.”
The Women Behind the Camera
Beyond its narrative and character-driven complexities, "Jump the Gun" serves as a broader commentary on how biases shape our worldview. Whether it’s the implicit biases tied to race, gender, or social class, the film subtly critiques the tendency to make assumptions without full knowledge of a situation.
“The beauty of subtle storytelling,” McCrea adds, “is that it gives you time to absorb the nuances. The tension doesn’t come from big plot points; it comes from the little moments that add up. By the end, you’re left with this feeling of, ‘How did I miss that?’”
“We didn’t want the film to be a lecture,” McCrea says. “But at the same time, we’re very aware that it’s making a point about the dangers of jumping to conclusions. Whether it’s in your personal life or in society at large, the message is the same: There’s always more to the story.”
Droege echoes this sentiment, adding that they were careful not to overexplain the film’s message. “We want people to come away with their own interpretation, but we also hope they’ll think about how they perceive others and maybe recognize that they, too, jump to conclusions sometimes.”
Ultimately, "Jump the Gun" succeeds not only because of its clever structure or its nuanced character development but also because it invites the audience to reflect on their own behaviors. By slowly revealing the full truth, the film forces viewers to reckon with their initial misjudgments, creating a powerful metaphor for how biases function in real life.
“We wanted to leave people thinking,” McCrea says. “To leave them questioning their own assumptions. That’s the power of subtle storytelling—you’re not just telling a story, you’re inviting people into a conversation.”
In a world where instant reactions and snap judgments often dominate the conversation, "Jump the Gun" stands as a reminder that the truth is rarely as simple as it first appears. Through their layered storytelling, Droege and McCrea prove that the deepest revelations aren't found in sudden twists but in the slow, deliberate unraveling of understanding.
@jumpthegunmovie @natashamccrea @karladroege
Filmmakers (Top) Karla Droege, (Bottom Right) Natasha McCrea
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CRAFTING EMOTION
WORDS | HANNAH COLLYMORE
IMAGES | GLADDEN SPACE, AMARI KELLY, VINCNET MORSE, JONATHAN THRASHER , IAN STALLINGS HOME
Where Art Meets Emotion and Storytelling
You probably can’t imagine a world where art is inaccessible, where your favorite pieces are hidden away, and creativity is guarded by the privileged— in other words, a world where you can’t interact with the creativity of others.
For much of history, this was the reality of the general public before the creation of museums and galleries. Viewing fine art was a privilege granted only to the elite. The general public, barring those who created art, could only view art in places of worship or on the rare occasion that art was displayed in public spaces.
In fact, the modern concept of visiting a gallery to enjoy art for art's sake or to be moved by it is a relatively recent phenomenon. It started with private viewings by guests of various aristocrats or in churches and has since grown and developed. Today, entering a gallery has become like walking into a conversation between artist and viewer where history, ideas, and emotions become one.
FROM PRIVATE COLLECTIONS TO PUBLIC DISPLAYS:
A BRIEF HISTORY OF ART
Art exhibitions in the modern sense began to take shape in the nineteenth century. As these exhibitions grew, so did the need for art curators. To be an art curator requires a deep understanding of the arts in general. Art curators are supposed to interpret and present art in a way that tells a story. They are responsible for helping people see past a work's surface and connect it to emotions and ideas, and they also gather pieces based on the themes of exhibitions. It is also an art curator’s job to protect the artworks entrusted to them. In essence, curators are the middlemen tasked with cultural mediation.
As people became more interested in art, the curator's job became more important. In the 1960s and '70s, curators like Harald Szeemann changed the field by putting together theme shows that linked art from different periods and styles. These exhibitions did more than display art.
Opening night of the Mary Gillis exhibit 'Studio Views' - Gladden Space
They made it possible for viewers to have deeper conversations about pieces and set the stage for the modern curator's role as a bridge between the artist's vision and the public's experience.
Curators around the world create unique and engaging experiences that allow us to experience art. We interviewed one of these modern-day visionaries, Ian Stallings, to find out what art means to him.
THE HEART OF CURATION
What is art? Art is many things. It can be the delicate process of cooking a meal or the playful act of threading macaroni onto a necklace. Art, whether it is cooking, painting, or sculpting, makes us feel things and bring us together. These emotional connections are the driving force behind Ian Stallings curative process. “I’m drawn to the creative process,” he explains. “It’s not necessarily about the art or the artist; more about the feeling you get from it.”
Listening to Stallings talk, you can immediately tell that he is passionate about his work. He views curation as an art form, a way to express himself, and a way to exercise his creativity. He channels this passion into the exhibits held at Gladden Space, a location Stallings deems a dynamic art gallery and sanctuary for contemporary art.
Stallings' philosophy is clear: art should move you; it should make you feel something. Whether through painting, photography, or curating artwork, he approaches all of his work with the same desire to make people feel something, to connect people both visually and emotionally.
CREATING SPACE FOR EXPRESSION
The goal of Gladden Space is to give emerging artists a place to flex their innovative muscles, no matter how “different.” It is a space for every form of creative expression and appreciation— a haven for art, you might say.
Opening night of the Mary Gillis exhibit 'Studio Views' - Gladden Space
The gallery shows include various styles of art, from painting and photography to mixed media and sculpture. The exhibits from this gallery are thought-provoking and command attention.
Their current exhibit, Home in the Universe, includes the work of artists Stallings has previously worked with— like Mary Ann Lawson and David King— and focuses on themes of belonging and identity. Each piece fits into a larger conversation about what it means to exist and connect with one another.
Art in itself is powerful, but it’s how they are presented that really affects the viewer and makes them feel like they are in a dialogue with both the art and their own feelings.
An exhibition that stood out to Stallings was a show Gladden Space put on in San Francisco called Queer Lens. He liked the show because it showcased the different perspectives of being queer. It invited viewers to engage with and reflect on the complexities of identity and experience.
It’s easy to see how this exhibit resonated with people emotionally, as the importance of sexuality and individual experiences cannot be overlooked, especially for queer individuals.
A CURATOR’S SELECTION PROCESS
Emotions and inspiration are recurring themes for Stallings. When asked how he chooses pieces to display, he responds, “It depends on the theme of the exhibit. The quality of the work. The relationship of the artist with the audience. Our audience. Every artist is completely different. It’s a lot about the impressions of what it inspires.”
Stallings' approach at Gladden Space goes beyond simply matching art pieces to a theme. He gravitates toward art that sparks conversation and leaves a lasting impact on the audience. This emotional focus is the core of his curative philosophy.
At Gladden Space, this sentiment is clear in every exhibit. The gallery offers more than artwork hung up on walls. It presents an immersive experience that evokes emotion from the viewer.
We can all relate to being affected by a work of art, a song, a movie, a picture, or even a music video. You find that it brings tears to your eyes, makes you think, and reminds you of a beautiful memory. That feeling is what Gladden Space offers its guests.
While Stallings maintains that while he does prefer contemporary art, he doesn’t scorn traditional art. As stated above, art is an emotive subject for him. Is there such a thing as bad art? Stallings' response to the question was an immediate no.
“There’s value to everything. You might not resonate with something, and that’s fine, but someone else might,” he says.
Stallings has spent much of his life exercising his creativity through curating, painting, designing, and even photography. When asked how he feels about seeing art after all these years of interacting with it, he maintains that it doesn’t get old. “Sometimes I’m excited, sometimes I’m inquisitive, and other times I don’t feel anything.”
WHAT’S NEXT FOR GLADDEN SPACE?
According to Stallings, Gladden Space is ever-evolving. It changes with every show organized by the gallery. As a man who values creative processes and outcomes, he’s excited to see where creativity will take them. He intends to continue collaborating with the artists who have so far sown seeds with the gallery. He also wishes to see them grow over the next few years.
Art, like life, is ever-evolving, and Ian Stallings is strapped in for the ride, ready to grow and learn alongside the artists he champions. GALLERIST
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Canvas of Truth
WORDS | LEON POSADA
IMAGES | MORGANOTAGBURUAGU, DAMEON PRIESTLY
Artist Dameon Priestly Brings Forgotten Truths to Light
For better or worse, injustice has its ways of shaping the world. It is, after all, one of the consequences of human existence, pushing individuals, social groups, and entire nations toward the brink—the brink of what strictly depends on each of us and how it affects us personally.
Unfortunately, injustice is often out of our hands. Day after day, we can see the consequences of such collective impotence in every corner of the world. What’s worse, as it takes place behind a screen, we become desensitized to suffering, grateful that those on the other side are just far enough for us not to care.
But a few among us see injustice as a spark igniting every choice we make and who crave a connection to others. Sometimes, we call them activists, artists, poets, or even saints. Whether that connection comes from empathizing with joy or pain doesn’t matter to them. All that matters is that the connection is there. Contemporary fine artist Dameon Priestly is one of these few.
TO ART OR NOT TO ART—THAT IS THE QUESTION
To understand the man behind the art, we must first learn what being an artist means in the eyes of Dameon Priestly. Born, raised, and educated in Belfast, he didn’t always make art. Instead, he graduated with a degree in fashion design and illustration, moving to London soon after to pursue a mirage that seemed like a dream back then. It wasn’t long before he became disillusioned with the fashion world. The thing is, Priestly may not
have been making art back then, but he was always an artist at heart. "My abilities and the way I think was probably more deserving of something more worthwhile," he says.
So, what exactly does it mean to be an artist, and can anyone become one? It’s an easy enough question. Sure, we can all create. Our ability to do so is part of what makes us human. But is everything we create art automatically? The answer is no, despite piles of questionable artworks selling for hundreds of thousands of dollars. At least that’s what Dameon Priestly will tell you. He believes artists are born. They know what they are from early on. They can feel it in their bones. To them, doing something else doesn’t feel like an option. It feels like a lie and true artists are honest about who they are. This is not to say coming to terms with their own identity is ever easy, particularly when their work bears witness to an inherently unjust world.
THE CURSE OF MEMORY AND THE GIFT OF ART
On paper, Priestly could have been anything he wanted. A lover of history, people, and their cultures, he comes from a well-read family active in politics, who instilled in him early on the importance of social justice. Even as troubles unfolded around him, his parents helped him pierce the thin veil of politics and catch a glimpse of the truth. He mentions a newspaper photo from 1968 when he was two years old, of him on his father’s shoulders at a Vietnam War march. Upon hearing his story, I have to ask, why not go the traditional route and study medicine, or law, or go into politics?
Perhaps it could have been more accessible to aid the helpless then. Priestly’s answers further cement the notion that artists are born, not trained. "Art is about how you see things and process information… it is about creating a connection, telling a story as I see it and in its truest form…My drawing ability was the quickest means to get my point across… You can be taught to draw
“Art is about how you see things and process information… it is about creating a connection, telling a story as I see it and in its truest form…”
and paint, but that doesn’t make you an artist… I’m an examiner of the human condition… Besides, every politician becomes corrupt."
Beyond his upbringing, Priestly was blessed with what he describes as a near-photographic memory. "It’s not only a sensory memory but a factual one," he says. Unsurprisingly, an artist’s brain hardwired to remember it all had little interest in the dark corridors of politics or the names of bones and nerve endings. After all, who has ever been inspired by a list of every component in the digestive tract or the names of diseases that sound like ancient Greek gods or magical spells in Latin? Priestly craved to create something that would send chills down our spines or make our stomachs drop, and our minds wonder about neon gods and the modern sins of their acolytes.
A CONNECTION TO THE TRUTH AND EACH OTHER Priestly, was first exhibited at the 2007 Florence Biennale as part of the Malice in Wonderland Collection.
Ask any creative person, and they will tell you it often hurts to create. Artists are no exception. Whether that pain is derived from personal experience or from profoundly empathizing with the experience of others doesn’t matter. What matters is conveying the feeling to someone in the audience. Again, anyone can learn to draw, but not every drawing tells us anything about the world or ourselves and what it means to be human.
Before concluding our interview, I asked Priestly if any story from his thirty years of artistic trajectory has stuck with him. He thinks for a moment and tells me about
Sunday School, a painting he exhibited at the Florence Biennale in 2007. The work depicts a teenage girl dressed in white standing in front of a church. It was part of his Malice in Wonderland exhibit, which dealt with religious polemic sects in America in the 1970s and '80s and how the likes of David Koresh, Jim Jones, and Warren Jeffs exploited and abused their followers. A visiting American design school asked him for a private presentation of his work, after which one of the girls stayed behind, transfixed by Sunday School. She had teary eyes when Priestly asked her if everything was OK. She replied, “That’s me. Thank you.”
WHERE CAN YOU FIND DAMEON PRIESTLY NEXT?
You can experience Priestly’s vision firsthand at his next exhibit, What Do You See When You Look At Me? Coming October 21st to 67 York Street Gallery in
London. His work will focus on artists, poets, and activists who the art world and historians have negated or mythologized. Perhaps upon seeing his work firsthand, you will realize the difference between an artist and a painter and understand who Dameon Priestly is and why he does what he does.
@dameon_priestly_artist
ARTIST
DAMEON PRIESTLY
SKINCARE IS SELF-CARE
Inspired by a love of vintage pieces, flowing feminine dresses, florals, and life by the sea.
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THE SAGE SEEKER
Immersed in the vibrant artistic community of San Francisco's beachfront, artist and impresario Gregangelo Herrera has transformed a midsize, aging Mediterranean home into a dynamic hub of creativity. In collaboration with a diverse group of artists, Gregangelo has curated a space that blends history, art, and immersive experiences.
Gregangelo’s San Francisco immersive art museum, which he prefers to call a "connectatorium," there are no ideas. "You make the art, then the ideas come. Just keep your hands moving, and your mind will focus later."
Gregangelo affirms that creativity comes from the heart, not the mind and that it’s okay not to know what something means yet. "You build something and the viewers tell you what they see in your art. Often, children will tell you."
The museum space resides within a refurbished Mediterranean home in western San Francisco near the ocean and serves as a workspace for artists from around the world.
"Today in the house, there were people from Peru, Mongolia, Colombia, and Haiti. Fifteen to sixteen languages might be spoken here any day, and they are all distilled into the language of creativity."
Forms of art practiced at the Gregangelo Museum range from all types of visual and performing arts to creative writing. There’s even a biologist in the mix now, building a garden installation around the theme of sensuality and procreation and an interactive exhibit around the concept of sensitivity.
Unlike a conventional museum, this place has no collections, no antiquities, but instead is created entirely by living working artists in San Francisco. Each work of art is a fully immersive
installation. You become the character walking into a painting come alive. Themes explore topics reminiscent of contemporary, imagined futuristic, and ancient civilizations about which we have little knowledge. The space offers private tours to groups of various sorts, from school field trips to weddings and small business gatherings. Some tours can be adapted to be accessible for everyone, including autistic children.
"These are all immersive experiences led by guides," says Gregangelo). "We have almost twenty-seven installations available for view and people see seven or eight of them at one time." The guides help keep guests in the moment, allowing them to experience the nonlinear mental time travel and self-reflection this museum inspires.
"ALL OF OUR EXPERIENCES ARE ABOUT HOW PEOPLE CAN HELP EACH OTHER OUT."
"We can often keep people in the moment just by giving them a break from their phones," Gregangelo says. "This space is about finding yourself, and nothing on your phone will tell you who you are."
HOW PEOPLE CAN HELP EACH OTHER OUT
The immersive installations begin with an anchor point referencing some story most viewers will have heard of, such as the Tea of Wonderland and Into the Rabbit Hole experiences that allude to Alice in Wonderland. "Totally original work doesn’t always attract viewers if people have no idea what it is, so we start with the familiar and go off on tangents."
Currently, a duo of Malaysian artists craft whimsical explorations loosely based on Malaysian tea ceremonies that they switch up for different times of the year.
For Halloween and pushing through other seasons, the space will contain a haunted doll exhibit where dolls invite guests to share their darkest secrets. However, that experience, and others, will ultimately focus on self-understanding and healing rather than shame.
"All of our experiences are about how people can help each other out," Gregangelo says. "Even the ones where we dig deep into ourselves; that’s so that we can heal ourselves so we can better heal others too."
This vision shines through in a few more installations. There’s an enchanted fairy forest that’s a special experience meant for children and families where family members ask each other questions, learn about each other’s childhoods, and talk in a nonjudgmental way.
There’s also an experience based on the riddle of the Sphinx that highlights the common human journey of life from birth to death and a rabbit hole-themed experience where you burrow down from light to darkness to light again that speaks to the journey of grief.
Two authors are also working together on a novel about someone experiencing grief for the very first time that will be showcased in the museum.
In the future, someone will remake Mozart’s opera, The Magic Flute, and a team of artists will create a mentalist show with magic, fortune telling, and hypnosis to reflect different levels of consciousness.
"We are both seekers and sages," affirms Gregangelo. "We want this show to help viewers experience all the magic that’s all around us, all the time."
RICH IN SPIRIT
Gregangelo has a lifelong passion for performing arts. Half Lebanese, he took Middle Eastern dance courses in SF and
Egypt and became a whirling dervish. A favorite painting in the museum is a storyboard for one of his productions and features him among his performance troupe as a whirling dervish. He says he’s gifted to be a hardworking person from a blue-collar background with lots of energy and business skills. He doesn’t consider himself a leader, just an extrovert excited to work with people and with deep roots in San Francisco’s artistic heritage.
“I grew up in the electric heart of San Francisco during the 70s, a time when the city was a living tapestry of art, culture, and grit. Picture this: the scents of Chinatown, the sights of Hell’s Angels, the raw creativity pulsing from every corner. It shaped me.”
The story of the Gregangelo Museum began in the 1970s when Gregangelo was renting a house together with nine other tenants. He would repair the building whenever there was a leak or rat damage, and by the early nineties, he bought the place as his home, studio, art lab, business headquarters, and a space to create immersive art to share with the public.
Full blown immersive productions started during the pandemic as a way to keep performing arts alive while complying with shelter-in-place regulations. Then, one day, Gregangelo visited a friend’s ranch and was mesmerized by the stunning beauty of some moss-covered rocks. He took some for his garden, which gave him the seed of a new project.
"I recruited people in a socially-distanced pod to create art with found objects. Finally, the city gave the OK to do outdoor shows with people standing six feet apart. We did this and got a line down the
block!" They built the Riddle of the Sphinx experience during shelter in place, which became a memorial to what was lost: not just people, but a culture put on pause. People from the community offered help— one of the artists’ mothers, although she was low-income, brought food to feed up to forty artists every week.
"We adapted. Most everyone has a story like that of making it during COVID; we need to honor the people who are of limited means but rich in spirit and help others."
After shelter in place was lifted, it was clear that it would be difficult for the artists in the house to find commissions and work. The booming gig economy during San Francisco’s tech boom had dried up even before the pandemic and was now even fewer and farther between.
So, they had to figure out on their own how to stay employed, which they did through Gregangelo and the other artists’
business sense, by expanding this museum of immersive art and selling tickets to the hundreds of people who come through each season.
"People think that artists have chosen an easy path as opposed to working for a living," he reflects. "But art creation is actually very hard. We’re usually gig workers without steady income, without health insurance from an employer, who have to get up each and every day and find a way to make a living. I just dare you to live the way we do and then tell us we’re not valuable! No one would choose this life; it’s a calling."
No stranger to challenge, Gregangelo starts the day roller skating across San Francisco so he can see the people around him and remember to be present.
"If you’re not fully present while roller skating in a huge urban center, you’ll die. Also, there’s a compassion that happens as you notice the world around you."
EMERGENT CULTURE
When asked how the culture of the Gregangelo Museum developed, he says it would take him three full novels to fully explain. "The artists and I find each other! It’s all very organic," he points out. He’s now the only one living there, but teams of artists show up and create new work every day. He finds them by getting to know who they are as people rather than through a formal process.
"I’ve run a circus company, and we had auditions. Everyone was at their worst. I am an accepting person but was in a position now judging others, and they were normally confident artists made nervous by the audition process. So I decided to break
through the audition process and just go to lunch, break bread together, meet, and get to genuinely know each other."
Some artists stay for just a month using Gregangelo as just a career stepping stone, others for up to twenty-five years or longer, making a life path out of the museum. Gregangelo usually plants the seed for an installation, starting the process of creating the rooms. Next, anywhere from five to sixteen artists start working together, on top of each other’s work, continually adding to the project.
"We just let the experiences work naturally," Gregangelo says. "You can’t force things, either for the artists or the viewers."
He intends the Gregangelo Museum to be a very comforting place where the viewers can let their own stories emerge.
"Legends, myths evolve here within this small and intimate space," he says. "People leave not knowing exactly what they experienced, but they often say, ‘I didn’t expect that!'"
Some people have quite powerful experiences among the art installations.
"A couple once came who’d been married for fifty-three years. The wife was interested, but the husband looked bored and just wasn’t having it. I noticed that and struck up a conversation with
them. I asked the husband what had first attracted him to his wife. He said something and I don’t even remember what he said, but his wife burst into tears as she had no idea he appreciated that about her! The space helped them to get to know each other."
LOOK AROUND YOU!
Gregangelo says that San Francisco gets an unfair bad rap in the news. "People focus on the problems of the city, which we have, but the bulk of the city isn’t troubled; it’s multicultural and creative. All depends on where you look."
He recently watched a reel on social media where someone filmed a collection of terrible things happening in San Francisco, and he responded with a set of photos of his own spotlighting beautiful things there.
In that same spirit, Gregangelo’s catchphrase is "Look around you!" He urges people, especially young people, to look around themselves, travel if they can, get to know other people, and appreciate our common humanity. "We identify as different when we really all want similar things in life," he says. "So get out there, work for the cause of humanity, get involved in the democratic process."
The city of San Francisco has declared Gregangelo’s home a civic landmark for arts and culture, and it’s being rezoned since it’s in a residential area. Being considered a legacy landmark business gives them some legal protections from petty naysayers of arts and culture.
Gregangelo affirms that the Gregangelo Museum, or connectatorium, will never end, as long as he’s alive.
“We thrive on that intersection of art, culture, and passion and we’ve turned that into an organized and profitable venture.”
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Spotlight
Captured
WORDS | SHAMEYKA MCCALMAN IMAGES | CHERYL FOX
Behind the Lens with Cheryl Fox: Where Art Meets Essence
THE CALL OF THE CAMERA: BEGINNINGS IN FINE ART
Cheryl Fox's love of photography began in the fine art world. This early phase of her career was marked by a deep exploration of artistic expression through the lens. “It took me many years to get into the fine art world, which was my opening to photography professionally. I came in through fine art,” Fox recalls. This foundation in fine art has imbued her work with a distinct sensitivity and depth, setting her apart in the commercial realm.
NAVIGATING THE COMMERCIAL AND EDITORIAL WORLDS
Transitioning from fine art to commercial and editorial photography has its own set of challenges. Fox notes the differences between the scale of production and the nature of the work itself. “When I'm shooting a campaign with someone like [Floyd] Mayweather for Showtime, I need my production team together. It’s a bigger production because we're doing key art, out-of-home, and commercials,” she explains. The commercial world demands meticulous planning, larger teams, and, often, a higher budget.
Editorial shoots, on the other hand, have a different kind of satisfaction. They might involve traveling and working seamlessly with stylists, hair, and makeup artists to create compelling narratives within the constraints of a magazine's budget. “Editorially, you're working with people, but it’s a great team. It’s more about the stylist, the hair and makeup, and everything switches with every shoot,” Fox shares.
CAPTURING THE ESSENCE OF HIGH-PROFILE SUBJECTS
Most of Cheryl Fox’s work captures high-profile talent and celebrities in their most authentic form. She believes the real challenge lies not with the celebrities themselves but with the people around them. “I make them feel comfortable because that’s what I capture in real life. I’m looking to your spirit and speaking to your spirit,” she says.
“Cheryl Fox is a standout in the photography world, known for her deep storytelling and authentic portraits. From her beginnings in fine art to her success in commercial photography, Fox has consistently captured the essence of her subjects with a unique vision.”
This method involves forming a connection with her subjects, allowing her to capture their essence. This patience and connection are evident in her work with figures like Pharrell Williams, Snoop Dogg, and Floyd Mayweather.
CELEBRATING A FEW GOOD WMN
Among Fox's most meaningful projects is her forthcoming book, A Few Good WMN. This coffee-table book is a tribute to women’s strength and overall beauty. Filled with quotes and powerful images, the book prompts a reflective question to its readers: “When did you become a woman?” It’s a project that has sparked personal reflections.
The book’s foreword, written by actress Regina Hall, adds a layer of intimacy and connection, reflecting the deep friendships and collaborations that have marked Fox’s career. “It was a healing project for me and a self-discovery project. Every time someone opens the book and reads it, I hope they go into the same type of self-reflection,” she shares.
DREAMS AND ASPIRATIONS
Looking to the future, she hopes to break into the complex world of commercial advertising. “I would really love to see more commercial advertising and get those huge contracts that most white photographers have been getting since the beginning of time,” Fox shares with determination.
Her vision includes working for Dove, where she believes her ability to showcase genuine beauty and emotion can make a significant impact. “I think I have an entire book where I've already created that campaign,” she says, spotlighting her ambition.
THE ESSENCE OF HER WORK
What sets Cheryl Fox apart is her unwavering commitment to capturing her subjects. Her images are not just photographs—they are windows into the soul, evoking feelings and reactions that linger long after the image is looked upon by the viewer. “I need something from the
person, from the landscape, something to feel. I need you to feel something when you see the image,” she says.
Her work reflects an affluent aesthetic, whether she’s photographing celebrities, everyday people, or other imagery. This ability to capture the inherent beauty in her subjects has made her a standout in the industry.
A LASTING LEGACY
As Cheryl Fox continues to expand her portfolio, her impact on photography is
undebatable. From her beginnings in fine art to her aspirations in commercial advertising, Fox became a pioneer of creativity, authenticity, and passion in her industry.
Her journey reminds us that photography is not just about the images we capture but the stories we tell and the connections we forge. Her upcoming book, A Few Good WMN, is set to be a pivotal moment in her legacy as a photographer who captures moments and inspires reflection and thoughtful conversation.
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A Brush with Wonder
WORDS | CRISTINA DEPTULA IMAGES | ARY STOCKBRIDGE, GOLDEN GATE BUSINESS ASSOCIATION
Shimmering seas, celestial dreams, and Sobh’s vibrant visions
WAJIH SOBH’S ART GIVES HIM THE "WOW FACTOR"
He loves to cover huge, 75- to 80-inch canvases with images of places we know little about: the ocean depths or outer space. "So much of our vast universe is unknown to us, given our minuscule size," Sobh says, "and that fascinates me."
One of his paintings is inspired by the surface of Jupiter, resplendent with colors, storms, and movement. Others seem to depict a different galaxy, with alien figures, and bursts of lime green, glowing red, and what he calls "Star Wars colors."
His seafloor paintings usually use the cool colors of the ocean, a mixture of light and dark, and are focused on an ecosystem or larger area rather than just a single sea creature. He crafts moments of mystery and drama, such as the instant when a great white shark passes by.
"I get inspired by places I visit when I travel," Sobh says. "I’ve visited over thirty-five countries, and whenever I go somewhere, I go to the ocean."
Travel gives him memories of places he reproduces in paintings. One of his recent pieces was inspired by Thailand.
"I like to go to new places, absorb new color schemes, and foods, and palettes," he says. He paints with acrylics, and his newest paintings include glitter, which represents pride and joy to Sobh.
He coats the glitter with resin, which creates depth and a 3D layered effect. His new resin paintings have embedded pieces of seashells, and one of his recent works, Ocean Gem, incorporates crystals and lapis pieces glued onto the canvas.
NEW IDEAS, CLOAKED IN MYSTERY
Sobh first starts creating a painting by deciding whether he’s going to go with an extraterrestrial theme or an ocean motif.
"My idea crystallizes through my process," he says. He then picks a color scheme and works from there. Ultimately, he intends to stay mysterious to leave viewers wondering what exactly he hopes to express.
Sobh admires Leonardo da Vinci and the work of other Renaissance artists, whose work, he says, also evokes emotion but leaves some room for mystery. He also admires the creative genius of Vincent van Gogh. However, he says that European museum pieces, no matter how gorgeous, all start to look the same. He’d rather create something new, and get people to say that they’ve never seen something like that before.
"I always try to supersede expectations," says Sobh. "I like to give people more than they expect, wow them even more, make them think even more."
PASSIONATE FOR BRINGING PEOPLE TOGETHER
Wajih Sobh never intended to be a professional artist.
"I’m a Lebanese immigrant with a business degree," he remembers. "I got into finance after graduation and worked at a bank branch. But customers would just start talking to me, and I found myself practicing psychology."
“Just keep creating, keep showing your stuff, invite people and get your work out there,” he says. “Not everyone will like your stuff, but some people will, and that’s enough."
After that, he got interested in talking and interacting with people, in ways to bring people together. He sees that as the common thread in all his interests: business, art, and wine.
He loves crafting wine and views drinking wine as a celebration of success. He has a special interest in reds, in particular, Petite Sirah and his signature Pinot Noir.
"Red wine is an art; I love how it blends together. And Pinot Noir is a thin-skinned grape, it’s hard to get the wine right."
He says, though, that connecting people over wine is tricky as people come with pre-existing preferences. "It’s hard to wow someone with reds if they’re a white drinker, for example. Or if they don’t drink at all."
So, Sobh views art as more of a common denominator. He originally started crafting paintings during the COVID-19 lockdown as a way to escape boredom. Even before shelter in place, his job had shifted to a remote position, which allowed him to work from home and paint at lunchtime.
Then, in 2023, he went back to Lebanon to visit his father, who is also an artist, and saw his pictures.
"I took back some of his work, and we decided to do a show in San Francisco of the two of us together."
He knows the owner of the San Francisco nightclub, Oasis, where he’s now going on his third show. He has come to love putting on shows.One hundred people came to his first art showcase, a number which has steadily grown over time.
NETWORKING AND SUPPORT FOR SAN FRANCISCO’S ARTISTS
Sobh advises other artists to keep creating and keep showing their work.
"So many artists are shy! But it’s okay, so long as you enjoy your own art. You don’t have to be someone great like Picasso. Just keep creating, keep showing your stuff, invite people, and get your work out there," he says. "Not everyone will like your stuff, but some people will, and that’s enough."
Sobh encourages artists to go to networking events, to get known and get out there, and to help each other by inviting guests to each other’s shows.
Networking and mutual support is important to him, and toward this end, he joined the board of the Golden Gate Business Association, which coaches new entrepreneurs and offers sponsorships to help small businesses.
"San Francisco lost so much of its art with artists having to move due to housing costs," he says. So he wants everyone else who’s left in the city to fill the vacuum.
"You don’t have to be labeled as an artist to make art. You can be a CEO or tech entrepreneur and make something and show it off."
Sobh says that if you really love something, you’ll find the time and space to pursue it—and you should, since the city needs you and your creative work!
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roots in every stroke
WORDS | NIDA KHAN
IMAGES | ZARAHANA KARBO
Zarahana Kargbo’s Visionary Art Honoring Black Narratives and Ancestral Memories
Zarahana Kargbo’s fondest childhood memory is visiting her aunt’s salon, where she absorbed the vibrant conversations shared by the women who gathered there. Those exchanges, perhaps unwinding years of misrepresentation, unraveling biases, and overcoming life’s obstacles, shaped her in subtle but profound ways. Though young Zara may not have fully grasped the complexity of their words, she was deeply moved by the unapologetic joy of knowing and embracing one's roots. That experience now fuels her unfiltered artistic expression, creating work that speaks powerfully and authentically from the heart.
THE FIRST STROKE
Kargbo, now seventeen, radiates an inspiring, infectious energy as she reflects on her journey as a young Black artist in Oakland. When asked how it all began, she credits one of her teachers.
“She noticed I put in more detail than the other kids,” Kargbo recalls. She also expresses deep gratitude to her mother, who encouraged her passion through art camps. “School and summer camps were where my love for art truly began,” she shares. “I had my first exhibition at MoCHA—The Museum of Children’s Art— when I was just seven or eight years old.”
Her connection to art deepened with the support of Oakland's vibrant Black art scene. “I would visit the Joyce Gordon
Gallery and see the exhibits. I’d always think, ‘I want to do that one day!
BEAUTY IS IN THE HAIR
“I like to focus on hairstyles,” Kargbo’s eyes light up as she talks about her work. Hairdos are deeply personal, and she incorporates that unique aspect to capture the powerful identities of Black women. She comes full circle from her days at the salon watching hairstyles come to life to sitting in her room, painting hair on canvas.
“My painting style is kind of different.” From fun, eye-catching, graphic-style art to realism with adept blending and form, Kargbo loves to experiment and enhance the skills learned in art school.
“It’s a process. I have my music playing… a movie playing in the background.” Her eye for detail in capturing the nuanced expressions of her portrait muses is magical. “It’s just a way for me to express my creativity, my talent, my passion.” Feeling uplifted and inspired is essential for her when she creates art.
Melanin Memories was an eleventh-grade project that Kargbo holds close to her heart. During this project, she uncovered a treasure trove of photographs from her grandmother’s past, and in doing so, Kargbo felt she had cracked the code for time travel. “I began looking through the pictures and imagining what the colors and textures were like,” she
“I want people to feel a sense of connection with the painting, maybe from a memory, or someone from the past, you know.”
recalls. Kargbo visualized stories in the subtle expressions and soulful eyes of her ancestors. “Grandma, do you remember the color of your jacket?” she asked one day. To her surprise, her grandmother remembered that it was green.
This wholesome and imaginative conversation with her grandmother unearthed an intricate and deeply personal art collection. Through this project, Kargbo connects with her family’s history and transports herself to a bygone era. She reflects on how every photograph holds a hidden chapter,
something unique to that moment in time. Each brushstroke in her paintings brings her closer to her origins.
NEW LEAVES, OLD ROOTS
Watching Kargbo paint one of her favorite paintings called Mama’s Touch is a captivating experience. She’s shared a timelapse video of the process on her social media. A mom making her daughter’s hair is a timeless act holding significance and unique attachment. The effortless flow of her paintbrush on the canvas, the lively color palette, and the symbolism of pure bonding are commendable. Kargbo
describes it as a ceremony where she and her mom talk, watch movies, and connect on a deeper level. Kargbo also shares how this was the first time she experimented with her characteristic elements of side eyes and a triangular nose. She has showcased this painting at the Museum of the African Diaspora under the theme, New Leaves, Old Roots, and describes it as a “dream come true!” Kargbo interacted with other young artists belonging to a diverse African heritage. From podcasts to exhibitions, these collaborative ventures have enabled her to diversify her exposure and knowledge.
Zarahana Kargbo’s heritage weaves together the natural beauty and resilience of Sierra Leone with the rich multiculturalism of Louisiana. Her deep connection to family shines through in her art, where modern techniques merge ancestral portraits with contemporary Black narratives of empowerment and femininity.
PAINTING FROM A PLACE OF LOVE AND CONNECTION
Seventeen-year-old Kargbo has come a long way — from discovering art as an inquisitive child to creating riveting portraits and working as a curator for emerging Black artists at the Oakland Youth Art Explosion. When asked about the barriers she may have faced, Kargbo smiles as she shares about not being taken seriously at times because of her age and lack of representation in the art world.
But Kargbo is fully aware that certain presumptions and stereotypes will always persist and does not allow this to phase her. She finds strength in her family and friends’ constant support. Art is universal and relatable, irrespective of age, skin
color, or geography. Art that can shatter barriers of the heart and mind creates revolutions. It all begins with the purest, most joyous love for art, something that Kargbo has.
Artists deserve all the appreciation in the world. They embody their heart and soul in every brushstroke and portray vulnerable parts of their lives on blank canvases. Kargbo hopes that people will acknowledge her talent and remember her as a young, Black woman painter whose paintings tell beautiful and relatable stories.. For Zara Kargbo, this is just the beginning.
@zarahana_kargbo_arts @nidakhanwrites
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Fashion
THREADING
Gerry Kelly’s Creative Spin on Men’s Fashion and Sustainable
Design
WORDS | CRISTINA DEPTULA IMAGES | GERRY SONAS, JOHN SCALLAN, WIKIMEDIA COMMONS, FOGHORN
Bay Area designer Gerry Kelly shares his fashion aesthetic, giving people makeovers, becoming a designer, and giving advice to aspiring entrepreneurs.
San Francisco Bay Area designer Gerry Kelly has advice for people wanting to change their style or perk up their wardrobe. "Change your routine a bit. Go into a new store; check out something different. And it’s okay to explore, not to know what you want right away. Sometimes you don’t find the style, it finds you."
Kelly's social media showcases before and after makeovers, where people, mostly men, upgrade their looks and fashion choices. "I do a lot of styling with men," he says. "Women and girls bring in their boyfriends for a makeover, or middle-aged guys come in when they’re re-entering the job market or the dating world."
He’s observed that the confidence from getting a new outfit you love can really help someone’s career and life. "When salesmen get a brand new wardrobe, their attitudes and sales go up."
CLOTHES FOR MEN: FILLING A NEED
Kelly describes Sonas’s aesthetic as "timeless and classic, with an edge." Each piece is distinctive and can be dressed up or down depending on what you wear with them.
The jeans and jackets appeal to musicians and attendants of the Burning Man festival in the Nevada desert. "I would guess my typical customer is a man between the ages of forty-five and seventy-five, who likes rock and roll and thinks like an entrepreneur.”
All kinds of people buy Sonas clothing, but Kelly says he sells more clothes to men than women. "I’m better at designing clothes for men than clothes for women," he says. The area where he opened his store didn’t have much in the way of clothes for men, especially interesting boutique clothes, so Sonas filled a need.
Kelly’s personal favorites include Sonas’s multicolor, patchwork jeans; their bold Take No Prisoners jacket; and the Majesty jacket. He also likes to create private-label clothes, where he buys clothes and changes them up.
Sonas’s clothing is made from sustainable, repurposed fabric. They don’t use new leather, feathers, silk, or wool. "My wife is an animal rights attorney," Kelly says. "So we have a commitment to animal welfare and being eco-friendly. But it’s lowkey on the website and in our store. I’ve found that people don’t want to be preached at, so we just use sustainable practices and focus on the clothes."
FROM FAVORITE JEANS TO THRIVING BUSINESS
Gerry Kelly has been interested in fashion since his teen years in the 1980s, wearing Levi’s in Dublin, Ireland. Designers he admires include John Varvatos, Diesel, and G-Star. He formerly worked in real estate, which didn’t suit him as much as making clothes.
"I got started in 2011 making festival clothes people could wear to music events," Kelly remembers. "Before then, I remember wearing a favorite pair of patchwork jeans that I bought in the Haight. They got me a lot of compliments but eventually fell apart. So I hired a fashion student to work with me to make some new jeans with different fabrics."
Kelly’s first pair of jeans sold for $160, so he knew at that point that he was onto something. "However, making one thousand pairs of jeans is different from making one or two," he says.
In the past, he took time off from Sonas to earn a living by driving a taxi and selling software, but Sonas has been his sole focus for the past three years. During COVID shelter-in-place restrictions, Kelly operated a popup store and found that people still visited, as they wanted to get out of their houses and browse clothing for events they might attend in the future.
"I’m in the people business, and I just so happen to sell
clothes."
THE FINE ART OF CONNECTION
Kelly describes himself as an extrovert. "I’m in the people business, and I just so happen to sell clothes."
He still appreciates his alone time, though, in which he focuses on self-development. "I like to meditate, even before I have my coffee. I get out every day to walk with my dogs, listen to motivational podcasts, and talk to myself in the mirror, give myself affirmations."
He also reads memoirs of other successful people, including Shoe Dog, from the founder of Nike, and tennis star Andre Agassi’s book Open.
He advises other aspiring entrepreneurs to make a product that’s unique and to share the story behind the product. Also, he advocates for supporting their fellow entrepreneurs and connecting themselves to the broader community. Kelly has become well known for interviewing his fellow small business owners on video and sharing that over social media.
Kelly says building a brand and becoming known is an art in itself, as much as designing clothes. On October 5th of this year, he’s coming out to the Presidio Yacht Club for Marin Fashion Week, where he will bring back his best-selling jeans.
"That will be all about connecting with people!" he says. There, Sonas will reflect their timeless and classic aesthetic on a larger stage.
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Technology
Counterfeit
WORDS | ELOISE STARK
Challenging fakes with cutting-edge AI
Everything about Elmyr de Hory was a carefully curated artifice. He wore a monocle and spoke sweet words that seduced everyone he met. He befriended Marilyn Monroe, Liz Taylor, and many important art world figures. He claimed to be a displaced Hungarian aristocrat who had moved to Paris after World War Two. He started selling his family’s impressive art collection: works by Henri Matisse, Amedeo Modigliani, Pablo Picasso, and many other masters. Renowned galleries purchased them, none of which suspected that these beautiful artworks were, in fact, clever forgeries painted by de Hory himself.
For decades, de Hory flooded the art market with hundreds of counterfeit paintings, which ended up in private collections across the globe. The extent of his deception began to unravel in the 1960s when a few suspicious art experts started to note the inconsistencies in de Hory’s stories of where artworks had come from and stylistic details that didn’t quite fit their supposed creators. The sheer volume of his work and the lack of reliable records made it hard to identify and remove all of De Hory’s forgeries from the art market. They continued to exist, unspotted, in collections worldwide, creating a shadow over several twentiethcentury artworks, a question mark over what was real and what wasn’t.
A NOVEL WAY TO AUTHENTICATE ART
De Hory’s incredible counterfeiting career highlights an ongoing dilemma in the art world. How do you distinguish genuine masterpieces from careful copies? How do you know if a painting was really from
the hand of a master and not a careful imitation of their style? Investors may spend millions of dollars on a piece of art, believing it to be the work of a famous artist, only to discover that it is a forgery worth nothing. It could take experts decades to work out the deception. But imagine if you could simply take a photo of the work and feed it into artificial intelligence (AI) software, which would instantly tell you whether it was a fake. A woman-run AI startup in Switzerland, Art Recognition, is making this a reality.
Dr. Carina Popovici’s journey into the art world was anything but typical. With a Ph.D. in physics and a background in finance, she worked in the risk management department of Credit Suisse Bank for many years before deciding to launch a startup in 2019, driven by a personal passion for art. She dreamt of making the art market more transparent and more objective. With her strong technical background, she had an idea of how to do it: teach an AI to analyze a photo of a piece of art, compare it to a database of verified artworks, and determine whether or not it was real or a forgery.
HUMAN EXPERTISE AND HUMAN ERROR
Traditionally, this job has been performed by art experts, a mix of historians, curators, conservators, and appraisers. Like most things related to art and creation, it is an immensely subjective field in which human emotion and human error play a significant role. "We know many cases of experts that disagree with each other. An art owner might go to one expert, get an answer, and then go to another expert and get an opposite answer," explains Dr. Popovici. "That's a very frustrating experience."
In 2019, when Dr. Popovici founded Art Recognition, AI wasn’t as well known as today. ChatGPT, when it launched in November 2022, marked a significant breakthrough with its uncanny ability to generate writing and images that sound and look almost human-created. That is when the idea that AI would massively change our way of doing things took hold beyond the minds and screens of data scientists and into mainstream society. Back in 2019, when Dr. Popovici began, however, her belief in her technology came mainly from "intuition," she notes, a gut feeling that turned out to be correct. Five years later, Dr. Popovici is confident in her technology’s ability to detect counterfeit artwork just as well as humans.
Art Recognition’s AI technology operates by analyzing high-resolution images of artworks and comparing them to a comprehensive database of both authentic and non-authentic examples (including imitations, copies, forgeries, and artworks created within the artist's circle). The process begins with feeding the AI photographic reproductions of authenticated paintings by a particular artist, creating what is known as the authentic training set. A contrasting set of negative examples complements this. "This training allows the AI to learn the unique features of each artist's work," explains Dr. Popovici.
"When a new painting comes in, it compares the learned features with those on the new painting," Dr. Popovici explains. This method allows the AI to calculate the probability that a new artwork is by the trained artist, which is then converted into a yes or no answer.
CONSISTENCY AND CHALLENGES
AI does not have the same biases as humans. It provides consistent results driven by the data it has been taught. Art Recognition promises 100 percent objective and unbiased results, which can be generated in days. AI authentication also comes with practical benefits. These neural networks can analyze artworks quickly and
remotely, eliminating the need for artworks to be packed up and transported and reducing costs and risks associated with sending valuable pieces across borders.
However, AI has its challenges. "The biggest technical hurdle is compiling a robust dataset," Dr. Popovici noted. This can be difficult, especially for artists who don’t have an expansive portfolio. For example, the Dutch baroque painter Johannes Vermeer, the artist behind the "Girl with a Pearl Earring," left behind fewer than thirty paintings. This makes it hard to train the AI to recognize his work effectively. In the same way, artworks from complex artists who frequently changed styles or collaborated with others also require an extensive database to effectively detect their nuances.
WORKING WITH EXPERTS
Despite initial resistance from some in the art community, Art Recognition has begun to develop collaboration with traditional experts. "Many experts initially saw us as a threat," Dr. Popovici admitted. "But over time, as they understood our technology better, we've started working together." Rather than a technology to replace human experts, Dr. Popovici sees her creation as a tool for collaboration. After all, Art Recognition requires a human-created database of what is real and false before it can judge the authenticity of new artworks. AI needs humans, and in exchange, art experts can use AI to save time or tackle trickier cases.
One of the technologies developed by Art Recognition that can help experts perfect their decisions is the heat map, which superimposes a color code on the painting to indicate areas that had the most influence on the AI's calculations. "If something is very bright red, for example, it means that that part of the painting had the strongest importance for the network's decision," Dr. Popovici says. This demystifies the process and helps clients— mainly private collectors and galleries— understand how the AI concluded.
A RACE AGAINST FRAUDSTERS
Dr. Popovici acknowledges that this heat map also has the potential to help fraudsters perfect their counterfeits.
By running their works through an AI, they could learn which aspects must be modified to remain undetected. Art Recognition created its own generative AI to stay ahead of the curve, which produces fakes. "We feed these back into our authenticator AI, so it can also recognize AI forgeries," Dr. Popovici explains. "But it is a race between the authenticators and the fraudsters," she adds.
Looking ahead, Art Recognition aims to scale its business, with plans to open offices overseas and expand its client base. "We want more clients, more revenue, but most importantly, we want to stay true to our mission of making the art market more transparent," Dr. Popovici says. After all, she points out, art is more than just a financial asset. It has great emotional value for people. "Art carries deep personal and historical significance, and often family stories," she says. It is this very human element of art that artificial intelligence is helping to preserve.
art-recognition.com/
Imagine taking a photo of an artwork and feeding it into an AI software, which would instantly tell you whether it was a fake. Art Recognition, a woman-run AI startup in Switzerland, is making this a reality.
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Sculpture and site-specific installations elevating vernacular forms of knots inspiring awe and undertanding THE JOURNEY OF THE LINE
WHEN ART IS
A Digital Dimension Beyond the Canvas
WORDS | LEON POSADA IMAGES | IGNACIO LOPEZ
reating art is a struggle. For generations, artists around the world have done the impossible to bring their visions to life, but the finished product often falls short of what they envisioned at the onset of the creative process.
For street artists, whose canvases enliven cities around the world, art also plays the role of a social and cultural facilitator. Thanks to them, what used to be desolate, underutilized roads have become home to street fairs, neighborhood gatherings, and some of the most renowned art festivals in the world. Still, what we see on the street isn’t always as engaging as it could be. Until now.
Thanks to the visionary mind of Ignacio “Nacho” Lopez and the team at Mussa, a new frontier has opened in the art world, allowing artists to expand their vision far beyond the canvas.
An Old Technology for Our New World Nacho’s journey didn’t start with art. In fact, his background is in advertising. When he founded Mussa in 2018, the goal was to apply emerging technologies, such as virtual reality (VR), to the architecture, interior design, and real estate industries in Miami, FL. The idea was alright, but in his own words, “it is the market that dictates which solutions work.”
With few clients interested in his vision and VR increasingly limited to gaming, the situation seemed dire. That’s when Nacho discovered augmented reality (AR). The technology has been around since the 1990s when it was developed by the U.S. Air Force to overlay satellite trajectories on telescope videos for detecting space debris. At the time of its inception, its applications were limited, but the future of AR promised far more than its forefathers could have imagined.
Fast forward to 2018, and there’s a smartphone in every pair of hands accompanied by attention spans of around twelve seconds. The never-ending scroll was upon us, and conditions were ripe for AR to be brought to the masses. It was just a matter of finding the right industry. “With a lack of knowledge about the possibilities of AR, any industry could have benefited from this tech,” Nacho says. “But we had to define the exact type of content that added value…After all, amazing, well-funded technologies sometimes fail; just look at the metaverse.”
Redefining Artistic Visions, Big and Small Street art was never an obvious choice for Mussa. Despite Miami being a mecca for street art, Nacho’s team hadn’t even considered the possibility of integrating emerging technologies and the work of urban artists. Then, a random walk through iconic Wynwood changed everything.
On a slow workday, while walking among the colorful murals of Wynwood, Nacho realized people were not interacting with the art quite enough. Sure, they
were looking at it, but could there be more to the experience? And if so, could AR help street artists make their work more engaging? With Art Basel and Art Week Miami fast approaching, the opportunity for collaboration was there. All he needed was to find someone who believed in his vision, and two very different artists did.
First, there’s Luis Valle, a local artist whose signature mascot, El Shamansito, can be found all over the streets of Wynwood and Little Haiti. He wanted to bring the character to life ahead of Art Week, and AR was just the way to do so. Together, he and Nacho came up with a guerrilla campaign that saw Valle plaster over a thousand stickers and posters all over Wynwood, each one coming to life whenever a person scanned it using Mussa’s AR mobile app.
Next up we have El Pez, an industry legend who was working on a wall for the upcoming Basel. Upon meeting Nacho and seeing Mussa’s app in action, the two men realized AR could bring street art to everyone, everywhere, at any time. Suddenly, walls were poised to make a jump into the digital world, bringing along a redefined, expanded vision of street art.
A Journey from Street Art to Print Media
Mussa’s initial collaboration with El Pez went on to become the now iconic Street Party, the first ever limited edition print featuring AR. For Nacho and his team, it is still surprising to remember how their journey into the world of street art started and where they find themselves right now. “Luis and Pez were the first,” he says. “Since then, we’ve produced some great works with street artists from around the world, and established amazing friendships that have redefined not only our work but who we are as well.”
What Luis Valle and El Pez saw in Nacho’s early work was soon recognized by some of the world’s best street artists, leading to a collection of AR prints that cemented Mussa’s reputation in the industry. From Chicago’s JC Rivera and his iconic BeAR Champ to Italy’s Peeta and his mind-bending Bricks, AR prints brought street art to the public at large and redefined how graffiti artists and muralists see and share their work.
It is worth mentioning this transition to print media didn’t take away from Mussa’s early success in the streets. Since 2018, their work and tech have been present in cities across the USA and Europe, including AR on murals by El Pez, Kobra, and D*Face, three of the biggest names in street art.w
What’s Next for Mussa?
In 2020, the art world came to a halt. In Miami alone, Art Basel and Art Week were canceled, and difficult times were ahead. The pandemic marked a shift in all our lives, and Mussa had to adapt to survive. Nacho was forced to switch back to advertising, designing AR campaigns for companies in the USA and back home in Spain. Most of his team went separate ways, but he refused to give up.
Today, with COVID behind us, Nacho has a plan already in motion. “We’re in the final stages of launching a new app that we designed in collaboration with one of the largest street art conglomerates in the world,” he tells me. “They have over a thousand murals in cities across the US, and we will activate entire neighborhoods through a combination of art and AR. I can’t say much more than that for now, but you should stay tuned.” For my part, I sure will!
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Change Makers
pointe
Angela Watson Balances Tradition and Diversity in Ballet
As winter looms, soft snow and Swan Lake naturally come to mind. Shades of white tend to dominate the chilly season in the same ways they dominate the ballet. But what happens when color becomes the root of exclusion? Ballet is trying to swim out of these restrictive depths, and San Francisco Ballet finds itself ahead of the game with successful corps de ballet member, Angela Watson.
WORDS | ANGELIQUE REDWOOD IMAGES | LINDSEY RALLO, LINDSAY THOMAS, ERIK TOMASSON
ballet is a beacon of beauty, a dance form embedded in art, and there’s no better example of its elegance than the San Francisco Ballet. They're a company poised to innovate ballet’s traditions, and their corps de ballet member, Angela Watson, serves as a centerpiece. While the winter season reminds me of soft snow and Swan Lake, Watson reminds me of the importance of inclusive art and what it means to inspire Black dancers everywhere.
Ballet has come a long way, but this artistic dance style is still new to being an inclusive space. Beginning in the Italian Renaissance of the fifteenth century, ballet grew from being entwined with the opera to standing on its own two feet after migrating to France. From there, the art form traveled to Russia, the United Kingdom, and the United States, and yet its global reach was no match for the rigid traditions kept throughout its history.
“I spent most of my middle school falling in love with dance.”
Known as an exclusive art form, most ballet dancers were male until 1681, when ballet’s first principal female dancer premiered, and it took even longer for dancers of color to join the space. Closely tied to court entertainment, the upper class pushed ballet into the spotlight. As a result, ballet has kept its highbrow prestige into the twenty-first century, but the past few decades have wrestled with the artistic sport’s exclusivity.
After ballet migrated to the United States in the twentieth century, dancers of color started entering the conversation. From Native American prima ballerina Maria Tallchief to African American ballerina and choreographer Janet Collins, once-overlooked communities were finally arriving into the sport, but ballet’s rigidity and America’s cultural climate made this inclusion an uphill climb.
The classic feel of ballet is rooted in a sense of sameness, which meant African American ballerinas were required to powder their skin white to fit into the Eurocentric corps de ballet or become exempt from dancing altogether, and that doesn’t count the looming threats to their lives.
“The better I did, the more spaces I would be in, and the more spaces I didn’t see dancers that looked like me.”
At the height of the United States’ segregation laws, trailblazing ballerina Raven Wilkinson was hunted by the KKK during Ballet Russe de Monte Carlo’s tour through America’s Southern states.
Still, fear never stopped these brave women from breaking down every barrier imaginable to point their toes on some of the greatest stages in the world. Even when the art form worked against them, those women fought for the opportunity to learn the dance form that fired their passions. It naturally led to Watson’s success at San Francisco Ballet.
San Francisco Ballet was founded in 1933, serving as the United States’ oldest professional ballet company. Now, they’re looking to take the lead once again, making inclusivity a marker for their continued advancement of the art form, all while allowing Watson to shine in an artistic avenue she previously never thought possible.
"I spent most of my middle school falling in love with dance," Watson coos, reminiscing on the first summer intensive that led her to her current career with San Francisco Ballet. "The better I did, the more spaces I would be in, and the more spaces I didn’t see dancers that looked like me."
Watson’s realization froze her, making her contemplate whether her passion for dance was enough to carry on. "I didn’t see any girls who looked like me, so I thought the art form wasn’t for me." It took enlightening discussions with family, specifically her mother, to give Watson the strength to continue pushing forward in her favorite artistic sport. As a result, family and community are at the core of her excellence.
"I try as much as possible to try to get out into my community. My family as well. My mom is so involved in my life—which I’m very grateful for—in my artistic life and in my passions, and she understands the importance as well," Watson explains before reflecting on a cherished memory.
"This past Black History Month, I went to an elementary school of mine, and I spoke to the kids about Swan Lake and all of the different ballets, and I said, 'Who wants to do ballet?' And everyone raised their hand. There were these two little Black girls in the front; they got to try out the tutus and everything."
"So, she [mom] also makes sure to remind me, and also bring people from Oakland to the San Francisco Ballet and really get that exposure and representation to make sure those kids see people that look like them on stage and to really just grow the atmosphere," Watson expounds as a delightful smile slowly spreads across her face.
Numbers have fluctuated in the United States over the past decade, but ballet statistics from 2021 clocked Black and African American ballet dancers at 4 percent compared to their White and Hispanic counterparts. This is more than enough reason for Watson to want to pave a path for every person with a passion for dance.
"I think that’s how people and dancers can thrive in this art form, is because there’s no one uniquely like you," says Watson. "There’s something unique and beautiful about the physicality and the execution of movement of Black and brown dancers, but especially women, and the femininity of it all, and how society has skewed the concept of femininity, especially for Black women…"
Change Makers Feature
"I think all of those different aspects and all of those different themes and motifs have been kind of culminated into my life, and it’s still brewing, and it’s still manifesting into my physicality now as I continue to grow and get older."
That instinctive understanding of dance's power is where Watson’s artistic genius shines. Through ballet, she’s found a way to become a guide to her immediate communities. Identifying as an African Native American, Watson immediately realizes how the history of her communities led her to this very moment.
"I feel like the concept of ballet... aesthetically, is this beautiful concept of perfection. We have to be perfect. We have to be ethereal. That is what it shows but at the same time… We can be that, but not in an intimidating sense where it’s not tangible. We can be both. We can be beautiful and excellent and the highest standard, but we can also be tangible and relatable and we can touch hearts in ways... that can show a future to other people," Watson wisely explains while ruminating on ballet's history.
"I’m continuously humbled, and I feel like as we progress into the future… there’s even more to come," states Watson excitedly. "I feel like my presence here—I hope my presence here—bridges the gap between wanting to be a ballet dancer and be a ballerina and connect and make it tangible for people who see it on the, quote-unquote, 'outside.'"
M y own small memories of dance class include both the unwavering love I had for the sport and the rigidly disciplined rules that followed. Between being pushed into forms like jazz and tap more than my preferred contemporary dance and the constant changes in hair and makeup, discontent between my parents and the dance company grew larger with each recital. Unwilling to feel like a sore thumb in an all-White dance company, I left before I got the chance to truly develop my skills.
And yet, dance is still a huge part of my heart, and seeing Watson be the change that a historic company like San Francisco Ballet needs makes my heart soar more each day. This winter, as versions of Swan Lake flit across my television screen, I’ll point my toes along with the ballerinas and thank Watson for making ballet available to all the little girls who look a little more like me.
@angelaaa.watson
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“I’m continuously humbled, and I feel like as we progress into the future… there’s even more to come.”
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The
Art of Reyna Noriega: From Miami’s Heart to the World’s Canvas, Where Art Whispers, Yet Speaks Volumes
VIVID
In the vibrant heart of Miami, where cultures converge in a kaleidoscope of sounds, scents, and colors, Reyna Noriega found her voice. It was a voice that didn’t shout from rooftops but whispered through the colors of her art, drawing people in with a quiet yet undeniable power. Her brushstrokes, though gentle, speak loudly of her experiences, heritage, and the world she envisions—a world full of diversity, love, and beauty. Noriega’s story, painted in the hues of her Caribbean heritage and the rhythm of a city alive with multiculturalism, is a profoundly personal journey of self-discovery and a broader mission to empower others through her work, inspiring and transforming the world, one image at a time.
WORDS | TRYSTANNE CUNNINGHAM
Reyna Noriega’s life began in a world saturated with color, the child of a Cuban father and a Bahamian-Jamaican mother. Raised in Miami, where the tropical warmth is mirrored in the people and landscapes, she grew up steeped in the vibrant traditions of her Afro-Caribbean roots. For Noriega, childhood was full of intense joy and a deep sense of belonging. Her parents created a nurturing environment celebrating life in all its colorful complexity. The love of her parents, the vitality of her community, and the richness of her cultural heritage formed a cocoon of comfort and creativity around her.
But as Noriega grew, the complexities of the adult world began to creep in, challenging the innocence of her youth. She recalls this period with nostalgia and introspection, recognizing how the carefree days of childhood gradually gave way to the pressures and responsibilities of adult life. "I never wanted to grow up," she admits, echoing that resistance to time’s inevitable march. "The idea of adulthood seemed overwhelming and overrated. But as the years passed, I realized that the happiness I had as a child was something I could either let slip away or fight to retain, even as life became more complex."
Art offered Noriega a way to hold on to that joy. What began as a simple hobby and a means of escaping the pressures of growing up quickly became something much more profound. Her early experiments with drawing and painting were not just a return to the uncomplicated joy of her childhood but also a method of making sense of the world around her. Over time, this pastime transformed into a powerful tool of communication—a way to express the complexities of her identity, her experiences, and her world vision.
“Art is your superpower. Use it to change the world.” This simple yet profound motto has guided Noriega’s artistic evolution, reflecting her belief in the transformative power of creativity. For Noriega, art is not merely an aesthetic pursuit; it is a force for change, a medium through which she can reach out to others, offering beauty and empowerment. Her work, characterized by its bold use of color and its exploration of identity, invites viewers to find pieces of themselves in her art.
As a Black and Latina woman, visual artist, designer, and author, Noriega’s identity is central to her work. She stands at the intersection of multiple cultures and experiences, each influencing her unique perspective. In today’s political climate, where rhetoric from the right often casts immigrants and people of color in a negative light, Noriega’s story is a powerful reminder of the richness that diversity brings to America. Her art, vivid and unapologetically full of life, embodies the contributions of immigrants and their descendants to the cultural tapestry of this country. Noriega is a testament to the power of multiculturalism—a living, breathing example of the beauty that emerges when different cultures come together to create something new and extraordinary.
One of the most striking elements of Noriega’s work is her use of faceless subjects. By omitting facial features, she allows her audience to project their own stories onto her creations, making her work deeply personal for each viewer. "I wanted people to focus on what the feeling was giving, to see themselves in the scenes I create," she explains. This approach has resonated deeply with her audience, with many people telling her how her art
“IT’S EASY TO UNDERVALUE YOURSELF WHEN YOU’RE JUST HAPPY TO BE CREATING, BUT I’VE HAD TO LEARN TO STAND FIRM IN MY WORTH.”
reminds them of loved ones or evokes memories of shared experiences. This connection, this ability to touch people on a personal level, drives Noriega’s creative process.
Yet, Noriega’s development has been about more than just creating beautiful images. It has also been a journey of selfdiscovery and a deepening understanding of her identity. Growing up as a Black Latina woman with Afro-Caribbean roots in a culturally diverse city like Miami has profoundly shaped Noriega’s perspective. Her art reflects this heritage, infused with the Caribbean’s rich colors and dynamic energy. However, it also reflects her evolving understanding of what it means to be a woman of color in America and the unique experiences that come with that identity.
"I wanted to see women of color in my home, depicted in vibrant, energizing ways," she says, recalling how she began creating art that represented the diverse beauty of Black and Latina women. "I wanted to represent a diverse group of women with different hairstyles, skin tones, and clothing styles." This commitment to representation is not just a personal choice but a deliberate act of defiance against the underrepresentation of women of color in the art world. Through her work, Noriega offers a counter-narrative to the often narrow depictions of beauty in mainstream media, celebrating the diversity and strength of Black and Latina women.
But the road to becoming a full-time artist was challenging. Noriega’s transition from educator to professional artist required navigating the often complex world of the art business. In this world, creative passion must be balanced with the practicalities of making a living. One of the most challenging lessons Noriega had to learn was how to value her work. "It’s easy to undervalue yourself when you’re just happy to be creating," she admits. "But I’ve had to learn to stand firm in my worth."
“I WANTED PEOPLE TO FOCUS ON WHAT THE FEELING WAS GIVING, TO SEE THEMSELVES IN THE SCENES I CREATE.”
This sense of self-worth extends to the collaborations Noriega chooses to engage in. For her, it’s not enough that a brand wants to partner with her; they must also share her values. "The company has to be intentional and a true ally," she says, emphasizing that she seeks partnerships with organizations genuinely committed to social responsibility and empowerment, not just looking for the optics of diversity. This careful curation of collaborators ensures that her work remains authentic and genuine to her mission of creating art that inspires and uplifts.
As Noriega looks toward the future, her vision continues to expand. She dreams of creating a platform beyond art—a space that provides tools and resources for people to connect with their inner joy and live more fulfilling lives. This new project, which she describes as a blend of creative expression and practical empowerment, is a natural extension of the work she has been doing.
"I want to create spaces and tools that help people connect with their inner joy and live their best lives," Noriega says. It’s a vision that speaks to her deep commitment to making a difference through her art and every aspect of her life.
Noriega’s story is far from over, and she embraces the uncertainties and surprises that the future holds. "I’ve always been surprised by where life takes me," she reflects. "But I’ve learned to trust the process, that I am on the right path, even when it’s unclear where that path is leading." This faith in the journey, the power of art to change the world, and her ability to make a difference drive Noriega forward.
Reyna Noriega’s story is not just about an artist finding her voice. It’s about a woman who, through her art, has found a way to navigate the complexities of identity, challenge societal norms, and inspire others to do the same. Her work is a testament to the power of creativity to transform the individual and the world around them. As she continues to explore new horizons, there is no doubt that Reyna Noriega will remain a beacon of hope, joy, and inspiration for all who encounter her work.
Noriega’s art is more than just images on a canvas—it is a call to action, a reminder that we all have the power to create change, to build a better world, one piece of art at a time. And in that, perhaps, lies the true essence of her superpower.
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Discover the vibrant world of Reyna Noriega, where art meets empowerment. As a talented artist, educator, and creative force, Noriega offers various services that bring color and life to any project. From stunning custom illustrations to dynamic art installations, Noriega’s work is designed to inspire, uplift, and transform spaces. Whether you’re looking to commission a unique piece of art, collaborate on a creative project, or bring a fresh perspective to your brand, Noriega’s expertise and passion for storytelling through art will bring your vision to life with authenticity and vibrancy. Elevate your space and your spirit with the artistry of Reyna Noriega. Explore more on her website, www.reyna noriega.com, and follow her creative journey on Instagram @reynanoriega_. Connect with Noriega on X @reynanoriega_ and stay inspired with her latest projects and insights.
“I WANT TO CREATE SPACES AND TOOLS THAT HELP PEOPLE CONNECT WITH THEIR INNER JOY AND LIVE THEIR BEST LIVES.”
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'IT'S GOOD TO BE HOME.’”
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Luna's Light: Where Artistic Mastery Meets the Bloom of Design
WORDS | TRYSTANNE CUNNINGHAM IMAGES | NIKI RHODES, LUNA DESIGN STUDIOS
INthe sweltering heat of Palm Springs, where the sun bakes the earth and the days are long and bright, Luna Moreno has quietly grown a sanctuary of creativity. From her roots as a second-generation florist to the visionary behind Luna Design Studios, her story is one of resilience, innovation, and a deep-seated love for her craft. It’s a story that intertwines family, culture, and a relentless pursuit of beauty in all its forms.
At the helm of Luna Design Studios is creative director Luna Moreno, who embodies the transformative power of following one’s true calling. Raised in the rich traditions of her parents’ flower shop, Moreno saw beyond the familiar, envisioning a seamless blend of heritage and innovation. She approaches every challenge as an opportunity for creativity and every project as a canvas for something extraordinary.
Moreno's journey began long before she officially took the reins of the family business. Born in Mexico and immigrating to the United States at six, Moreno’s early life was steeped in her parents’ rich traditions and work ethic, which allowed them to start a small flower shop in 1992. The shop wasn’t just a place of business; it was where Moreno learned the value of hard work, creativity, and, most importantly, the importance of family.
My parents worked at a flower shop when they first immigrated here," Moreno recalls. "They didn’t know the language, and at that point, they hadn’t yet mastered the craft—they learned it as they went. But what they did know was their why—a deep sense of purpose that carried them through every challenge. Eventually, they started their own business, which became the backdrop of our childhood, teaching us resilience, creativity, and the power of building something with heart."
Moreno’s early memories are filled with the scent of fresh flowers, the feel of ribbon between her fingers, and the sight of her parents working tirelessly to build something out of nothing. “We used to make bows for the small arrangements that would go to the hospital. My mom had this big foam board where we’d fill it with bows. It was a small task, but it taught us so much about the discipline and attention to detail required by this business.”
As Moreno grew, so did her involvement in the family business. She went to school for psychology, a field that seems worlds apart from floral design, yet it gave her a unique perspective on the emotional power of flowers and design. “Psychology taught me a lot about people, about how our surroundings can influence our emotions and experiences. I carry it into every project we do at Luna Design Studios.”
When the time came for Luna’s parents to retire, the business was at a crossroads. It was the onset of the pandemic—a time of uncertainty and fear. But for Moreno, it was also a time of opportunity. She and her husband, Ricky, decided to take a leap of faith. Ricky had been a constant source of support and strength for Luna. While he worked another job to provide financial stability, she threw herself into the business, rebranding it as Luna Design Studios and expanding its offerings beyond floral arrangements, including decor, rentals, and custom installations. “It was a scary time,” Luna admits. “We were running on savings, and my husband was working to support us. But we believed in what we were doing. We knew there was potential here, even if the world told us otherwise.”
Moreno's siblings also played a pivotal role in this journey. Her brother and sisters grew up in the same flower shop and shared similar experiences, struggles, and dreams. They each had their paths but remained connected to the family business in various ways. “My brother always had a knack for the technical side of things—he’s the one we call when something breaks down,” Moreno laughs. “And my sister, well, she has the eye for design. She’s always been my sounding board, the person I turn to when I need a fresh perspective.”
During the interview, Moreno became visibly emotional when discussing her family. Her eyes welled up with tears as she spoke about her parents’ sacrifices to give their children a better life. “They didn’t have much, but they gave us everything,” she said, her voice thick with emotion. “We didn’t realize it at the time, but looking back, I see how much they struggled to keep the business afloat, to put food on the table, to make sure we had opportunities they never had.” Family is at the heart of Luna Moreno’s journey, shaping both her personal and creative world.
“I’ve always believed that true creativity comes from a place of authenticity. When you design from the heart, you create something that resonates deeply with others.”
Change Makers Feature
Surrounded by a dynamic and supportive family, Luna finds inspiration in the love and energy of her husband, Ricky Moreno, and their five children—Sky, Eclipse, Nova, Jude, and Jolie. Their home is a vibrant space filled with laughter, imagination, and the boundless creativity that fuels Luna’s work at Luna Design Studio. Her siblings, Sol, Lucero, and Estrella Salomon, remain an integral part of her life, each contributing their own artistic and entrepreneurial spirits to the family’s legacy. Even Astro, the family’s beloved dog, adds warmth to their ever-evolving household, a constant reminder of the harmony between home, art, and life. Her husband, Ricky, has been her rock through it all. “I couldn’t have done any of this without him,” Moreno says, her voice breaking. “He’s been my biggest supporter, my partner in every sense of the word. There were times when I wanted to give up when I thought we were in over our heads, but he always believed in me, in us.”
That belief wasn’t misplaced. Luna Design Studios has quickly become known for its innovative designs that blend tradition with modernity. Under Moreno’s direction, the studio has become a creative hub where every project is an opportunity to explore new ideas and push the boundaries of what’s possible in event design.
Luna Design Studio continues to redefine experiential design, seamlessly blending elegance, innovation, and personal storytelling across weddings, brand collaborations, and high-profile activations. Their bespoke wedding experiences
transform venues into immersive dreamscapes, where every floral arrangement, lighting choice, and décor element is meticulously curated to reflect each couple’s unique love story. From lush outdoor ceremonies to opulent ballroom celebrations, Luna and her team masterfully fuse modern aesthetics with timeless romance, incorporating bold textures, organic elements, and cultural influences to craft unforgettable moments.
Beyond weddings, Luna Design Studio has expanded its creative reach through cutting-edge brand collaborations, demonstrating a versatile and boundary-pushing approach to design. Their partnership with GUESS for the “Drink Happy Hour” event at Coachella immersed guests in a vibrant fusion of fashion and festival culture. In the music industry, their striking set design for Cardi B’s UP music video showcased their ability to create dynamic, visually captivating environments. Additionally, their collaboration with H&M for another Coachella activation underscored their expertise in translating brand identities into immersive, memorable experiences. Whether crafting a dream wedding or a bold brand moment, Luna Design Studio continues to set new standards in design, storytelling, and unforgettable atmospheres.
Moreno’s emotional moment during the interview also stemmed from her pride in carrying on her parents' legacy. “Every time we book a big event, or our work
Elevate your next event with the unparalleled artistry of Luna Design Studios, serving all of Southern California & beyond. Specializing in custom floral arrangements, innovative decor, and unique installations, Luna Design Studios transforms ordinary spaces into extraordinary experiences. Discover the magic they can create for your special day by visiting www.LunaDesignStudios. com, and stay inspired by following them on Instagram and Facebook at @Luna_Design_Studios. With Luna Design Studios, every event becomes a masterpiece, leaving a lasting impression long after the day is done.
Whether planning a wedding, corporate event, or a private celebration, Luna and her team bring your vision to life with a perfect blend of creativity and precision.
blows away a client, I think of my parents and how far we’ve come.” One of the most significant milestones for Moreno was the realization that the business had grown beyond her parents’ wildest dreams. “I remember when my dad landed what, at the time, felt like a game-changing wedding deal. He said, ‘If we could do just a few of these a month, we’d be set.’ Now, we’re doing so much more than that, and it’s surreal to think about how far we’ve come—all thanks to their hard work and sacrifice.”
Moreno’s approach to design is deeply personal. While she has a clear vision, she always ensures that the client’s personality shines through. “It’s not about imposing my style on someone’s event. It’s about understanding what they want to communicate and
bringing that to life. Our designs are as diverse as our clients because we tailor everything to fit their unique needs and desires.”
But Luna Design Studios isn’t just about creating beautiful events; it’s about creating meaningful experiences. Luna and her team have worked on countless projects where the stakes were high— weddings, corporate events, celebrations of life. Each project carries the weight of someone’s dreams, and she takes that responsibility seriously. “There’s something gratifying about knowing that you’ve made someone’s vision a reality,” Moreno says. “Whether it’s a bride seeing her bouquet for the first time or a corporate client walking into a room transformed by our designs, those moments make all the hard work worth it.”
“Every event we design reflects someone’s vision, a piece of their story. Our job is to bring that vision to life in a way that feels deeply personal and meaningful.”
Of course, the journey hasn’t been without its challenges. Scaling Luna Design Studio in a way that honors both creativity and quality has been one of the most demanding yet rewarding aspects of Moreno’s path. “As we’ve grown, ensuring that every project maintains the level of artistry and attention to detail we stand for has been crucial. It’s not just about taking on more clients—it’s about preserving the integrity of our work, staying ahead of trends, and continuing to innovate while keeping our team inspired.” Balancing creative vision with the demands of a rapidly expanding business has required Moreno to refine her leadership skills, build strong departments, and create meaningful career opportunities within her team.
Even with meticulous planning, unexpected hiccups, like weather disruptions during installations, can test the team’s adaptability. “We’ve had moments where we’ve had to pivot last minute, but that’s part of the process. You learn to anticipate, stay calm, and move forward without compromising the vision.” Through every challenge—whether it’s scaling the business, maintaining quality, or navigating unforeseen obstacles— Moreno remains committed to pushing boundaries while ensuring that Luna Design Studio continues to be a name synonymous with artistry and excellence.
Despite the challenges, Luna remains focused on growth for her business and team. She speaks passionately about the importance of company culture, ensuring that Luna Design Studios is a place where everyone feels supported and valued. “We’re all in this together,” she says. “Every member of our team plays a crucial role in our success. We’ve built a culture of support and encouragement where everyone’s contributions are recognized.”
Looking ahead, Moreno has big plans for the future. She hopes to expand into new markets, offering more services and reaching more clients. But she’s also committed to maintaining the integrity and quality that have become the hallmarks of Luna Design Studios.
“We want to grow, but we also want to stay true to who we are. We must not lose sight of what has brought us this far—the personal touch, the creativity, the family values. That’s what makes us who we are.”
Moreno’s reflections on her journey clarify that her success transcends mere dollars and cents. It’s measured in the lives she’s touched, the moments she’s created, and the legacy she’s building—one deeply rooted in her family’s history and her vision for the future.
From the small flower shop her parents started to the thriving design studio it is today, Luna Design Studios is a testament to the power of dreams, hard work, and
the unwavering support of family. Luna Moreno is more than just a businesswoman; she’s a creator of memories, a builder of dreams, and a beacon of inspiration for anyone who dares to follow their passion.
Ultimately, Moreno’s story is one of love for her family, her craft, and the people she serves. Her children— Sky, Eclipse, Nova, and step children—are the driving force behind her tireless work, constantly reminding her of what truly matters. Alongside their loyal dog Astro, they fill Luna’s life with the same love and warmth she brings to every project she touches. And with each new project, challenge, and opportunity to create something beautiful, her story continues to unfold. As Luna Design Studios grows, so does the legacy that Luna Moreno and her family have worked so hard to build.
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For twins Melonie and Melorra Green, artistic inspiration runs in the family. As a result, they’re bringing the communal aspects of art to the Bay Area while illuminating San Francisco’s diversity through the African American Art & Culture Complex (AAACC). As co-executive directors, the twin sisters are spending this Autumn reminiscing on the importance of family, focusing on the inherent poignance of the season by uplifting San Francisco’s art community.
WORDS | ANGELIQUE REDWOOD
FF
amily tends to be on everyone’s mind as the Thanksgiving season approaches. But to be in sync with family in life, body, and spirit is a rarity. For Melonie Green and Melorra Green, it’s just a twin thing. Using their shared synchronicity, the Green sisters find ways to cultivate opportunities for the San Francisco community through the African American Art & Culture Complex (AAACC).
As part of the San Francisco Arts Commission’s Neighborhood Arts Program, the AAACC has been part of the Bay Area for decades, successfully serving as a cultural institution built to foster the growth of Black San Franciscans. Through creative programs, rental spaces, lively events, and bright exhibitions, the AAACC is determined to continue building a “sustainable Black Arts community” by plugging into the needs of its neighbors.
There are no better co-executive directors to bring that community together than the Green sisters, who have embedded themselves in San Francisco’s art scene since becoming staples of the Bay Area over twenty years ago. As a result, their influential presence and innovative eye have allowed them to push the AAACC to new heights.
The well-rounded duo’s excellence comes from their complementary perspectives on the art atmosphere. Melonie acts as the operational, pragmatic piece of the puzzle, while Melorra is the artistic, administrative side of the coin.
"Melonie’s like the rock… I’m like the balloon," Melorra illustrates, happily describing the distinction between her and Melonie’s current AAACC roles, specifically how their work styles blend to create a giant art nucleus for their neighborhood. Combined, the sisters’ skills become one of the unique assets the AAACC provides. Melonie and Melorra’s success is due to friends made along their journey and, most importantly, family.
Born in Memphis, Tennessee, the Green twins attended Tennessee State University and received dual degrees in Speech Communication and Theatre before making a home in San Francisco in 2000, where they quickly immersed themselves in the community while attending the Academy of Art University. That shared love of art was born from the sisters’ first supporters: Mom and Dad.
“There are so many people for whom we make a difference, and visibility is one of them.”
Reminiscing on their childhood, Melonie fondly recounts being raised by a mother who had "a gift with cooking, a gift with transforming a space with décor, bringing music to the table, all different spectrums of music…" As the youngest in a family of ten siblings, Melonie harps on the influence of her mother’s "hearing and listening and compassion for people," which she witnessed "from her doing private duty work as a nurse’s assistant, just always having an ear for where something is needed."
"I think observing her, and I’ll nod our dad for just—I mean, the heart he had for people," Melonie resumes. " …How he saw people every day, the way he saw the everyday person and ensured that we saw gold in everything, I think that impacts our leadership and the work we’ve done in San Francisco."
Mom and Dad weren’t the only two family members fostering the twins’ growth. Their Aunt Annie was a big piece of their meteoric rise in the Bay Area’s art scene, as she provided the sisters with one of their earliest home bases in San Francisco.w
"I want to shout out my Aunt Annie, who slept on her couch so that Melonie and I could share a bed when we first moved here to San Francisco from Memphis… We didn’t know anybody," Melorra describes. "She was such a great… Gosh, landing space for us. She accepted us in all the ways we are… So, she was so perfect for us."
Both sisters attribute the friendships they’ve made to their growth just as much as their family members. Giving props to San Francisco Mayor London Breed, Melorra explains how their journey came full circle by being part of the AAACC, including how the AAACC propelled Mayor Breed to her c urrent position.
"A lot of leaders are deployed into organizations that they have to learn about, and we’ve been inspired, loved, have failed, have succeeded, have triumphed in this building for the last fifteen years, and that’s another thing I’m super proud of," Melorra enthuses. Through gallery curation and management and administrative coordination roles, both sisters felt the positive power of the AAACC before becoming coexecutive directors, back when Mayor Breed held the AAACC title of executive director.
"That’s why I want to lift in this moment the magic of what our mayor has done when she made funds possible for the Black community with the Dream Keeper Initiative," Melorra continues. Looking at the past proves how vital a resource like this is.
Historically, African Americans have faced a wall of adversity when applying for financial investments, whether a mortgage or a business loan. After the
murder of George Floyd in 2020, many companies vowed to pivot, promising support for Black communities, but failed to back up their oaths. Mayor London Breed chose to take immediate action.
Creating the Dream Keeper Initiative in February 2021, after a year of thorough meetings facilitated by the San Francisco Human Rights Commission, Mayor Breed found a way to redirect law enforcement funds into annual financial support for San Francisco’s Black and Brown communities. As a result, $60 million in annual funding is now injected into the Bay Area’s onceoverlooked communities, allowing finances to tend to root issues like housing and community development, public health, and economic development.
"$120 million to the Black community in various industries, honestly, it gave us and so many Black leaders and so many Black-led organizations an opportunity to try out our ideas without the need for proving that we deserved the money," Melorra states while expounding on the inequities regularly faced by people of color.
"Artists of color, Black creatives, can do anything… We’re already doing it... So, the first inequity I have witnessed is the impact of visibility, how organizations like most cultural centers still don’t get the shine for all our work.
Not just African American Art & Culture Complex. There’s SOMAR’s Cultural Center, and the list goes on.”
Hitting a vital chord, history proves Melorra's point. Research conducted by the Harvard Business Review has shown that less than 1% of venture capital goes to Black entrepreneurs. Even worse, a depressing .0006% of venture capital went to small businesses created by Black women between 2009 and 2017, as per Digitalundivided’s Project Diane.
“There are so many people for whom we make a difference, and visibility is one of them. And the other thing is no matter what, the bureaucratic structures prove that people of color, in particular Black people, are not trusted with money. And that has been one of the biggest things we have bumped up against."
As I listen intently while the sisters speak in tandem, Melonie reflectively adds a poignant perspective to accompany her twin’s point of view.
“Fundamentally, the issue is what people think we deserve. Suppose you fundamentally know that an organization, a group, or an entity deserves to be treated in all these flowery ways we communicate. In that case, there’s no way that many people who sit in the roles they sit in can stand by and let certain things happen, right?
... And so, I think the flip side of that is how much we feed into that with how we’re spoken about and written about, and I don’t mean even articles. I mean funding applications, the way we even say things like marginalized, things like disenfranchised.”
“A lot of leaders are deployed into organizations that they have to learn about, and we’ve been inspired, loved, have failed, have succeeded, have triumphed in this building for the last fifteen years, and that’s another thing I’m super proud of.”
Even with today’s push for more support in Black and Brown-led businesses, Melonie opens my eyes to the subtleties of our world’s continuing discrimination and how that takes form in more ways than one.
“I get it, but I think it comes down to how we will begin communicating about ourselves... There’s resilience amid systems. There’s championing of our work amid systems that refuse to change at the moment... What are those words? What are those contexts?”
Why do we constantly have to poverty-ize ourselves and crunch ourselves down when, as Melorra said, we’ve been doing the work, but our radiance isn’t adequately communicated? We’re allowing ourselves and others to speak a certain way because of the illusion of how they see us and what they think we deserve.”
As a writer, my mind immediately ruminates on Melonie’s reminder of the power of words. The language we use to describe our world makes a subconscious difference in our formed perspectives. As a result, words have a responsibility to nurture, the same way family nurtures and the same way the AAACC nurtures the San Francisco community.
As a result of Mayor Breed’s generosity, the Green twins' ingenuity, and every person working to make the Bay Area more inclusively excellent, San Francisco gets to bask in the positive, artistic energy of its growing diversity. The AAACC gives the city’s underrepresented communities a central space to come together and collaborate, allowing the Green sisters to pass along the same support they received when they first arrived in San Francisco.
Being twins, Melonie and Melorra innately understand the strength of having someone by your side, always there to develop your passions into altruistic ways of life. Having one another, there was no way the Green sisters wouldn’t try to share their love with the entire San Francisco community.
Family is essential and always will be, yet it still takes a community to raise us to new heights. With the Green twins at the helm, the AAACC is here to lift all the ones who deserve the recognition they’ve never received, aptly exemplified by the emboldened acknowledgment of San Francisco's native inhabitants at the footer of the AAACC website.
Autumn may only be a season, but the Green twins' iteration of the AAACC emphasizes what's truly important: that family and community last a lifetime.
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