The Holy Art Magazine Issue 03 by The Holy Art Gallery

LONDON ATHENS NEWYORK PARIS

EXHIBITIONSPOTLIGHT

BarcelonaArtShow

The Holy Art Gallery recently had the pleasure of hosting a group exhibition in sunny Barcelona, from the 23rd - 27th July 2024.

Whilst the gallery space was warm, what was even hotter was the buzz of conversation between artists, friends and family who turned up to see a variety of work from some of the most talented international artists on the scene.

EXHIBITIONSPOTLIGHT BarcelonaFutureStars

After the excitement of our Barcelona art show had begun to settle, The Holy Art Gallery did it all over again with Future Stars; our group show promoting the talents of young artists.

From the 29th - 31st July 2024, viewers had the pleasure of experiencing an exhibition made up of a diverse group of up-andcoming artists. We thank all the participating creatives, our wonderful visitors and all others who came together to make the show happen!

BESTAMERICANARTIST

JudePachiorka

The Holy Art was thrilled to speak with Jude, who took top place and a cash prize in our Best American Artist competition.

Jude Pachiorka is a 22-year-old artist and illustrator based in Vancouver, Canada. A recent graduate of the Bachelor of Fine Arts program at UBC, Jude is known for his bright, energetic methods that create engaging narratives for viewers. His work features a cast of characters inspired by nostalgia, allowing him to explore various media including painting, drawing, screen-printing, and sculpture.

Besides his personal projects, Jude has exhibited artwork at UBC’s AHVA Gallery, the Slice of Life Gallery in Vancouver, and The Holy Art Gallery in London, UK. When not immersed in his art, he enjoys outdoor activities and sports such as squash, badminton, pickleball, basketball, and volleyball. Whilst Jude works, he loves to listen to both classical music and movie and anime soundtracks as a backdrop for his creative process.

Thank you for taking the time to talk with us! Firstly, we'd love to hear a little more about your exhibition with The Holy Art Gallery; how did you find the experience?

So for the exhibition that we did, honestly I was just really impressed! I’d never done a virtual exhibition before - obviously, you also have the physical exhibition, but as I was still in Vancouver at the time I didn’t really have the opportunity to send my work physically. It was a great opportunity to see my work in that space virtually; it allowed a lot of access to friends, family and just people who were interested in general. I was able to just give them the link so they could go have a look, and see all of the other amazing artwork in the exhibition. It was so easy to use, and a super amazing experience… overall, I was really impressed!

We recently named you as the winner of our Best American Artist contest; how do you feel about taking the top spot?

When the competition results were announced, I was blown away - I hadn’t expected to make the top three, let alone the top spot! I remember getting the email, I was in my studio at the time and I just sat down in my chair in shock; I think I shed a

few tears of joy! I hadn’t imagined I would receive it, because when I got the shortlist I saw all the other amazing artists on there and I thought ‘These people are incredible, their work is so awesome’ - I loved all of it! Even now, looking back I’m still shocked this is happening in a sense. Being able to make the top three, let alone win, has been a surreal experience - and I’m so grateful.

We especially loved your work for its bright, playful style and surreal themes - who and what inspires you creatively?

That’s a great question! Obviously, Keith Haring is a huge inspiration for me - his style, the way he created his pieces, what his messages were - I want to emulate that, in a sense, with my work; but not directly copy his work. I like to take my own route, and create my own unique pieces but his work has been a huge creative inspiration for me, and I enjoy being able to reference him, and read and learn more about him. What inspires me creatively is nature; in my work, you will find lots of flowers, leaves, trees - anything nature-esque! I even find inspiration in landscapes, though I’m not a big landscape painter. The natural world inspires a lot of

my work; as you can tell, as I like to incorporate a lot of plant-life and flora. I also just enjoy drawing cartoons and nostalgic imagery and a lot of my works are based off of that. I grew up watching cartoons, so transferring them into the modern day and giving them a message that may impact people when they’re viewing my works - I guess that’s also a big inspiration.

Finally, how are you going to use the prize money to move your career forward? Tell us more about what you've got planned for the future!

Again, I was just blown away by getting the top spot; and that in and of itself was way more than enough! But having that extra $1000 on top of that was just out of this world. It was so helpful, because I’m doing an artist residency in September in the Similkameen Valley, in British Columbia. The prize money will be put towards the residency, so I can afford that and the materials and supplies to get started on a new painting series that I’m going to be coming out with. It’s focusing on the relationship between humans and nature, and doing this specifically through flower bouquets. Overall, I just want to explore that relationship a little more and this residency will help with that - and the money will help with the residency, so it’s all linked in a sense. The money will be so helpful for all the plans I have, and again I’m just super appreciative of it and so grateful to be able to take the top spot.

Again, I am so thankful for the opportunity and can’t stress that enough - and I’d like to thank The Holy Art for everything they’ve done. The opportunities you provide us artists just to be able to have people see our work are great; I look forward to applying to another of your competitions, and to collaborating in the future!

You can see more of Jude’s work on his Instagram, @judepachiorka

Giada JanetWardhaugh

Thevillage

Acrilicpaintandpastelsoncanvas @giadascalisii

PaulGravett

Transfusion

Mixedmedia,acrylicpaint,pencilsandcollageonpaper 30x30cm

£200

@theflourishingartist

TicianoPaludo

ColourStudy65

Photography,archivalprint

Fatherandson

Videoart,digitalphotography,soundart

10”x10”image(254cmsquare),mattedandframedin a16”x20”metalframewithplexiglass(4064cmx 508cm)

£250plusshipping

@paulgravettphotography www.paulgravettphotography.com

Availableat:https://youtube/JOlC8vL2oIs Videoart1920x1080p(03:27)

L 1500,00

@ticianopaludo

Nudes-Returnofthedogs Painting,Mixedmediaoncanvas 100x80cm

£1,800 @cooked rabbits www.cookedrabbits.com

ChrisBusch

Sparrow Painting,OilonCanvas 24"x18"

$865 wwwchris-buschpixelscom

MaryLian

Happyviolin OilonCanvas 70x100cm

£3,995 @mary lianartist wwwmaryamtavakolianartcom

PhilippaQuick

After(TheDinner)Party Acrylicandmixedmediaoncanvas 101x76cm

£222

@philippaquickart

DaniloBerzaghi

HeavyPurse

Sculpture Stoneandfabric 28x28cm

£120 wwwdanilotranquilliwork

ChristopherMoon

Mixtape Baby

Cyanotype

40x515cm(Framed) 37x48cm(Unframed)

Photograph 40x70cm(canbesmaller/larger) £55 @anyalevicreates wwwanyalevicom

Rye

Philia

£1,000Framed(£900Unframed) @chris.moon1970 wwwmrchrismooncom

Sculpture,over1000usedtoysonmetalframe, spray-painted 16"x24" @rye.artiste

AurélieARGYRE

Quiétoyaux

Acrylic,mirrors,goldmetallicpen,holographicstickers, shimmerytextilepaint

80cmdiameter

€1,400

@kibou no hoshi

Metamorphosis

Sunrise Painting,creons,lotsofwoodcolorspencils

297x42cm

£500

@GordanaGorunovi

MorganOverton

Emerge OilonCanvas

16"x 20"

$750

@mointhestudio wwwmointhestudiocom

MáriaČajková

BLUEWARRIOR

EpoxyResinonCanvas,multilayer,chameleoneffects 80x50cm

€2,100 @mariacajkova art wwwmariacajkovacom

HarriGrimm

FullMoon Oilonwrinkledpaperonwoodenboard

61x91cm

$2,800 @grimm.harri

LillyWinter

Transformation Photography,printedontofoamboard 43"x64"

£2,000 @lillywinter wwwlillywintercom

Li-FeiLiao

Embracelife Photographic 21x297cm @london photograph xx www.liaovance.wixsite.com/portfolio

KatieLin YuliaBabanova

TeaFactory,2023 Screenshotfromvideo

Digital 1292×857pixels Notforsale

KylaGu

CollapsingKaleidoscopSH

Video

2000pxX2000px

£4,000 @kylakoooooo

Virtus Painting,MixedMediaonCanvas 100x100cm

£1,490 @shetalksart wwwshetalksartcom

JOANNA

Queen'sGambit Pen&InkwithCeruleanBlueonArtPaper 549x841cm

£2,500 @joannanouveaustudio wwwnouveau-studiouk

XinerHuang

Xiner (Maxine) Huang is a multidisciplinary designer based in London who utilizes various mediums, including experimental games, videos, interactive website pages, and installations, to create her works. Her art explores the interconnectedness of all things. Xiner’s journey as an artist began with a Bachelor of Arts in Sculpture from the Central Academic School of Fine Art in Beijing. Since then, she has continued to expand her skills and knowledge, culminating in a March in Design for Performance and Interaction from University College London.

She has pondered the role of media extensively, shifting from sculpting to their current creative process. She explores both virtual and physical mediums for artistic expression, treating data like clay and expressing it through diverse art forms such as painting, game development, design, and installations. Through her works, she aims to evoke emotion, spark curiosity, and invite viewers to contemplate the intricate connections that bind us all. Each piece being created is a reflection of her passion for storytelling, technology, and the beauty of the human experience.

@innerx.h www.innerxhuang.com

Apple I, 2019, woodcarving , 50 x 60 x 75cm, £1200

StéphanieBarbetta LeeNordbyePhotography

Emptyhomeseries,Elisabeth Photography

21"x29"

£500 @substancebrute www.substancebrute.com

sheilaaphotography

MoonSummit Blackandwhitedigitalphotography 16"x24",unframed $595

@lee nordbye photography www.leenordbyephotography.com

LaraLira

Deepthinking,2020

£300

@sheilaaphotography wwwsheilaaphotographycouk

TheSilenceoftheWaters DigitalPhotography,CanonRebelT6 4392x2926cm

£150 @laralirafoto

100x70cm

Notforsale @ebbaaradke wwwebas-94wixsitecom/ebbaradke

EliMPimentel

33x47.7cm

@elimpimentel www2023rcaacuk/students/eli-pimentel-lopez-decetin

DigitalPhotography 40x60cm

$250 @la baronessa nyc

A K

@thecutpaper guy wwwthecutpaperguycom

MacarenaValeroAmaro PaulitaMartínez

Fragmenta

Analogicphotograph

134x70cm

£350 @macavalama

BailandoconmisAntepasados

Digitalphotograph 18"x24"

PriceonRequest @paulitamtz

ATHENA

MutantextureAlbinoCrocodile

Weaving,Cansonphotopaper

42cmx31cm(unframed)

ChrisSkerritt

Mental:Indignation

Photography

42x59cm(A2)

£250 @athenamothership wwwpallasathena000githubio/mapping/indexhtml

SergheiStepanov

£180

@c.visuals

Jamesday

Kitchen,amagicalplace

Painting,acryliconstretchedcanvas

100x100cm

£485

@serghei8108art wwwserghei-stepanovcouk

IlikeMintTea

Oiloncanvas

50x50cm

£150

@Thequirkpainter5

BarbaraNanshe

InADeckofCards 2colouredpaper,mirrorpaper,120gsm RM130 9.5x13cm @mattmadestudios wwwmattmadecarrdco

SeaBodyAura WallSculpture,Recycledandnewcopper,Antique ceramic,shells,antiquewalevertebraecappilot whaleStanleyTasmanialate1800s,Tasmanian Seahorse,Antenawirecable,ShellFossilNSW 480x150cm £450pluspostage @barbarananshestudio wwwnanshejewellerystudiocom

Ken"Tsunami"Shep

Anti-consumerismforWomen

VideoDocumentation,lipstick, comprehensivematerial £73Videoartworkplayingrightsbought separately

Lista mixedmedium,photographyonacrylicprint 30“Hx20”W

VideoDocumentationDuration:1min58sec @zhixuanye

$5,000 @undergroundtsu wwwkentsunamishepcom/about

ZhixuanYe

Banksiaflowerinsearingheat Painting,Acryliconcanvas 355x355cm £1,000 www.trickyartgallery.com

Ho'ohanohano

Painting,oilonlinen 16"x24"

$1,800 @kayleydykmanart wwwkayleyjaneartcom

MelissaHammondArtiste

Charcoalonpaper

52x39cm

£2,000

@melissa.hammond artiste melissahammondartistecom

EdwardDelandre

Oilpaintingonwood 40"x60"

$6,000 @edwarddelandre

A.Adelaye

Doyousee1

Painting,AcryliconCanvas 23.5"x19.5"

£1,000 @aadelaye

KayleyJaneGarciaDykman

29.7x42cm (A2)

YicongLi

TearAlongDottedLine

Silkscreen,Poetry

22"x30"

$5,000 @theresadevine wwwtheresadevinecom

EkaterinaKozlova

VEGETATE

HandcrochetandKnitStructures,AssortedWooland MohairYarns

DimensionsVary,25''x75''x75''

$3,580

@yicongli wwwyiconglistudiocom

Unitewithnature

Inkonpaper

117"x165"

£30

@hurrycatart

IDon'tHideAway

PencilOnPaper

21x30cm

£125

@pixiebelle75

YiruWang

Scheduledforabolition

3Dprint

30x50x40cm

£650

MAILLAPE

Acryliconcanvas

100x70cm

£2,300

@maillape wwwmaillapeartcom

netHead 03

Printed3DRender

50x50cm

£75

@ indistinct chatter wwwindistinctchitchatcom

BertaMartinez

£250 @rushtonart

MacarenaValero

Monigotes

Digital 40x50cm

£600 @titapinta wwwtitapintacom

DavidBrunner

Cuerpoexento

Sculpture,japanesepaperonclothingrack 99x152cm

£350

@macavalama

TheWeightofFreedom

Sculpture,WoodandLazulitefromZermatt(stone) 20x30x110cm

£450 @swissgemstones

CliveKnights

Interview continued from Issue 02

The following pages continue our fascinating conversation with Clive Knights. If you missed out, come grab a copy from one of of our galleries, or catch up via the online version on our website!

Clive is an accomplished artist and architect, and the love of these two fields is evident in his practice. A professor of architecture since 1984, he primarily works with monotype and and mixed media.

Read on to find out more!

Maurice Merleau-Ponty’s phenomenology has been a major influence on your research. For those of us less familiar, could you explain how his writings inspire your creative exploration and the role of the human body in artistic representation?

This is hard to do in a few sentences because the nuances are so vast and the implications so far-reaching. Simply put, Merleau-Ponty reminds us that our bodies are always already busy at work in the world before we think about what they are doing or where they are doing it. So, in a way, the intelligence of the body precedes the intelligence of the mind, in fact it is the intertwining of our body and the world it inhabits that continually and unavoidably pre-structures our experience and anything we might think about it or, indeed, speak about it. It predisposes our language, in fact, in terms of the metaphors inspired by this primordial body-world intertwining. Merleau-Ponty reminds us of, and provides ample evidence to make the case for, a need to pay attention to this ‘pre-reflective’ predicament, what he calls our ‘situatedness.’ It’s a challenge to the priority that has been given to human rational thinking ever since Descartes famous dictum “I think, therefore I am”, and the ensuing age of reason from the 18 th century on. Though it is not a call for the irrational, far from it, it is a call for acknowledgment of a deeper level of order, corporeal and cosmic, which is, above all, incontrovertibly common, thus shared by all humans. For architecture, especially if one wishes to communicate with one’s human audience, with the users of a building, it seems important to be cognizant of how these large material phenomena we construct and put in front of people will communicate with their bodies, will invite their bodies to participate in interpreting these built figurations, and through them, recognize and gather together in a shared world.

The act of making by hand is a central theme in your work. In today’s digital age, why do you believe that drawing and manual fabrication remain vital to understanding and expressing the depth of the human condition?

There is an ontological (i.e. state of being) difference between making something out of material with your body replete with synesthetic layering, ambiguity, openness to the perceptual horizons and all that transcends them, and composing an immaterial image with fingertips on keyboard and mouse within a mathematically constructed system of preprogrammed outcomes. The world as experienced with our bodies is inexhaustibly beautiful, why would we ever want to work inside a simulacrum? The British geriatric physician turned philosopher, Raymond Tallis, has written a fabulous book titled simply The Hand which in a very erudite way describes the role of the hand over time in the emergence of human self-awareness and language. The architectural historian and theorist Marco Frascari speaks of an architectural drawing as ‘facture,’ as something fabricated through an embodied tracing of human events. David Pye, in speaking of craft, identifies the necessity of risk in the act of making, where materials and the body of the craftsperson are in animate conversation, open to each other in a call and response relationship, like a dance, the outcome of which is exhilarating in its unpredictability. I could go on, but I hope the point is made.

You’ve contributed significantly to the discourse on creative practice through your publications. Could you highlight one or two key insights from your recent articles in Kolaj Magazine that reflect your studio practice?

In my essay ‘Stranger at the Studio Table’ (Kolaj Magazne #17, 2016) I attempt to describe the notion of a partnership between the conscious and intentional actions of the artist at work in their studio and an invisible energy, an otherness, that can only be engaged with through open play. So, creative practice is a kind of back and forth between an intrinsic self-control and an extrinsic seductive force that leads to an erotic encounter, though not necessarily in a sexual sense, it’s an acknowledgment of eros, the desire to walk with the unknown, to let it take the lead for some of the time, let it pull you out of yourself for the duration of the making of the new work, let it breach the self-enclosing boundaries of the ego, let the mystery of the unknown mingle with the known. When it works it is indeed an ekstasis – that is, ecstasy. Collage making amplifies this notion in the multitude of paper fragments, seemingly incongruous strangers meeting for the first time and attempting to find their common narrative. They gather together, jostle for position, present their uniquity at the same time that they discover their shared contribution to a new whole, a burgeoning synthesis. I am always imagining what lies beyond the fragments on the page or the wood panel in front of me as I make a collage, I consider its horizons. The whole world is present in each collage, I just happen to be focusing my attention on the tiny area in front of me while always conscious of the connectivities, the broader consequences, the world beyond. This otherness outside the frame, so to speak, is implied by the fragmentary nature of what’s inside, incomplete but gesturing towards potential completion. It’s also implied when I draw graphite lines into the collages that extend beyond the edges of the sheet, or when I make spasmodic gestural graphite marks that signal the presence of my living, active body in the creation of the work. Each work is intended to incite the imagination of the viewer to complete the work, to fill in the gaps, to follow the gestures it bodies forth beyond the work itself and towards the world they inhabit and the life they live.

Exhibiting internationally, including at prestigious venues like the Venice Biennale, is no small feat. Can you share a memorable experience from your exhibitions and how these opportunities have influenced your work?

Exhibiting at the Third International Exhibition of Architecture at the Venice Biennale in 1985 with my three collaborators at the time, right after graduating from architecture school, was special for sure. We were in our mid-twenties, had just set ourselves up in practice together and thought we’d hit the jackpot. At that time, we also won a couple of international architectural design competitions and were published in the architectural journals but then… silence. No commissions came rolling in as we’d expected and after 3 years we dissolved the practice I went to Cambridge University to study architectural history and theory and my former partners found teaching positions in architecture schools. Fast forward to September 2021 and my first solo exhibition of collage work at Laura Vincent’s gallery in Portland and I’d have to say that I was most surprised and encouraged by the reception of the work, and that much of it sold. So, memorably, it would be Laura’s confidence in my work and the gamble she took in showing it, especially when the perception of collage in the commercial art world as a genre is notoriously ambivalent, if not disinterested. I have had 4 solo shows since that first one, two more in Portland, one in Rome and another in Williamsburg, Virginia. These experiences have generated a more disciplined approach to my productive process as deadlines will tend to inspire. Also, thinking in terms of a ‘body of work’ with an overarching theme has been a novel experience, the collection or series, that can bring cohesion to multiple pieces. I had never really explored this a great deal before and the challenge has been exciting. My first monograph Gestures from a Body at Work: Unsuccessful Attempts at Grasping Eternity gave me the opportunity to search out common themes across the recent body of work in my archive and to group these works into the six chapters that form the book.

Community engagement seems to be a significant aspect of your work, especially within the printmaking and collagemaking scenes. How do you approach these communities, and what has been the impact of this engagement on your creative process?

Throughout my architectural teaching career I’ve developed a collaging technique that I call the augmented collage spatial study,’ a mode of creative practice that conjures new, imaginary, spatial worlds from found image fragments rich in material surface, light and shadow, perspectival depth, and human character. Over recent years this has become successful as a collaborative community activity, and thus taken outside the confines of the school of architecture in the form of a participatory creative workshop that explores the value of playful art making in fostering collaboration, shared responsibility, and mutual respect. The resulting collages are each created by the hands of at least seven participants, and they manifest unique perceptions of space drawn from the synthesis of multiple sensibilities and imaginations. The workshop, titled ‘Depth Chamber,’ has been offered locally and nationally to high- schoolers with learning difficulties, professional architects, international collage artists, university professors, art students, and the general public, together with its regular deployment in design studio classes with students of architecture. Fascinatingly, as I have become more ensconced in the general collage making community across the globe over the last decade, where collage is considered purely an art practice, or often a mode of art therapy, but most often enjoyed by thousands with no background in professional art practice at all (one of its virtues, I might add), a version of the augmented collage spatial study process has been developed that fosters a unique communal experience, the value of which has been recognized by a growing number of non-architectural communities.

Laurie Kanyer, in her ground-breaking study of the therapeutic benefits of collage practice for mental health, Collage Care: Transforming Emotions and Life Experience with Collage (Kanyer Publishing, 2021) speaks of collage as meeting an array of human needs from healing after trauma, to reducing stress, to dealing with grief, to affirming self-awareness and selfesteem, to dealing with relationships for “connection, belonging and acceptance with others,” and many more. She goes on to describe 125 ways in which making collages can positively contribute to well-being. Many art therapy organizations deploy collage as a primary group practice and over recent years there has been a striking rise in the number of grass-roots community collage collectives forming across the globe, each recognizing the effectiveness of collage-making (over and above the product itself) as fulfilling a primordial human need for meaningful participatory experience, a need perhaps heightened in the post-pandemic setting.

Lastly, for emerging artists and architects who look up to you, what advice would you give them about nurturing their creativity and making a mark in the world of art and architecture?

I have spent all my adult life in education within a creative field, so I have a lot to say about how to nurture the imagination of others, most importantly, on their own terms. To be brief here, I’ll just mention three important things. First, curiosity about the world we share. This should be outward facing (never inward towards an ego or psyche), genuinely enthralled with the experience of others across the common ground, and truly unquenchable. Second, courageous exploration through play. Always be ready to iterate, to try something out even if you don’t know where it’s headed. Usually, having an outcome in mind will diminish what you make to merely an illustration of something previously formed. Invigorate your practice through discovery. Third, embrace the pleasure of making. In a world obsessed with efficiency and speed, adopt the pace of practice that foregrounds the pleasure of the making act.

For an artist, making art is not a productive process, it is a creative endeavor. It is as much about the experience of making as it is about the thing made. Of course, everything is vulnerable to commodification and monetization, but these forces must be resisted for the sake of the pleasure of making. Without

Healinginthedarkdream

AcrylicsandOilPastelsonCanvas

12"x12"

£435 @riley.keh wwwlorokxxxmyportfoliocom

OlalekanKushimo

120x105cm

£250 @nuthsart

Mood

Acryliconcanvas

40"x40"

£3,000 @kushymore studios www.kush-ila.info

OilonCanvas 25x25cm

£200 @charonhu www.charonhu.com

MaraBonofiglio

CelineLam

Sonder

Painting,acryliconcanvas

20"x30"

$3,000 @c311n3 wwwcelinelamartcom/2024

RJGardner

PhotographyandPhotoshop

30x40cm

$600 @whatuprj wwwphotographicspectrumbigcartelcom

TheDuraqLife Collage,Digitalart

80x60cm

€1,500 @mysticathebrave wwwmysticathebravenl

S&B

weatherheart aqua

£5,000 @sandbiofashion wwwsandb-storecom

ChnoorSamadi

ThirdEyes

ArduinoNano,LEDdotmatrix,buzzer,infrared sensor,sunglasses 250x100mm wwwqumingyuecom

AzucenaGonzález

AbaryJane,2024

Acryliconcanvas 120x130cm @azucenagonzalezig wwwazucenagonzalezcom

Metamorphosis

Acryliconcanvas 200X120cm

£5,000 @chnoorsv www.chnoor.com

TheColorBlocks

OPULENCE

Digital,onBitcoin 625X625px

$2,000 wwwthecolorblocksco

AyoFolayan

Louisiana666

PortraonC-Print

48x108cm

£2,000

@whitneycontitv wwwwhitneycontitv

175x240m

@ametza irizar art https://httpsnonecom

WomanofColor1

DigitalCamera+Photoshop

40x60cm

£950

@ayofolayan wwwlymairacom

Colorsandfigures-MiekeVan Cauter

JTogetheraloneCanvas,Acryl60x80cm

Painting,Acryloncanvas

60x80x3cm

€3,850

@ colors and figures wwwcolorsandfiguresbe

ZarnaGeraghty

NAKEDDREAMNAKED

OilonCanvas

91x122cm

£2,500

@zarnart

RobertJohnsonImages

AProfileorBiography?

DigitalArt

36x46cm

$350

@robert johnson images

Zohanneart

7620x5080x150cm

£95 @zohanneart wwwzohanneartcom

AmardeepKaur

ThroughRoseColouredGlasses

Digitalmedia wwwtiktokcom/@lilactigerswagstripes

AvianNoble

PostInvasionDay:32

Photographunder.25inchacrylicglass

12"x12"

$632 @aviannoble

CoyaMcGregor

FrankdenOs

ATONEMENT:LOVEME,ISAID,YEAHYEAH

Acrylicmixedmediaandcollageonpaper

30x30cm

€480 @frankdenos wwwfrankdenoscom

ChrisSmith

Child’splay

Acryliconcanvas

18"x24"

£200 @mossysearock

Untitled Acrylic,oil,watercolourandink 234"x165"

£4,500

MeetOlenaFedii

Olena Fedii, originally from Poltava, Ukraine, has been teaching ICT and Mathematics since 1997. Driven by a passion for self-improvement, she moved to the UK in 2014 and earned a PGCE in Primary Education from Kingston University in 2022.

Currently a primary school teacher in London, Olena turned to art for well-being during the war in her homeland. Believing the world needs more beauty, she integrates art into her teaching Once, after helping her Year 1 students create Van Gogh inspired artworks, she distinctly remembers her class telling her “Thank you for helping us make the sunflowers”. For Olena, this is what teaching is all about; nuturing creativity in children, and guiding them on their artistic journey through experiences that will stay with them for years to come.

With over 20 years of teaching experience, Olena is dedicated to inspiring selfdiscovery through art, living by Van Gogh's words: "In art, one must give heart and soul."

What initially inspired you to become an artist? and how did you develop your unique style?

Art has been a passion of mine since my childhood. My initial inspirations came from the natural surroundings that I grew up in – which was a town located very close to nature. I was especially drawn to beautiful spring flowers, which often remained in my thoughts long after sighting them . That became the bedrock my art going forward and inspired the various creations that I try to reproduce in my art.

In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?

Floral motifs and nature themes find prominence in my work . These creations speak to the abundance of beauty in the world, which unfortunately many of us fail to notice in our busy daily lives . My attempt to reproduce them on canvas is a way to consciously connect myself and other who view my art to immense beauty that flowers and nature bestow to the world.

You began painting one year ago, how has this year of creating rewarded and challenged you?

This last one year since I started painting has been very rewarding to me. It was initially a challenge to transpose my thoughts and feelings onto a physical medium however, as I immersed myself in it - it grew upon me and I started enjoying the process so much As they say – “the journey itself became the destination “ the process of creation became the reward in itself.

You use florals as a recurring motif in your work, can you tell us more about what draws you to this subject?

I love nature! Every single flower in my garden tells me a story which fuels my art with a vibrant, colourful life. The beauty of nature is unique! Nowadays, the world needs more beauty! My desire is to inspire people to create their happiness, to give a feeling of

How do you stay connected with other artists and keep up with new developments and trends in the art world?

Learning from peers and fellow enthusiasts is also very enriching. To meet them and be upto date with latest trends I keep track of various art events, news not only in UK but also in other marquee art destinations for example – Amsterdam – which has largest collection of works from masters like Van Gogh, Rembrandt and Vermeer

How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?

Critics and audiences have a critical role in the development of an artists unique style. It enriches my art when I incorporate such feedback and it also aligns me with contemporary tastes and peer feedback.

How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?

I am fortunate that so far I have not faced significant setbacks and hope my journey continues in this manner to further enrichment.

How does working with children impact your work and your approach to painting?

As a professional, I am also a teacher specifically for the Primary classes . The medium of art is very useful to communicate with young and impressionable minds.

You talk of your desire to encourage children to dream big. What does ‘dreaming big’ look like to you and your work?

Dreaming big is to be able to achieve your potential in life and as I am botha teacher and an artist – I would like to encourage children to develop their creative side which will be useful to many aspects in their future life

Looking ahead, what are your longterm goals and aspirations as an artist, and how do you plan to achieve them?

My long-term goals are to continue developing my passion and perfecting my style and I hope to achieve them through continuous practice and experimentation.

You can find more of Olena’s work on her Instagram, @vasillenka_art

JanineShroff

YomiGbamis

TheHarvest Acrylic,Liquidgilt&Ballpointpenonpaper 84x60cm

£5,000 @janineshroff www.janineshroff.co.uk

VictoriaWilde

Stable AcryliconCanvas 33"x37" @yomig6 wwwyomigbamiscom/indexhtml

AnnaWigandt

Unmirrored Acryliconcanvas

61x76cm

£510 @Imwilde

HandsofSolidarity

Painting,Oil,24CaratGold,CanvasonBoard 30x30cm

£500 @wigandt art

DANINARTIO

FreyaBetts

Audrey Digitalpainting

Varioussizes

42x59.4cm

£100

@freyabettsart wwwfreyabettscouk

MindblowingCreation

Permanentmarkers,acrylic,andoilonCanvas

30"x30"

$750,000 @danin artio

TiffanyWint

BloomintheDark Painting,AcryliconCanvas

60x90cm

£800

@tiffanywint art wwwtiffanywintcom

Maire-Clare Mallon

ResurrectionVL

Photograph,fireonpaper

90x60cm

£1,950

@bylukewoodford wwwbylukewoodfordcom

ZoëSchulz

MartynaJach

Silentwitness

Painting,Acryliconcanvas

70x50cm

€960

@mjach

AnnaArchinger

Analoguephotography Self-portraittakenwith Lomography400

£3,300

@studiozo wwwstudiozocom

MovingStar digitalphotography

30"x45"

€1,620

@annaarchinger photography

LukeWoodford

NarasimhaYeddula

TheHandsofTime

Photography

£250 @theynsr

Curated. digitalphotography 30x70cm @larpurlartism

DIZLARKALeahLarisaBunshaft

Sensesalive-Vision

Graphics,pencil,acrylic,chalkonpaper 21x27cm

€200

@dizlarka art wwwdizlarkacom

Ch i ti B i

DigitalPhotography 18"x24"

$550 @christinabusco wwwchristinabuscoformatcom

LaurenRubin

Bag DigitalArt

24" x36"

$500

@laurenbacallmemaybe

JiaChen

TheLongWaitingatSantaFe

DigitalPhotography,Printing 19"x13"

£600

@multiplyplus

TheCreatureoftheSea Ceramics 100x80x50cm

€1,500 @konstenattvarakk

TairanHao

SilentAdaption

Screenshotfromvideo

Animation

02minutes36seconds

£5,000

@tyhao629

wwwtairanhaostudio/artworks

DANESHVAR-MALEVERGNE

ETERNAL

Mixedmediaacrylicandoilsoncanvas

100x150cm

£2,000

PowerandDomination

photography

70x70cm

€1,000

@daneshvar malevergne negin

JoeZanrè

Striations

Photographyonmetal/acrylic

60x40cm

£247

wwwpiranhaprintscom

www.negindaneshvarmalevergne.photography.com

MeetJehst

Hailed as “the best British rapper of all time” by NME, Jehst is a Kent-born hip-hop artist whose career spans over two decades. Known for his intricate lyrics and dynamic performances, he has become a cult icon in the UK music scene.

With six critically acclaimed solo albums under his belt, including 2023's ‘Mork Calling Orson,’ Jehst continues to push boundaries and inspire a new generation of artists.

As he gears up for another explosive year, we delve into the world of the man also known as Billy Brimstone and explore what makes him a living legend in the realm of UK hip-hop.

Throughout your discography, is there a particular album or track that stands out to you as the most personally significant, and why?

I think if you’re doing your job right as an artist then that should always be your most recent work because it’s speaking to experiences fresh enough to actually resonate with you. So that’s the personal part. But in time the work takes on its own significance, in particular how it’s received and interpreted by the listeners. Some songs have particular significance because of the circumstances surrounding them which I think is separate in some ways from the actual song itself. ‘Carpe Diem’ - a solo song of mine but released under the group name Champions Of Nature stands out as I was a big fan of Lewis Parker and that was the first time he ever produced a song for me. That was a huge deal for me. And the fact that shortly after recording we formed the group and now I’m in a crew with an artist whose records I’d be buying as a fan regardless. That springs to mind for sure but there are definitely others. In terms of the actual content of the song itself, off the top ‘Set In Stone’ and ‘Starting Over’ are big ones for me.

You've worked on numerous side projects over the years. How do these ventures influence or inspire your main body of work?

Truth be told, I’d be happier working in a group or collective. The solo material has always been born out of how difficult it is to actually make that work! But then still needing a creative outlet. So I’m kind of an ‘accidental’ solo artist in that sense. By necessity more than by design. So I guess to answer your question, you could say that the side projects are the core inspiration and catalyst for the solo material.

Given your influential status, how do you perceive your impact on the next generation of artists who look up to you?

I think I’ve been around long enough now

that the generation of artists I’ve most influenced have already become the influences of a next generation. At that point things become way more opaque in terms of tracing the influence but I’m aware that I’ve had some impact both directly and indirectly at this point in the timeline. It’s a Russian Doll situation.

Your path took a bold turn when you left LSE to pursue music full-time. Reflecting on that decision, what advice would you give to aspiring artists facing similar crossroads?

It’s actually one of those myths of the internet that I went to LSE. I was actually studying illustration at a completely different university. In terms of advice, I should have dropped the degree and focussed on the music sooner. It wasn’t really a crossroads situation. The path became clear as the music world began to embrace my work while my university tutors for the most part dumped on the Hip Hop / Graffiti influence in my artwork. That really took me off the path of having any direction or intention in my work. The next thing you know Banksy became the biggest artist in the world so shows how misguided their ‘tuition’ was.

Graffiti played a significant role in your early artistic expression. How has that background in visual arts influenced your approach to music and creativity?

I’m from a Hip Hop generation that basically took it all on wholesale - rapping, deejaying, beatboxing, beat-making, breaking, graffiti - it was a total package. The music was the soundtrack to the culture rather than the culture taking a backseat to the music. So in many ways Martha Cooper & Henry Chalfant’s ‘Subway Art’ book was as much of an influence on me as Run DMC’s ‘Raising Hell’ album as a kid.

Could you give us a glimpse into the creative process of developing an album? From conception to the final product?

Frustratingly, I have never really been in a position to make an album in an organised and streamlined way like that - that’s the dream! I usually set out with the intention of carving out a chunk of time and having a set process for the production, writing and recording process - like a base camp studio situation. But what happens in reality is life gets in the way and it becomes a ‘make do and mend’ scenario. So, the main thing for

me is getting a track list with a specific running order together and having a full picture of how the album flows. I generally don’t even really arrange or do any post production or mixing until I’ve got that track list. For me that’s key to ending up with a cohesive body of work. I guess it’s less and less relevant in the DSP ‘playlist’ era but for a start to finish album listening experience that approach of looking at each track in context when finishing is fundamental in my opinion.

You've managed to build a strong and loyal fan base across the globe. What message do you aim to convey through your music to connect so deeply with listeners spanning different cultures?

It’s a good question. I think it’s really just about the fact that Hip Hop gave us a form of universal language that crosses physical and cultural borders. It’s kind of a cheat code. Especially if you’re old enough to be from a generation that experienced it in real time. There’s a common thread between everyone who grew up listening to every BDP album or Gang Starr album or

whatever. The shared experience of going to the record store on a specific album release date. You’re reading from the same hymn sheet as a global audience that already understands the assignment so to speak. In terms of a specific message, I can honestly say that I don’t really have a specific agenda in mind like that. I definitely think there’s room for that though - if not a dire need in many ways.

With YNR Productions, you've not only paved the way for your own music but also for other artists. What's your vision for the label, and how do you see it evolving in the future?

Right now I actually need to do some serious housekeeping. It’s always been a situation of me being left holding the baby with YNR, so I’m always in way over my head in terms of the nuts and bolts of the business. I’m definitely not going to rule out releasing new material but right now the legacy aspect of the label needs to be addressed. The whole ‘50 years of Hip Hop’ thing really highlighted that for me.

Finally, having left a lasting legacy in UK Hip-Hop, what aspirations do you still have for your career? Is there a particular milestone or project you're yet to achieve or undertake?

There’s so much I still want to do both creatively and even commercially for lack of a better term. I’ve always been a producer from my very first record until now. I’ve produced a lot of my own material but I’ve always prioritised being an artist and a rapper first. Moving forward I want to focus more on producing and slowly acclimatise my audience to the idea of picking up a quote unquote ‘Jehst’ record regardless of whether or not I’m actually rapping on it. It’ll be a slow pivot but one that I intend to make as that’s really where my heart is at this point. With that said, I’m still enjoying writing, recording and performing, so as long as I’m still having fun with it I’m good. I’m not hanging my mic up just yet.

You can find more of Jehst via his Instagram, @jehstofficial or on YouTube, Spotify and SoundCloud.

www.mapeinturequantique-fushigina.com

MarcNoël

“A man beyond all norms”. That's it, you have a complete biography of Marc Noël! And yes, to describe a man like Marc Noël this first paragraph said it all, but the human being needs "more explanations" - depending on the size of his ego. The ego must hear, understand, see, be able to touch, analyse, and judge. The ego needs to be able to put into boxes and compartments what makes sense in his perception of reality, in order to be able to connect with his logic. The ego needs to be able to identify what he observes and compare it with everything that has been programmed into his brain and even into his cellular information.The ego has the need to be able to discuss and debate about "the reason" and to be able to give a certain logic and reality to the thing that is being presented to him. Through whom he is, Marc Noël's mission has always been to share something completely different in this world, from different viewpoints and in different forms, but complementary to what the ego's perception of reality is.

Today Marc Noël presents his paintings to the whole world on other media platforms, such as Non-Fungible Tokens (NFTs) and videos, so that everyone who wants it can benefit from these very powerful tools. He also teaches quantum painting to people, whether they have had or have not had academic training in painting, to make them live and experience “the painting” from a completely different point of view - or to dare enter into the feeling of the creation of the painting, and even become their painting. His objective as an artist painter here is not to go against the classical art of painting, which is often limited by a great rigidity and rigor of technique, norms, and social critics, whereby a painting must adhere to a whole list of criteria to be recognised by “the standard”. What he brings through his quantum painting is complementary to this classical artistic world, which means giving art through painting an additional dimension, or even providing the painter who was exclusively trained in academic art with an additional tool, which will not only make his creation as a painter even greater and more beautiful, but also give him the opportunity to develop “this freedom of artistic creation!” At the beginning of this biography we shared with you that it was very simple to give a complete biography of Marc Noël in a few sentences, it is also possible to describe Marc Noël in a biography that would encompass thousands of pages - and of course, the human ego would like to know everything! Someday, maybe…

AndyRollo

JorgeSanchez

Healinginthedarkdream

AcrylicsandOilPastelsonCanvas

12"x12"

£435 @rileykeh wwwlorokxxxmyportfoliocom

MarianaDemarco

RannochMoor

Painting,acryliconcanvas,framedbytheartist

£1,100

84x84cm

@jorge sanchez artist wwwsanchezartcouk

PaulDelpani

Memóriasdeummedo,2023

Screenprintingonmonotype,inkandcollagemade fromprintedphotos,newspaper,magazinepagesand oldbooks

105x594cm

$100 @maamind wwwbehancenet/marianabrandal

Payattention

Photography,mixeddigitalmedia

45x60cm

€500Ed5+AP

@paul delpani wwwpaul-delpanicom

ChrisBearne

Monarchsonechinacia Marquetry,veneersonMDFpanel 22x32cm

£100

CeliaHerreroBarrios

PapyrusBoatResistingTheTortureOfTheWaves Ceramicearthenclay 46x33cm

£800 @veroniqueandarts

Coldpixie

Elfinaldelcamino Painting,Mixedmediaonacornercanvas 122x55cm

£300

@c.h.b.18

PassinginTokyo Painting,Oiloncanvas 50x50cm

$1,000

@artsniff

@coldpixie wwwcharixuucom

Libellule Painting,AcrylicsonCanvas,driedflowers

70x80cm

€370 @patriciacsiszar

Atabey OilandPastelonCanvas 30"x40"x1"

£1,300 @playlist artist84 wwwfelix-concepcionpixelscom

LeighWitherell

HiddenWounds:AnArtisticExploration ofMaleShameinPurityCulture

Acryliconcanvas

36”x36”

$4,000 @leighsartfl wwwleighsart

Léas02

Charcoal&Chalk&OilPastelon70g/m²paper 100x99cm

€2,500unframed @n.iam.kunst

wwwammattistore

Painting,acryliconcanvaswithwooland woodenpuppet

56x124cm

£500

@thedistilleryart

ntic loisonne x8cm ale 021

wwwbehancenet/chgning7eb3

PaulGrégoire

SnakesansLadders

Coloredpencildrawingdigitalmontage 16"x22"

€200

@paul gregoire artiste www.paulgregoire.quebec

A Santiago

TheLights Mixed-Medium

150x100cm

€10,000 @studiomerven www.mervekocak.myportfolio.com

Painting,oiloncanvas 18"x24"

£1,500 @art.jjimenez

€4,800 @alexsantiagolondon2024 www.oceansbyalexsantia.wixsite.com/my-site

€4,000 @liamkhitaryan wwwliamkhitaryancom

Dr.ArtyFicial

From the vivid tapestry of memories and dreams, our artist's journey unfolds like a radiant symphony of creativity. In the realm of academia, where the rigid structures of conventional learning sought to confine their boundless spirit, our artist transcended the mundane confines of textbooks and lectures. As they traversed the hallowed halls of education, our artist's mind became a canvas, where the landscapes of knowledge merged with the vibrant palette of their imagination. They wove intricate tales of cities seen through their eyes, yet transformed by the alchemy of their inner vision. Real-world metropolises and fantastical realms danced in harmony within the recesses of their mind, waiting to be brought to life by the strokes of their creative genius.

Over the rainbow city, Illustration, £200, 40" x 32" @dr.artyficial www.etsy.com/shop/DArtyFicial

EleanaBanti

Eleana is a 24-year-old Greek woman living in Paris. With a bachelor's degree in performing arts, specializing in film and theatre, and a background from drama school, her passion for art extends beyond the stage. She has always been particularly drawn to painting, enjoying the process of experimenting with different mediums. Through painting, she has discovered a profound means of self-expression and exploration.

@eleanabanti

38 x 46 cm