COLLECT

March 2022 | Issue 03

$ 20.00

Women Art/
ART
Special Edition
IF I SPEAK IN A VOICE
WHICH IS MY OWN,
IT’S BOUND TO BE THE
VOICE OF A WOMAN”.
ISABEL BISHOP

Sam Heydt
Let Outside In
Collect Art/ Tbilisi, Georgia/
www.collectartwork.org/
info@collectartwork.org
collectartwork@gmail.com
 Women Art
Special Edition

"If I speak in a voice which is my own, it’s bound to

be the voice of a woman”. Isabel Bishop

Women in art history reveal a significant engagement of

females throughout the centuries in different countries.
Their engagement appeared in many forms, including
women that were innovative in new ways of artistic
expression, women as patrons, women as collectors, and
women as sources of inspiration.

The society urged women to stay back and guard the

privacy of their homes instead of opening their talents to
the public. But not, women in art are the ones who’re
creating meaningful and innovative works with their
freedom and creativity.

CONTENT
Sarah Grace Dye
Jane Mckeating
Sam Heydt
Caren Garfen
Kristen Donoghue
Romina Schimpf
Emily Tull
Kayleigh Reed
Irena Jurca
Sara Floris
Kelsey Marie Gavin
Aurelija Pestene
Astrid Vlasman
Eloise Schoeman
Lena Snow
Magda Betkowska
Nicole Antras
Sabrina Pohl
Shir Beck
Carol Moses
Hannah Lane
Anna Wei
Natalie Arsenow
 SARAH GRACE
DYE
Sarah is a collector.


She collects objects and ephemera along with a plethora of related stories
some true some imagined narratives. Collecting things that would otherwise
be disposed of starts the journey for most projects. Finding a use and a
beauty in the ephemera of every day has become like an alchemic practice.
Learning to use the materials that are all around is an important and direct
comment on the tangible textures of our households and rituals.
The work evolves through documenting, recording, collecting, and sharing
these stories. She uses various processes to create, especially drawn to a
process that has some element of surprise in the outcome. Collecting,
papermaking, natural dye and ink making, drawing, cyanotype, and creating
book structures are amalgamated together to produce small and perfectly
formed keepsakes that echo the essence of the materials and story they
communicate, sometimes direct sometimes abstract.

Her ethos dictates that it is important to

waste nothing, that everything has a purpose
and an inherent beauty to be examined,
explored, elevated and a new purpose
discovered. The resulting alchemic objects
are to be celebrated and shared and
treasured.
www.sarahgracedye.com
The Unforced Rhythms of Unfurling

The dictionary describes the word ‘unfurl’ as; to make

or become spread out from a rolled or folded state,
especially in order to be open to the wind.

 Unfurling has become a clear theme

throughout the past year echoing the
rhythms of life post covid. In the first
instance, we collectively retreated into our
own spaces physically and mentally to
process what was happening in the world
we once knew. We are all now unfurling
into a new space and feeling our way
around that space to become familiar with
what it looks like.

My making often echoes my experiences and this

has been interesting to witness during the past
year. I have started to connect the dots and
recognize this strong theme of unraveling,
unfurling, gathering and releasing, and looking at
the unforced rhythms those actions form.
 It is interesting to observe the paper, as it is released from a bound coil, at
first it spins quickly to escape its confines but then finds its own level of
resistance and settles in a natural loose coil. The concertina folds are held
tight by solid ends of restriction that when moved release the contents to spill
out whilst still being confidently connected to the whole. The contents
become playful and can move and dance creating new shapes and
subsequent rhythms. I use gold thread to stitch the paper together and this is
usually the only purchased element in the work. The driftwood was collected
on my daily walks by the river near my home.
 JANE MCKEATING
Jane McKeating’s images are decorative and playful. The tactile surfaces depict
universal themes in everyday life telling visual stories of inconsequential
events, often presented through sequences of images. Drawing is central to
Jane’s creative practice and she moves between drawing, print, and stitching
to make work in different media at a variety of scales. Sketchbooks are an
important part of her creative thinking process and the visual stories always
start between the pages of her books, which she uses daily.
Utilizing print processes to translate drawn images onto a variety of cloths
and papers, she works with them using a series of processes of addition and
subtraction. This might include adding marks through stitch or erasing and
distorting marks through removing warp or weft. The use of print enables
images to be endlessly repeated, so frequently drawn characters and objects
appear over time in many different guises and scales.
Jane is interested in the haptic qualities of stitch and cloth and her textiles
emerge from an exploration of the relationship between touch and vision. Her
synaesthesia impacts upon the use of color and this is explored through the
intensity of handstitched patternmaking, resulting in richly colored and highly
tactile surfaces.

www.janemckeating.co.uk
 'One Monday Morning I Found 25 Countries In My Wardrobe'

An autobiographical work. The story examines the global origins of my

wardrobe one morning whilst ill in bed. The piece documents, on scraps of my
bedsheet, images that reflect on both individual identity and imaginary
connections made, through labeling, with the makers both known and
unknown.
 The piece is made up of 100 individual
cotton scraps of bedsheets which are
laid out flat on a board to form a spiral
(120x120cm). The full story is told in the
attached document which details the
inspiration and the process of making.
The images were initially scribbled in
pencil on my sheets whilst in bed, then
transferred to screen and printed as
self-portraits, most of which are then
embroidered using hand stitch. From
12 basic images I have used
multilayering to portray the
complexities of identity, so each scrap is
an individual portrait as well as being
part of a whole.
 ‘While They Were Talking and I Was Drawing’
One of a series of textile works depicting occupants of a Café in
Bramhall Park, Stockport, during the lockdown. I spent the day discretely
drawing in the large café garden, recording people sitting, playing,
chatting, drinking. The story is in the document attached. The images
were printed onto cloth and hand-stitched to create new surfaces. The
work explores how the drawing process records things that we might
not even be aware of; in this case, while the original focus was the
adults, it is really the little girl who appeared in each of the drawings as
she played. The girl, only 4cm tall is screen printed, then cut out so she is
scattered loosely across the surface of the piece which lays flat on a
board (80x90 cm)
 SAM HEYDT
Sam Heydt is an American
social practice and recycled
media artist born/raised in
New York City.

Her art, anchored in social

advocacy, attempts to give a
voice to the veiled, forgotten,
exiled, and silenced.
In her practice, she works
across a spectrum of different
media- film, video, installation,
photography, sculpture, sound,
merchandising, text — and
employs a range of materials
often reinventing or
trespassing their associative
use. Heydts’ vision looks
beyond the ordinary.
Esteemed as one of the
pioneers of the recycled media
movement, Heydt’s work has
been shown in galleries,
museums, art fairs, and film
festivals worldwide.

www.samheydt.com
The edge is closer
than we think, but
illusion won’t free
us from reality,
even as the
sustained
narrative of
tabloids becomes
history and the
myth of progress
continues to
perpetuate
inequality. As the
natural world is
liquidated and
substituted with
an artificial one,
public discourse is
being defined by
even narrower
bandwidths. While
social processes
defy the logic of
individualism in
global capitalism,
the underbelly of
profitability fueling
globalization
emerges as
exploitation.
 In a time marked by a mass extinction, product fetishism, diminishing
resources, and patented seeds, we find ourselves in a world exploited beyond
use, a world increasingly reduced to a bottom line. Concerns that are
drowned out by the white noise of the media and the empty promises it
proposes for the future it truncates.
Working across different
media- film, video,
installation,
photography, sculpture,
sound, and text, Heydt
presents an abstract
proposition for a world
on the periphery of
history, one that not
only appears haunted
by the ghosts of the
past but built on it.

Heydt’s layered imagery conflate time and place, colliding and merging
generations of possibilities, and disrupting logical relationships between
occurrences. Combining images of destruction with portrayals of the virtues
born from the American Dream, Heydt confronts the disillusionment of our
time with the ecological and existential nightmare it is responsible for.
 CAREN GARFEN
www.carengarfen.com

Caren Garfen is a London-based artist specializing in textiles and meticulous

hand-stitching creating carefully considered pieces with profound messages.
She is an award-winning practitioner who has established an international
reputation for her accessible yet challenging issue-based art. Her work has
been exhibited widely in the UK and Europe, as well as in the USA, Japan,
Canada, and Australia, and can be found in public and private collections.

Caren carries out intensive research seeking out commonplace objects which
become potent devices when placed side by side with her handwork. She is
currently studying the Holocaust and examining the shattering rise in
antisemitism in the 21st century.

 Fragments

Fragments examine the fashion and

textile industry in Berlin in the 1930s,
and the impact of Nazi policies of that
period on Jewish clothing
manufacturers, designers, design
houses, and fashion stores.
A clothing union, The Working Group of
German-Aryan Manufacturers
(Arbeitsgemeinschaft Deutsch-arischer
Fabrikanten der Bekleidungsindustrie),
known as ADEFA, was set up in 1933
and its focus was to eradicate Jewish
people from all areas of the German
fashion world. They used a combination
of antisemitic propaganda, blacklists,
economic sanctions, intimidation,
violence, and aryanisation to achieve
their goal.
By 1938, the thriving and innovative
Jewish fashion industry in Germany was
eliminated.
March 20, 1935
Ladybird Ladybird

Ladybird Ladybird is in
remembrance of the 1.5
million innocent babies
and children who were
murdered during the
Holocaust because they
were Jewish. Thirty
young lives have been
commemorated in this
artwork, each had been
photographed with
their favorite toy, be it
a tricycle, a bucket, and
spade, a teddy, or a
doll. The stories of
their short lives have
been hand-stitched
onto cloth and stand as
a testament to what evil
can achieve when it is
left unchecked.
 Labelled
In the summer of 1942, Helene Brill, a widow to Julius, a mother to Irmgard,
and a grandmother to Rolf, was deported to the desperately overcrowded
Theresienstadt Ghetto where the conditions were appalling with unchecked
hunger and disease. On 9 September 1942, the ghetto population and the
daily death rate reached an all-time high. To reduce the numbers, the Jewish
elderly were selected for a mode of transport in accordance with the
implementation of the “Final Solution” policy of the Nazis.
The Transport Bo, Train 83, from Theresienstadt ghetto to Treblinka
extermination camp was announced in the Daily Orders on 19 September
1942. On the morning of the next day, each innocent prisoner scheduled for
transport was ordered to pack his or her belongings, and report to the
quarantine site (“Schleuse”) at the courtyard of the Aussig Barracks. There
would have been about 1,622 Jewish women of German citizenship and 350
from Austria in this selection. The deportation would have included 1,318
women in the age bracket of 61-85, and Helene, aged 73, was part of this
group.
Data from Yad Vashem; and testimony of Dr. Siegfried Seidl who carried out
punishments against Jews in the Theresienstadt Ghetto.

 KRITEN ELIZABETH
BONOGHUE-STANFORD

Kristen Elizabeth Donoghue-Stanford is a Canadian artist

currently residing in Caledon, ON.
She is primarily a sculptor working in bronze casting, mold
making, and embroidery and recently has broadened her
mediums to film and written artworks. Her work currently
researches by practicing the Gothic and its relationship to
societal views of femininity and womanhood. Influenced by
feminist literature and Gothic fiction, and an abundance of
horror films, she seeks to analyze womanhood and femininity
as inherently Gothic and utilize it as a method of reclaiming
agency and autonomy.

Lifelines (Hilda)
Medium: Site-Specific
Installation (87
Knitworks - Acrylic
Yarn)
Date: 2019
*This work was created
in memory and in
dedication to Hilda
Gertrude Stanford, the
artist's paternal
Grandmother who
passed away in 2019 at
the age of 87*
www.kedonoghue-stanford.com
 Hold firm against this crashing wave, lording overhead. With the bone houses of
my thoughts threatening to plummet down around me. I am taught to dig my
heels into the shifting sand and remain in place so as not to anger him. So as not
to disappoint him. I was born with purpose-made and should I fail or deny, should
I strive but find no fortune in my duty, I am wrong. A broken dish no longer fit to
adorn the shelf; no choice is mine once I am crimson.
I am made what I am by cup and sheath and when he looks at me they are all he
knows to see. Hold firm to the standards of my mothers, the ones placed upon my
father. Smile always, cry prettily, beg forgiveness, internalize submission. My body
is not my own, nor anybody with a purpose born is made. Upon first breath,
autonomy is placed in a tomb. Duty left unfulfilled and I am cruel, a being of the
abject and the uncanny. In this, I am both isolated and united with my sisters and
mothers. The violence our existence incites is forever justified in him.
Thou mayst take of my life and suck the very marrow from the bones; break and
grind them down to ash but I shalt not cry; not while I yearn to fulfill the duty. I will
smile as you bend me; twist me until I splinter. The vessel of my soul creaks and
groans under a torrent of expectation and I have mind enough to succumb. My
wants and desires fall vacant and shallow to the needs and demands for a chalice.
A vessel for life awaiting the sewing of fields. I know the widow’s perch is where he
wishes my days to find an end, but in truth, I was already buried in an infant’s
grave. To this existence, I will hold firm.

Home Maker

Medium: Site-
Specific Installation
(spray painted
stencil, racing
green and dark
brown paint,
bronze)
Date: 2021
 In analyzing the treatment of women as abject and uncanny beings,
Donoghue-Stanford’s practice revolves around the analysis of womanhood
and femininity as inherently Gothic on the basis of subjugation under
patriarchal trauma. Horror and desire morph into beautiful obscurity and ugly
clarity to utilize the Gothic as a catalyst for the reclamation of power and
control over the self.

Femininity Gothic
Medium: Bronze
Date: 2019
Each mirror is named after a different heroine or villainess from Gothic fiction. In
order of how they appear in the image from front to back they are named Lucille,
Rebecca, Adeline, Edith, and Hester.
 In Arduis Fidelis

Medium: Embroidery,
writing, cotton,
wallpaper
Date: 2021
 ROMINA SCHIMPF

The abstract three-dimensional textiles are strongly influenced by their

birthplace, Misiones Argentina, where the main characteristic of the soil and
rocks is their unmistakable red color due to the presence of iron-rich laterite
minerals.
Not only the presence of this mineral and its precious color influence and
determine the works, but also the exuberant flora and fauna of the place,
giving rise to a rich symbiosis of organic and inorganic elements that converge
simultaneously to establish a homogeneous flow and relationship between
the different stages and processes of life in general.
Textiles express that fusion between living and non-living organisms, that
same repetition of nature in every detail, in every being and object. Everything
has a beginning and a course in time, aging, which in each work is intrinsically
determined by rust.

www.rominaschimpf.com

NATURAL
90 CM × 80 CM
 BREDER 155 CM × 86 CM

The visual art of Romina Schimpf is an abstract work where textiles are fused
with other media to create a powerful and almost sculptural image of the
process of life and its deterioration. Each work is born from taking
photographs, mostly of corroded objects that are in an advanced oxidation
process; other times the work is born from the observation of colors and
textures in nature or from the observation of the different processes of aging
and deterioration in objects and living beings.
Each work is marked by symbolism and influence. The colors of rust and
ochre, are intimately related not only to the conception of the vital essence of
each work but also have a strong bond and influence with his birthplace,
Misiones Argentina, where the characteristic of the soil is the richness in iron.
and various stones. In addition to this, rust is represented as an expression of
strength, almost of resilience in the life of many living beings, and also of the
artist in whom an interest in the abstract and complex meaning of life has
been aroused from an early age.

 135 CM × 77 CM
133 CM × 70

MURK
FURIA
CM

The artistic process of each three-dimensional work is intuitive and natural,

almost like an emotional and introspective act, which, due to this fact, entails a
long material time.
The artist makes impressions on fabrics with oxidized metals, through a
process called Ecoprint by contact, where the textile is exposed to oxide for a
time that will depend on the strength of the impression that is desired. This
process can take from two weeks to a month or more.
Subsequently, the artist is carried away by these wonderful and powerful
marks or traces of rust, to determine the shape of the work, for which the
artist does not make previous sketches. The artist works with two types of
fabrics that can be summarized as: base fabric, fabric dyed by contact
Ecoprint or iron fabric as she calls it, and secondary fabrics, which are those
fabrics that are painted with mixtures of colors created by the artist
specifically for each work, using from hand painting to monoprint and
watercolor on canvas. The fabrics are cut by the heat
of a welder and are manipulated, if they are polyester fabrics, also with heat,
to achieve the desired textures.
 From this moment on, the artist begins the creative process of the work,
always intuitively, which includes the introduction of various textile
techniques, such as embroidery, felting, free motion embroidery, heat
manipulation, and plastic techniques that allow her to adequately mold the
play.
The materials that the artist involves in her works, in addition to textiles, are
diverse, ranging from paper, including in her latest works, introducing
oxidized metals into them. The presence of different embroidery threads
from rayon, silk and polyester threads, as well as metallic threads, bring a
spectacular shine to the intention of the expression of the rust and also the
use of hand-dyed silk and merino wool fibers, which are hand-felted for extra
texture and color.
The artist also uses, in her works, two types of polyethylene, PEA and
Lutradur, which are non-woven fibers, both to achieve textures and to mold
and give body and sculptural structure to her textiles, thus managing to turn
her abstract textiles almost into objects, using these materials and
techniques.

OER
114 CM × 88 CM
 EMILY TULL

Emily Tull is a Kent-Based artist. She creates portrait and wildlife artworks
using hand stitching on a variety of materials - fabric, wallpaper, and plastic.
Her portraiture is inspired by relics, peeling paint, and people's personal
stories. The imagery is always fragmented/incomplete to represent the
fragility of humans and life, the viewer is left to complete the imagery and the
stories behind them.

The wildlife is inspired by curiosity cabinets, museum displays, and natural

work. Her emphasis is mainly on species that are endangered or lowering in
numbers.

www.emilytull.co.uk
 Emily has been exhibiting in solo and group shows since 1998, she has shown
internationally, throughout the UK, regularly in London but predominantly across
Kent. Recently winning (2017) a Kent Creative Award for Visual Art (non-digital)
she has also been a finalist in the Winter Pride Awards (2015), Ruth Borchard Self
Portrait Prize, selected for the Royal Academy Summer Show, Mall Galleries, and
has been a contestant on Sky Art's Portrait Artist Of The Year in 2014.

Inspiration comes from many sources including Lucien Freud, Francis Bacon,
curiosity cabinets, song lyrics, Egyptian tomb painting, ripped wallpaper, and the
Pre-Raphaelites. The artwork covers a range of subjects based on everyday life
and mythology.
 KAYLEIGH REED
The state of Blue is a body of work that explores the importance of self-
portraiture. The work uses the duality of water to self-criticize at a time when I
needed to reflect on the achievements I had so far and decide on what I
envisioned for myself in the future. By creating doubles of myself within the
work it blurs the bridge between the past and the future by examining them
both in the present. Presenting the printed fabric in water creates a frozen
moment where the image becomes a sculpture. This challenges the definition
of these media and explores the possibilities of fluid form.

www.kayleighrart.co.uk
Intrigued by how the trace of the human form can be encapsulated to create
a petrified memory in sculptural form, I primarily use plaster and concrete to
cast directly between my physical form and that of another object.
I am often concerned by the unnoticed marks that leave traces of our
interactions with architecture and the objects around us and how the
absence of people creates a somber or eery atmosphere.

Using my own body as part of the methodology heavily leads to the work's
physical properties. By doing so I am continually recreating versions of myself
in various moments in time.


These forms allude to an uneasiness of a ghostly double of the original,

however, imprisoning these versions of myself allows the emotional distance
needed to reflect and understand my recent past to move forward towards
the present.
Expanding my practice, using digital media, such as film and photography, I
am reimagining my sculptures to continue to explore the importance of form,
time, and movement within my work
 IRENA JURCA
Irena Jurca is a visual artist who works predominantly with photography.
Through a self-reflective approach, she is seeking to understand invisible links
between the internal experience of the world and external social reality.
She is interested in how visual images transmit ideas, internal experience, and
unconsciousness, and influences our understanding of the world we live in.
Her work enquires themes reflecting on the human experience, existential
quest, identity, transiency, and understanding of social reality.

www.irenajurca.com
 Who cut my wings

Who cut my wings is a conceptual series consisting of two parts, the first part
is a personal story which is represented by black and white diptychs and the
second part is a color diptych referring to a collective story.
The first part of the project is about a personal journey of restoring and
honoring the connection with my true self. Which I have lost along the way by
compromising myself to get along with others. My traits, which are essentially
my wings, have been over and over again labeled as negative, just because
they are not the ones that the majority have. So in time, I start to label them
as bad. I try to hide them and by doing that, it seems to me like they were
slowly fading away. In reality, I was the one who was slowly unnoticeable
fading away. But because it is impossible to deny who you truly are, I was
forced to honestly confront my inner self. So, I found myself on a journey of
rediscovering myself and learning new ways of being.
As I was going through my inner process I came across the story that we as a
collective are going through a similar journey as well. It is a story about the
bird of humanity that has been flying on one wing, the masculine wing, and for
that, it has been flying in circles.

 Sea in Me

The conceptual series of photographs Sea in me revolves around notions of

self-reflection, mortality, and migration. Sea in Me is the author’s response to
migrations (by sea), which she compares with her own everyday life, with
emotions and feelings of being lost, anxiety, and hope(lessness).
By using the symbolic imagery of the sea, dead sea creatures, and withered
plants, the artist explores connections between life, searching for the
meaning of life and death, to create a unique language of symbolism that asks
for reflection, on what becomes our individual and what collective memory.
 I am a free
women in the
garden of Eden

Social
transformations
in the world due
to Coronavirus,
have given me
the urge to
create the series I
am a free woman
in the garden of
Eden in which I
am rethinking
about the social
and cultural
structure, and
the way of living
that they offer
me.

 SARA FLORIS

Sara Floris is a second-year photography student at York St John University

with a strong interest and passion for all the arts. With general knowledge of
the History of art and of photography. Trained in photography, drawing,
painting, and modeling clay, she possesses the unique combination of skills
that allows her to express creativeness with either medium or technique that
fits a better task or concept. Sara particularly enjoys creating fashion and/or
social shoots.
 "The Circle of Life"

In life, everything is connected, even with death. That's the reason why we call
it the circle of life. To represent it I used skulls accosted with flowers, leaves,
and plants. The essence of my work is scientific with a message regarding the
human impact on the planet. This is a sequence that kind of follows the
evolutive line. Starting from the sea sponge, one of the first forms of life to
come into existence, until human life. We are now responsible for the end of
many species. I also included the four natural elements in each image. You
will find the water and the earth, givers of life, the food chain, the wind, the
importance of spreading seeds to preserve the ecosystem, and the beautiful
rainforests in danger of extinction. I concluded this series with two possible
finals so that each one of us can choose because, in the end, it is simply our
choice.

KELSEY MARIE GAVIN

Kelsey Marie Gavin is a Philadelphia-based queer artist.

Specialist in the communication of visual ideas through
hybrid practice with a basis in painting and digital
drawing/painting as a medium for creating art.
 Artwork is a culmination of personal experience ranging from childhood to
adulthood as well on the impact that different forms of media have had on
artistic practice. Kelsey uses a variety of photographic and audio/visual
references in work, often as the starting point for a new painting or drawing.
Family photographs of a familial childhood home in a series of work that
connects the dissonance and relation of growing up as a child and moving
away from a place to preparing to start life as an adult and moving away from
the comfort and roots of the immediate family.
Kelsey often uses different forms of contemporary media. Many works come
directly appropriated from sources such as film stills of a variety of films and
photographs. Heavily influenced by the media that consume, and it does not
exist in a vacuum outside of the work. Kelsey is a painter, with a focus and
formal, technical training in oil painting and acrylic painting. Lately, has been
dabbling in using digital programs to paint as well.
 ''My images reflect the
pushing of my studio
work in the direction of
working in tandem with
public domain video
work and the practice of
painting. I find myself
drawn to certain
moments that feel
ephemeral and full of
tension''.

lately what has been

important to me is
finding a way to make
work that makes sense
to me and that has
been
manifesting as these
works based upon
instructional videos for
women from the 1940s.
 AURELIJA PESTENE
Aurelija grew up in a small town
called Mazeikiai in Lithuania.
Since she was a child, she used
to try every possible creative
field, unfortunately, she was a
very impatient child and later a
teenager, so nothing could
keep her interest for a long
period of time.
She started being interested in
photography when she was 16
years old and since then her
every choice was towards
becoming a photographer.
After relocating to Denmark
she has worked on a carrot
farm and cleaning until one day
she has applied for a job at
Aarsbilleder.dk as a photo
editor/graphic designer – she
has been working there for
more than three years now.

Aurelija began the ‘On the Dot.’ Series through the first Covid-19 lockdown.
She hasn’t touched her camera before that for around 3 years, but one day
out of boredom she took it out and started playing with the settings and that’s
how she made the first picture that you can see now – it was actually an
accident, but it caught her eye immediately, that it can be something
interesting. Since it was just an abstract mess she knew that there was
something missing, so the image with the dot’s just popped into her head and
that’s how the project got its full form.
When only a photograph is not enough…
‘’All my work is a mix between photography
prints on paper or canvas and pointillism
so you can easily call it a mixed media art.
Every picture, every little dot has meaning
since the whole project is about time,
about how fast it can fly, how everything
can change or become a blur in just a
second and all that is left are memories:
the tiny colorful dots in all that change’’.
It raises a question: what do we leave after ourselves – is it just
a gray abstract mess, or is it something that catches the eye,
something bright and colorful, something that binds everything
together?
 ASTRID VLASMAN
Astrid Vlasman is a visual artist who lives and works in Leiden, the
Netherlands. She studied at the Vrije Academie in The Hague. For years she
has been working on large collages with used paper and mixed media. The
basic material for her collage work is used paper from daily packaging
products. With this, she plasters her (large) canvases. In her paper paintings,
she shows people in their awkwardness, vulnerability, and strength. Vlasman
tries to make the invisible of man visible in layers of paper. It also shows
abandoned interiors in which human traces are still visible. Domestic life is
like a cocoon around man. Everyday humanity.

www.vlaswerk.nl
''I love the vibrancy of paper;
of the function, it has had as a
vegetable bag, test, envelope,
shopping bag, or wrapping
paper. With this material that I
come across every day; I stick
my canvases. I cherish the
volatility of old paper and
appreciate it as an
expression: it takes on a new
shape because of me. For me,
paper in my hands means
freedom, an endless space
full of possibilities. It's a
material I experimented with
playfully as a toddler''.

In the interiors I make you can still see the traces that people have left
behind, a glass on the table, a book on the floor. They are out of the
picture themselves. They have abandoned spaces. Rooms and kitchens
where it looks like someone else was present.
With papier-mâché I made hundreds of chairs. The models for this are
intuitive. During the drying process, the chair skews, giving it its own
character. They become clumsy, clumsy objects with human traits that
together form a strong seat army.
After dinner 100x 120 cm 2020 Mixed media/collage/ paper on canvas

The work shows an abandoned dining table. The remains of the food are
still visible on the table. the table has not been cleared yet, but the
people sitting at the table have disappeared. We only see the traces they
left behind. A plate with a knife, a plastic bottle of water, and some fruit.
There is also a red stain on the teat sheet. Did something fall over? The
spectator has to imagine how things went at the table. In addition,
everyone has memories of a get-together with a meal. The painting was
made in the first lockdown in the Netherlands in March 2020.
Encounters with other people became rare. The entire painting consists
of glued-on recycled paper. This makes the individual fragments easy to
see when you are really close to the artwork. This way you discover new
pieces every time. It is one large collage on canvas that has been treated
with oil paint.
 ELOISE SCHOEMAN
Eloise Schoeman was born in Bristol, UK, and lived there until 2008, then
relocating to Hartbeespoort, South Africa where she lived until moving to
Pretoria for University in 2017. Eloise then briefly lived in Johannesburg in
2021 before once again relocating to Plymouth, United Kingdom to study for
her master's in Painting at Plymouth College of Art in September 2021.

In 2019 Eloise worked for Tshwane University of Technology as a Student

Assistant in the Printmaking Faculty. She interned for Trent Gallery, Sharon
Sampson at The South African Fine Arts Printmaking fair ( FAP ), and at the
end of 2019, she worked for Printmaker Fiver Locker as an admin assistant.

In 2020 Eloise worked for Tshwane University of Technology as a Tutor for the
Drawing and Printmaking Faculty. She exhibited works in the Joburg Fringe
2020 and works in the #ALLWOMXNMATTER exhibition with Art@Africa and
Julie Miller African Contemporary Gallery. Then exhibiting in The Art Room
Parkhurst's Eclectic Salon Nov 2020 - March 2021

In 2021 Eloise was a recipient of a scholarship for her Advanced Diploma: Fine
and Applied Arts at the Tshwane University of Technology where she
graduated Cum Laude. Schoeman showed in her first focused Duo-exhibition
LIGHT YEARS with Marnus Strydom at Lismore & Associates Gallery in
February. Then select works of hers from this exhibition then went on to be
featured in the various Gautrain stations across Gauteng for 3 weeks.
Afterward, Schoeman decided to pursue her MA in Painting and relocated to
the UK.

www.eloiseschoemanart.wixsite.com/artist
 What's Your Name
Acrylic on canvas, size 120x150 cm, 2022

Umbrella
Acrylic on canvas, size 120x150 cm, 2021
Eloise has spent the last fourteen years living in South Africa, a country where
women’s issues are seen as a woman’s issues. In her new body of work, she
has dug deeper into her own female experience and how she can further
reflect on her emotions and conscious and unconscious subtleties of her
experience in Third World country.

Acrylic on canvas, size 150x120 cm, 2021

Untitled I
 How does the female gaze from a Third world perspective change in a First
World Setting? Eloise constantly finds herself comparing her experience living
in Pretoria and Johannesburg to the almost naive existence of living in the
United Kingdom, speaking to women from South Africa who are incredibly
open and honest about their experience and superimposing these emotions
of unease, fear, and hyper-awareness these women and Eloise herself has
faced onto images of women in the UK. By manipulating subtleties such as
color and contrast, she changes the dialogue from just being a singular
experience to a relatable one.
Acrylic on canvas, size 150x120 cm, 2021
Vexation
 LENA SNOW
Lena was born in
Schwetzingen, Germany,
and started to create art
when she was a teenager
and had her first
exhibition at the age of
sixteen. Besides producing
several series over the
years, Lena earned a
master’s degree at the
University of Mannheim
and Karlsruhe. Due to
some stressful years, she
had almost given up on
art. However, in March
2020 when the Corona
Crisis struck the world, she
could focus more on
herself and started to
paint again.

Since then, she has devoted her life fully to art. Creativity helped her to
survive, especially as an adolescent. Yet, it was equally the process of
emancipation and self-reliance that contributed to an elevation of her
creativity.

www.msha.ke/artistlenasnow/
 Lena has had several international exhibitions in Zurich, Milan or London,
Tallinn, and Atlanta and has been participating in art fairs such as the Scope
Miami and the Art Expo New York. She was nominated twice for the Global Art
Awards and published in several international art and lifestyle magazines,
such as the Artist Talk Magazine, the MVIBE Magazine, and the CREATIV Mag.
She has been chosen for the Contemporary Artbook of Excellence and is one
of the most investable artists in 2021. In December she was awarded the Art
Olympic Prize in Rome and was chosen as one of the top 60 ATIM masters of
contemporary art in New York. Lena is also a member of the Women and
Their Work association in Austin, supporting women in the arts. She is
involved in female education and emancipation programs and active in
women’s rights organizations such as Terre des Femmes and Art to Healing.
Savoring the garden
 Agnes from Enceladus

Lena’s works are strongly influenced by the ideas and philosophy of American
Transcendentalism – a spiritual and literary movement occurring in the middle
of the 19th century demanding people to become self-empowered and self-
reliant. Also, the thought that intuition, creativity, and imagination were more
important than logic and rationality is something she could entirely identify
herself with. Especially Margaret Fuller, another important personality that
enriched this movement and is considered an early feminist had an impact on
Lena’s works. She pointed out that the feminine, sensitive, and emotional side
is genius and contributes to a set of very subtle and precise observation skills.
Therefore, the topics of spiritual enlightenment, connectivity, and female
identity are always present in her art.
Her "planetary series" shows alien women in an expressive and colorful style.
Each artwork is devoted to a certain planet or simply takes place in a foreign
environment. The women in those paintings sometimes simply say from
where they are, thereby acknowledging that they are different. Sometimes an
ordinary scene just is taking place in a different environment aiming to show
an alternate, familiar-unfamiliar reality. Although this series has been deeply
inspired by the possibility of alien life and by Lena's fascination with space, its
deeper meaning is to address the topic of otherness and female identity.
A visitor from the
sun
 MAGDA
BETKOWSKA

Magda was born in Poland and studied art education in Fine Arts, Faculty of
Graphic Arts at the Institute of Art Education at the Silesian University in
Poland. After graduation, she worked in non-governmental organizations in
the field of art and international education in Poland and Germany. Since
2011 she has been living in Switzerland and for more than ten years, she has
been working in the financial sector. In 2018 completed further education in
Art Therapy in Konstanz, Germany. These studies helped her return to
painting after a long break and she “rediscovered” herself as an artist.
The covid pandemic gave her the courage to participate in various art
competitions and projects. It made her realize that it is never too late to make
a dream come true. The most important thing is to just believe in yourself and
in what you are doing and keep doing it. If this brings you joy then also the
world around you is happy: this is an indicator of a good and fulfilled life.
Therefore every painting conveys the additional message that each person is
special/unique and has a talent. It also encourages us to discover our hidden
talents regardless of age.

www.deco-bit.com/
 ''The greatest thing in the process of creating is a feeling of unlimited
freedom. I don`t have to follow anyone`s rules because the picture is in me
and all I have to do is listen to my inner voice and follow it. What is created
comes from a dialog between the idea in my head and accompanying
emotions in my heart.

Using different mediums such as acrylic, colored pens, and crayons allows me
to choose a painting tool that mirrors the stories I want to tell in the best
possible way.
As a child, I learned that I decide for myself how to perceive the world and in
which colors I see the reality around me. Red, orange and yellow accompany
me every day and have a strong influence on my daily life. These lively colors
represent energy, courage, power, and love; therefore, they are also dominant
colors on my palette''.

 ''In 2018 I started to paint my "woman’s

world” as a therapy to overcome my own
complexes and begin a path towards self-
acceptance. I’m fascinated by the female
body because she is for me a kind of temple
of wonder. Already in ancient myths and
religions, women were revered as goddesses
and givers of life and were considered a
symbol of sensuality, sexuality, and a new
life. Every woman is born with many
wonderful feminine qualities and creativity
which she can/should use as potential in the
course of her life in order to achieve her
dreams. Unfortunately, this potential often
can’t be fully exploited because many
women feel unattractive and try to conform
to media images. Today`s expectations of
every woman to be a perfect wife and
mother and also successful in her job lead
women to lose access to their inner-self.
My paintings show the beauty of every
woman with all her imperfections and
suggest to the viewer that each one of them
can be who she wants to be whether it be
weak, vulnerable, tender but also strong,
funny, powerful, or soulful. The key to her
happiness is self-acceptance. Society`s
expectations shouldn`t determine her value
and identity. We shouldn`t be afraid or
ashamed of living in our own way. The one
perfect pattern guaranteeing happiness
doesn`t exist. Every one of us has a right to
choose and create our own reality.
 NICOLE
ANTRAS
Nicole Antras is an
expressionist artist, her
predominantly drawing-based
practice is mainly figurative
imagery and includes works in
acrylics, oils, and printmaking
techniques.
Nicole has worked within
healthcare, social services,
and educational settings,
using her artistic skills and
training to support others to
develop their creative abilities
and learning development.
Her experience ranges
through working with both
young and older people,
people with mental health
difficulties, and those with
physical, sensory, and learning
difficulties/special needs.

Nicole currently runs regular Drawing Workshops for people wanting to develop
their drawing skills.

www.atelierantras.co.uk
 Looking to the Future In the shadows
Charcoal & pastel on paper Charcoal on cardboard
61 x 35 cm 90 x 41 cm
 Lily (Yellow)
Ink & water-based paint on board,
38 x 46 x 1.5 cm

Lily (B&W)
Ink & pastel on paper,
21 x 30 cm
SABRINA
POHL

„A flower is not just her

appearance. It can also be
expressed through its
smell or a memory of a
gentle touch of the petals
between your fingers.
Thus, my work displays
those subtle layers beyond
the visible ".

Sabrina Pohl is a German abstract artist based in Stuttgart. Her works are
represented by 8th Ave. Gallery / Florida. She lived for many years in Vienna
while practicing her abstract work and graduating in art history. During that
time, she was working with a menswear designer on a collection for the New
York Fashion Week. In 2021 she had her first solo exhibition in Dubai. In
2020 she moved back to Germany where she now lives and works.

www.sabrinapohl.com
 Fields,
free-for-all light,
as if pulling their own edges up again,
again making sure they are still there.

Colors compose themselves in tranquility

In stripes, spikes, slightly
sliding squares.

No depth,
like something passing through,
glaze scratched off with a
nail images for each other
we get and can’t grasp.

(Anja Kampmann)

After the sunset,

chalks, crayons, pencils and graphite on paper,
19, 5 x 28 cm / 7,7 x 11,0 in (2020).
 In Sabrina Pohl's abstract works she draws on the intuitive use of forms in
order to dissolve the visible and the preconditioned. Therefore she opens up
new perspectives which first intend to create openness for a new space of
viewing. Those caught glimpses of her surroundings, for example, seen in the
abstract landscape works (fig.1), become simplified, fragile beings by using
reduced forms and contours. In doing so, she deals with the emphasis on
space and light.
Thanks to her long stays in the mountains of Tyrol or the valleys of Egypt she
conveys an important connecting element in the artworks: "Choosing
landscapes or sunsets as themes in my work is not romanticism. It’s brutal
honesty by opening up. Using your intuition as guidance always makes you
feel vulnerable. But it reflects yourself.“. Another important project during her
stay in Vienna was in 2017 when she cooperated with Raun LaRose for the
New York Fashion Week that was featured in Highsnobiety among other
things.
In general, she describes the process as follows: "For me, creating means
continually being open through the process. It feels like asking the drawing for
the next step. And sometimes it’s hard, because your mind wants to tell its
own story, and sometimes it’s easy because you only have to listen.“ One of
her prime intentions is to transform the visible into the core element, guided
by a process of dissolving. It is like ending a nice chat and now it’s time for the
walk home. The core is neither white nor black –not only just a depiction of a
feeling, or of light and of space, or put ironically, the infinite nothingness. It’s
your mirror".

Sub specie aeternitas

Gibt es im Menschenleben Augenblicke, /
Wo er dem Weltgeist näher ist, als sonst,
/
Und eine Frage frei hat an das Schicksal.

(F. Schiller)

Daynight,
pencils, chalks, and crayons on paper,
14 x 14 cm 2020
Choosing abstraction as a tool reveals the non-visible without pushing the
rational in the middle of things:
„A flower is not just her appearance, it can also be expressed through its
smell or a memory of a gentle touch of the petals between your fingers. Thus,
my work displays those subtle layers beyond the visible, e.g. by changing
movements during the process like connecting and dissolving elements. It is
guided by a
feeling of belonging; like the smell of a flower belongs to it without the
evidence of seeing the flower itself.“

" When I was a child, That knew not its
way in the world, I would lift my deluded
eyes, To the sun as though out beyond it,
There were an ear to hear my complaints,
A heart like mine (...)“.
" The blue of her eyes
Kisses the flock of little clouds,
And her blond hair
Covers the whole earth ".

(Prometheus - W. Goethe) (Detlev von Liliencron)

Untitled Blue Norther

chalks and pencils on paper, chalks and pencils on paper,
22,5 x 26,5 cm 2022 21,5 x 28 cm 2022

SHIR
BECK
Shir Beck is an artist working in oil and acrylic.
In her paintings, she feels there is a duet of painting between the canvas and
the rag that she uses.
It is a non-stop dance until I finish the painting.
In her paintings, there is a reflection of the view of the Eilat sea and the
desert. She was born in Arad and moved with her family to the city of Eilat.
Her paintings express her feelings and sensations in the journey of her life.
''My painting is abstract, I show my love for the sea and desert landscape and
the dialogue between them.
The painting of the mountains and the sea express the power of nature and
its power in the Gulf of Eilat,
The palms are a symbol of desert vegetation and experience in the Eternal
City of the Sun''.
 CAROL MOSES

Carol Moses is an artist who creates non-representational tableaus. She

employs grids, patterns, repeated linear elements, and biomorphic forms, to
create a distinctive visual vocabulary. Her often-sober titles belie lively
compositions and dynamic use of color. Discrete styles namely calligraphic,
gestural, and geometric appear throughout her omnivorous practice that
moves between drawing, painting, printmaking, and photography.

Moses began painting with watercolor which she embraced for its material
properties (both viscous and fluid) which disavow indecision or revision. By
eliminating mediation or analysis the work becomes purely formal
constellations unlinked from personal or political histories. Yet, watercolor in
its endless mutability also allows the artist to convey a wide range of
emotional states and perspectives. Although small in scale these focused
compositions recall Helen Frankenthaler’s canvases in their methodology, and
concentration on a centralized mass often foregrounding white space or
emptiness. But, whereas Frankenthaler's expansive canvases often conjure
landscapes, Moses’ tightly composed images create intimacy, evoking
interiority. Her work is a means of externalizing an internal state. This ability to
transcribe sentiments that are at once subjective and objective is one of the
qualities that makes these works both evocative and universally legible.

 Moses’ work represents a turn

inward towards a mental
landscape, a refusal of narrative,
and freedom from a signature
style. She provides the viewer
with small, intimate
interpretations of complex
emotions and occurrences
events (personal, biological, or
historical) and translates them
into color, form, and essence. Her
artistic work creates balance,
moving through color and form
to create a visual neologism all
her own.

''The themes in my painting practice

deal on a basic level with
connection, relation, isolation, and
distance. The colors and forms
resolve or enact forces and fitting
connections. There is often thought
of composing a delicate balance
between the parts of the image as
they are accruing on the planar
surface''.
 Some of the gestural and
expressionist qualities
evoked by the Abstract
Expressionists can be seen
in Moses oil paintings which
tend to move outward,
employing a more allover
compositional strategy.
They, as well as the
watercolors, also recall the
work of Expressionist
painters Wassily Kandinsky
and Paul Klee who used
color and shape to create
rhythm and balance, prizing
stillness over movement,
contemplation over
emotion. In Moses’ oil
paintings, oil stick on paper
and canvas, color is
employed compositionally
throughout, as a means of
creating balance and order.
This technique is also similar
to Robert and Sonia
Delaunay’s Simultanism
which depicts ‘simultaneous
contrast’, a means of
describing the effect colors
have on one another within
an arrangement and their
ability to produce a complex
poetic language removed
from formal concerns.
 HANNAH
LANE
Hannah Lane is a graduate of
Kansas City Art Institute with a
BFA in Painting and Art History.
Hannah Lane is a Kansas City
native and lives in the Kansas
City metro area. She had a solo
show at Curiouser KC and has
been in several group shows.
Lane has been published in
Abstract Art Today and also
took place in this virtual group
exhibition. She worked at the
Nelson-Atkins Museum of Art
as a provenance intern for the
East Asian section for a year
and a half. She is a Jewish
female artist who talks about
our connection with technology
and how it influences our
society.
How has technology affected our society? Is it inherently negative? Within the
Dot Board pieces, these questions are posed to the viewer. Dot Boards
attempt to focus on the positives of technology through directly working with
AI to create these pieces. In a way, Dot Boards are reminiscent of games. The
dice are rolled and the result determines where the person will move on a
board. In the case of Dot Boards, the rolled dice direct me where to put dots
on a canvas. Dot Boards are created by rolling AI-driven or coded dice, these
numbers then give the piece the vertical, horizontal, or diagonal dots. The
rolled dice also reveal the number of dots that will be aligned in a specific
direction. Dot Boards resemble circuit boards in the way the piece has
numerous dots on a flat surface. Dot Boards have a physicality to them. These
pieces are not just flat dots on a surface, but bubble out and catch the light.
This helps with the abstraction of a circuit board where pieces and objects
pop out and form lines and diagonals with complicated patternations.
The colors of the Dot Board series are taken from technology or anything we,
as human beings, can not tangibly touch without assistance from a
technological device. Social media, news media, video games, movies, and TV
shows are just some of the examples of where I acquired the color palettes. I
then choose or allow AI to decide what color palette to use on the next piece.
The Dot Board emphasizes that technology does make an impression on us.
This is by using AI technology in tandem with colors from the cloud to show
this impression. Technology through these impressions has affected our
society both positively and negatively. While Dot Board’s focus is on the
positivity of what technology has done for us through the abstract references
to circuit boards, AI-driven technology, and even games, Dot Board still
reminds the viewer that technologies' positivities may not always be as
beneficial in the future as they are right now.
ANNA
WEI
Painting is not just
painting. It is colorful,
diverse, and moves
something. Go on a
search for who you
are. There are
questions like: What
do you want and
where do you get to
that move you. How
do external and
internal perceptions
work together? Are
you automatically
one? There is so much
more. Stimulate,
absorb, crazy, colorful,
crooked, simple, and
straight in its
technology - all of this
can be painted.
 On the one hand, it is the
imagination and the
dream, on the other hand,
it can also move and draw
attention.

In a large room that is

there through painting,
The question
automatically arises:
where are you standing,
what really moves you?
And where do you want
to go?
 NATALIE ARSENOW
Natalie Arsenow grew up and got her Master's degree in Fine Arts in
Germany. She was encouraged to try out various techniques, which she did
with a lot of zeal and passion but drawing has always been her absolute
favorite.
During the past 2 years, she participated in numerous group exhibitions and
also had several solo shows, all in and around Brussels, where she has lived
since 2014. Before that Arsenow resided in Paris, Leuven, Seoul, and Los
Angeles.
Currently, the artist is fine-tuning her signature style as well as exploring
different ideas and methods because she believes that one should never stop
learning and experimenting.
 ''I create intricate drawings of women and women only! They are depicted on
papers in various sizes and with different techniques however, I am most
known for my modern, geometrical hatching, which manages to give for
instance Old Masters a very contemporary feel. Generally, I work with
graphite, chalk, and colored pencils as well as Indian ink and charcoal.
I draw women to direct the focus once more on the question of gender
equality, the same rights for everyone in this world, and the MeToo
movement. The idea to get started in this direction certainly was triggered
after reading “Men Explain Things to Me” by the wonderful Rebecca Solnit but
is still a burning hot topic, which the latest novel by Glennon Doyle “Untamed”
sadly proves. So I want to put forward fierce, strong, independent women that
could be role models for the next generation of girls growing up right now
who are just about to begin to realize that this is their story too''.

www.narsenow.com