January 2024 | Tbilisi, Georgia Seasonal Edition VOL37

Collect Art
Winter Issue
On the cover: „Raum-Zeit-Momente (Erwartung)“, by Michael Wagner
Immerse yourself in the resplendent beauty of Volume 37, our seasonal symphony that
resonates with the creative cadence of international contemporary artists.

Within the pages of this Winter Issue, a gallery of diverse perspectives awaits, each
brushstroke and pixel representing a unique facet of the global artistic tapestry. The
contributors to this volume hail from various corners of the globe, converging in a
celebration of creativity that transcends borders and captivates the senses.

Embark on a journey through these artistic realms, where every stroke of paint, click of a
camera shutter, and sculptor's chisel evoke emotions as varied as the hues of a winter
sunset. The curated selection of artworks unveils a kaleidoscope of narratives, inviting
readers to explore the depths of imagination and interpretation.

Beyond the visual feast, Volume 37 delves into the stories behind the artistry, presenting
the biographies of these contemporary luminaries. Discover the tapestry of life
experiences, cultural influences, and creative epiphanies that have shaped these artists
into the visionaries they are today. Each biography is a testament to the intricate interplay
between life and art, inviting readers to forge a deeper connection with the creators
behind the canvases.

Artist statements serve as a portal into the minds of our featured creators, offering
insights into the motivations, philosophies, and inspirations that breathe life into their
work. As you traverse the pages, let these statements be your guide, providing a
nuanced understanding of the intentions and emotions embedded in every masterpiece.

In addition to these glimpses into the creative process, personalized interviews with the
artists elevate the discourse, offering readers an intimate dialogue with the maestros
themselves. Unearth the anecdotes, aspirations, and challenges that have punctuated
their artistic odysseys, making each interview a treasure trove for art enthusiasts and
connoisseurs alike.

As the winter winds whisper through the pages of this magazine, we invite you to savor
the enchanting dance of creativity and contemplation. Volume 37 is not merely a
collection of artworks; it is a testament to the boundless possibilities that arise when the
human spirit engages with the world through the lens of artistic expression. Join us in
celebrating the transformative power of art and the harmonious interplay between winter's
stillness and the vibrant pulse of contemporary creation.
 COLLECT ART
THE
CONTENT

05 CHAN HOI YEUNG OCEAN

10 CHLOE STEVENSON

14 FLAVIE GUERRAND

20 MARIE MAGNETIC

26 MARK STOPFORTH

32 MICAEL WAGNER

38 MONIQUE J DUFOUR

44 NATASHA BURENINA

50 SUSAN WILLIAMS

56 SUYU CHEN

62 YANGYOONGAB

JANUARY 2024
 Chan Hoi Yeung Ocean
Chan, originally hailing from Hong Kong, currently resides in Leeds, United Kingdom,
where she has established herself as a dynamic and innovative creative practitioner. She
is presently pursuing her Bachelor of Arts in Art and Design at the University of Leeds.
Within the realm of her studio practice, Chan skillfully employs a diverse range of
methodologies, materials, and processes to create a multifaceted body of work. Her
artistic repertoire encompasses a fusion of art, photography, and graphic design,
reflecting her versatility and proficiency across various visual mediums.
Notably, Chan has recently dedicated her focus to the exploration of interactive
installations, a facet of her practice that holds particular resonance. She finds great
satisfaction in engendering active engagement from her audiences, thereby affording
them a participatory role within her creative endeavors.

In summary, Chan's artistic journey is a

testament to her multicultural
background and her commitment to
advancing her craft through higher
education. Her evolving practice,
characterized by its breadth and
inclusion of interactive elements,
underscores her dedication to pushing
the boundaries of contemporary art and
design.

From series ‘Street Photography’

05
Goods in Absurd
Mixed media, 193x240x160cm, 2023

The "Goods In Absurd" project represents a meticulously crafted

endeavor that I conceived and constructed entirely from precision
measurements of the wooden components to their skillful assembly
into a thematic room. This room serves as a symbolic representation of
the absurd world, concealing a myriad of hidden treasures for the
audience to uncover. These discoveries include an MP3 player
emitting tranquil music, a plush cushion designed for comfortable
seating, and a dedicated booklet for the expression of personal
sentiments.
Coming from Hong Kong and now residing in Leeds, how has your multicultural
background influenced your artistic perspective and the themes you explore in your work?
Coming from Hong Kong and now residing in Leeds, my multicultural background significantly
shapes my approach to immersive interactive installation art. The fusion of traditional Hong Kong
aesthetics with contemporary influences from the UK is a defining element in my work, creating a
unique and captivating experience. This perspective nurtures a nuanced and expansive approach
to my artistic expression, drawing inspiration from a wide range of influences and contributing to
the richness of my creative endeavors.
Pursuing a Bachelor of Arts in Art and Design at the University of Leeds, how has higher
education shaped and informed your artistic practice? Are there specific courses or
experiences that have been particularly impactful?
Embarking on a Bachelor of Arts in Art and Design at the University of Leeds has fundamentally
transformed my artistic approach. Initially centered on mastering technical skills such as painting
and sculpturing, the program has broadened my perspective to encompass the deeper
dimensions of artistic expression. Particularly impactful were the creative modules, allowing me to
create my artwork and access a diverse array of resources, including laser cutting, wood making,
welding, etc. This educational journey has not only refined my technical proficiency but has also
instilled in me an appreciation for art as a powerful tool for communication, impact, and the
exploration of intricate artistic layers.
Your artistic repertoire spans art, photography, and graphic design. How do these diverse
mediums interact in your work, and how do you decide which medium to use for a
particular project?
In the trajectory of my artistic process, the selection of a medium for a project constitutes the final
step. My method entails a deliberate consideration of the intended message or essence of the
artwork before contemplating the most effective means of realization. Subsequently, the
determination of which medium or combination of mediums best serves the envisioned artistic
outcome is made. This method ensures a purposeful alignment between chosen mediums and
the conceptual foundations of my art.
Recently, you've dedicated your focus to interactive installations. What draws you to this
form of artistic expression, and how do you believe it enhances the viewer's engagement
with your work?
I seek to depart from conventional perceptions of art, which often center around traditional
mediums such as paintings and sculptures. Recognizing that some individuals may struggle to
appreciate or enjoy these traditional forms, I aspire to introduce a novel and engaging dimension
to artistic expression. Specifically, my emphasis on interactive installation art is driven by the
conviction that this approach facilitates broader audience interest, accessibility, and the
democratization of art appreciation. The intrinsic nature of my work is tailored to elicit viewer
engagement, aiming to bridge the gap between diverse audiences and the realm of art.

07
Could you share insights into your creative process when developing interactive
installations? How do you approach the integration of technology, materials, and audience
participation to achieve your artistic vision?
In developing immersive interactive installations, my creative process is centered on creating an
engaging viewer experience. The initial phase involves conceptualizing the intended interaction
and strategically integrating technology, materials, and audience participation to achieve a
seamless and immersive narrative. This intentional synthesis is geared towards redefining the
boundaries of art appreciation, as the installations prioritize transformative encounters, aiming to
go beyond mere observation, offering viewers an experience that has the potential to evoke
emotions, provoke thought, or share perspective. By focusing specifically on immersive
interactivity, I aim to offer a unique and captivating artistic experience within a contemporary
framework.
As a dynamic and innovative creative practitioner, how do you stay inspired and continue
to evolve your practice? Are there specific artists, movements, or experiences that have
had a profound impact on your artistic journey?
As a dynamic and innovative creative practitioner, my sustained inspiration and artistic evolution
are fostered through extensive engagement with literary works, gallery exhibitions, and museum
displays. My awareness extends to both global and personal spheres, encompassing significant
world events as well as nuanced observations of my immediate environment. A pivotal experience
that profoundly influenced my artistic journey was attending a talk by artist David Shearing,
renowned for his contributions to immersive interactive installation art. His insights and advice not
only inspired me to pursue this artistic pathway but also provided valuable guidance in the
creation of professional immersive interactive installations.
In your view, how does your work contribute to pushing the boundaries of contemporary
art and design? Are there specific themes or messages you aim to convey?
I strive to depart from the conventional notion of art as mere objects for observation, aiming
instead to create immersive experiences for the audience. I seek to introduce a novel and
engaging dimension to artistic expression, contributing to the evolution of contemporary art and
design by prioritizing experiential interaction over conventional observation. Notably, my work
does not adhere to specific themes or messages; rather, it evolves organically across different
projects, reflecting a dynamic approach to creating exploration.
Your practice reflects versatility and proficiency across various visual mediums. How do
you navigate the balance between maintaining a cohesive artistic identity and exploring
diverse creative avenues?
My artistic identity is fundamentally rooted in the creation of immersive experiences for the
audience, with a consistent emphasis on participation and engagement. While this overarching
theme remains constant, I navigate the balance by approaching each project with the premise of
prioritizing audience experience. The exploration of varied mediums and the potential integration
of new technologies serve as viable avenues for continuous innovation within the framework of my
overarching theme of creating art that invites participation and fosters experiential engagement.

08
What role does audience participation play in your work, and how do you hope viewers
engage with and interpret your interactive installations?
In my contemplation of the relationship between audiences and performers within my work, I have
come to recognize that the audience is an integral component of the performance itself, forming a
symbiotic connection with the artwork. This acknowledgment underscores the interdependence
between audiences and the artistic creation, with each contributing to the existence of the other.
While my artworks may convey certain meanings and themes, I foster a dynamic and interactive
space for viewers, affording them the freedom to redefine and interpret the experience as they
explore the artwork.
Looking ahead, are there specific goals or projects you're excited to explore in your
artistic journey? How do you envision the trajectory of your practice in the coming years?
Looking forward, my artistic aspirations are aligned to leverage art as a catalyst for positive
impact. Beyond mere visual engagement, I am committed to imbuing my immersive interactive
installation art with the capacity to evoke positive experiences and potentially contribute to
individual well-being. As I continue on this trajectory, my goals include the establishment of a
personal exhibition to showcase this ethos, with the broader aim of disseminating the concept of
"experiencing the art" to a wider audience, fostering understanding and acceptance of this
immersive approach.

09 From series ‘Street Photography’

Chloe
Stevenson
Chloe is a 23-year-old LGBTQIA+ artist from Hartlepool, North East England. Coming
from a working-class community, she grew up playing on the streets of council estates
and often incorporates this in her work. She is primarily a painter, working with acrylic in a
contemporary, often abstract way to portray the difficult situations she has faced or
witnessed in her communities. Chloe lives to create and enjoys working with all kinds of
different materials, from printing to pencil, charcoal to sculpture. She loves developing her
practice through new skills and techniques.

Resistance
Acrylic on canvas, 12'’x10'’, 2023

Resistance is the force that holds you down and keeps you from freedom. Physical
or metaphorical, whatever your resistance is, you can’t fly with the weights around
your wrists.

10
Growing up in a working-class community in Hartlepool, North East England, has
influenced your art. How do your background and the environment you grew up in shape
the themes and subjects you choose to portray in your paintings?
When I paint, I'm inspired by emotions; Intense emotions tend to make the most interesting
paintings, in my experience. Growing up working-class, you experience intense emotions like
anger, depression, and disappointment more often. I grew up in a home where it wasn't common
to talk through these emotions so, for me, my art is how I processed it all.
As a painter working primarily with acrylic in a contemporary, often abstract way, how do
you approach translating difficult situations you've faced or witnessed into visual art? Can
you walk us through your creative process?
I almost always start with color, I find it easier to portray emotion this way. Cooler colors can
represent sadness, emptiness, and calm whereas I tend to use warmer colors for anger or
passion. When someone sees one of my finished works, I want them to be able to feel how I was
feeling when it was created.
You mention enjoying working with various materials, from printing to sculpture. How
does experimenting with different mediums contribute to your artistic practice, and do you
find that it allows you to express certain ideas or emotions more effectively?
Definitely! Growing up in a working-class household, I often didn't have the materials I needed to
convey the Idea or emotion I wanted so learning to be experimental was crucial for me to be able
to develop as an artist. I'm so grateful for that now, though. You learn a lot about how far you can
go with materials through experimenting.
Being an LGBTQIA+ artist, do you feel that your identity plays a role in your artistic voice?
How do you navigate representing aspects of your identity and experiences within your
art?
The LGBTQIA+ community is as much apart of me as the council estates I grew up on. Right
now, the community is under attack. Out of touch politicians are getting to choose who lives their
lives and who doesn't and people are dying because of the hate that is being passed down.
Situations like ours have been reflected in so many different communities, not just the LGBTQIA+.
Anyone with any kind of platform, no matter how small, needs to use their voice for good. Too
many of us know what it's like to lose loved ones to hate and discrimination, you don't need to be
in the community to empathize and stand up for what's right.
Your work often incorporates the streets of council estates, reflecting your childhood
experiences. Can you share a specific artwork where you've translated these memories
into a visual narrative? What elements or symbols do you include to convey the essence?
I'm working on something right now, my biggest work yet. Recently, I've been focusing a lot on
reportage as a way to give the spotlight to aspects of day-to-day life that are often overlooked or
taken for granted. As part of that, I've decided to do a piece surrounding my local bus route and
the characters you meet on the way. I want the final piece to almost be like a bit of an inside joke.
Anyone who's spent a lot of time on public transport, especially up North, will immediately feel like
they're back on the No. 6 going to town.

11
Living to create is a powerful statement. What drives your passion for art, and how do you
find inspiration for your work? Are there specific artists or movements that influence your
artistic approach?
There's no better inspiration than the world around you. My Grandad was a photographer so
even as a toddler, I was running around with an old film camera taking photos of flowers and
bugs.
In your journey as an artist, have you encountered any challenges, and how have you
overcome them? Are there moments or projects that you consider significant milestones
in your artistic career?
When I first got into painting I struggled with my perfectionism but it's important to remember that
it's only you that can tell a story from your perspective. My piece, 'INNOCENT’ was one of the
first pieces I'd finished where I was genuinely proud of what I'd done. It was painted in response
to the conflict in Ukraine, at this time, I was angry and so scared but making 'INNOCENT’
allowed me to process all this.

Innocent - Acrylic on canvas, 18'’x24'’, 2023

12
How does the community in Hartlepool respond to your art? Do you find that your work
resonates with the local audience, and has it sparked conversations or reflections on the
shared experiences of the community?
At the moment, there's not much of an art scene in Hartlepool and a lot of what is on display is
more of a classical style. That's not to say it'll be like that forever though! I know a lot of extremely
talented artists in the town, all of whom are working so hard to give themselves a platform.
Are there specific themes or subjects you are currently exploring in your art? How has
your practice evolved, and are there new directions you're excited to pursue?
I'm enjoying documenting the overlooked aspects of life through my art at the moment. I'm
working on my sketchbooks a lot lately, it makes it easier to be able to go and explore, using the
real world as a reference.
Looking ahead, what are your artistic goals or aspirations? Are there dream projects or
collaborations that you hope to undertake in the future?
I just can't wait to get out in the world and explore more! I'd like to be able to do some installation
work in more public spaces too. I think my art is very much 'for the people' so I'd love to be able to
bring it to them.

100 Hours

Acrylic on canvas,
23.5'’x19.5'’, 2023

Have you ever spent what felt like a lifetime on a

project yet you still have nothing to show for it? This
is ‘100 hours’. It may not look like there’s a whole lot
going on but at a closer look, you can see the layers
of paint underneath that made up each of my failed
projects.

13
 Flavie Guerrand
Born in 1977 in France, lives and works in Berlin. In the middle of the 1990s Flavie
Guerrand was a committed member of the French techno scene. Organizing rave parties
offered her a distinct form of spectatorship. A lens that enabled insightful depictions of the
underground culture and the fresh, intense, and unparalleled energy that bleeds from
these spaces. Rave parties were a central place of emancipation for minorities and the
party a place of life necessary as much as it is for creation. This perspective is striking
and evident in her work today. She only began to film and photograph the lifestyles she
led some years later. With almost only archives of her previous clandestine nightlife,
many flyers, and audio recordings, she felt the urge to capture every experience she had
through her camera. Her early forays into video work featured documentation of the
parties she continues to organize in her living space - an old garage - and later in a
basement in an attempt to keep the legacy and the spirit of free parties. The legacy
unravels further when she moves to Berlin in 2009 and finds her space in the blooming
queer scene. Notably by photographing the queer « Italo Disco » parties at the now
legendary night bar Ficken 3000, marked by a libertine and sulfurous atmosphere, typical
of Berlin’s nightlife.

I slid across the dancefloor

This is a selection of photographs taken from the series « I slid across the Dancefloor». Took over the span
of nearly 20 years, this series has undergone a constant selection and review process which takes on its
full extent during slideshows.

In spontaneous style, Flavie Guerrand photographs those close to her in their electric and sexy drifts during
parties and endless blank mornings. A decadent youth galvanized by nightlife, both strong, wild, and fragile.
Intimate portraits witnessing impulses of life and letting go. There is frustration, loneliness, abuse, anxiety
and desire. Partying is not a posture. Its dark, subversive aspects, like the happy ones, are essentials.
The party maintains possibilities and releases energies, it’s a chance given to the instant, to the surprise.
One of the few moments in life when you are fully present.
Her attitude and lifestyle inform her technique and work playground of her scopic impulses. Intimacy is as
much an inspiration as it is the trigger, where consent and trust allow for the liberation of the subjects. The
diaristic approach that characterizes her photographs lets her capture their beauty and erotic aura, their
vulnerability, and their strength. Blurred, moving, grainy appearance, ambient light, reflects the sensations
perceived, the spirit of the moment, and brings the viewer closer to the conditions of the shooting.
That magic flash of insanity shows a vision of free and tells in its way, a story about temporarily escaping
from the world, where sobriety and moderation have become more common incentives.

14
 Gaspard
Milou
Your journey into the art world started with a significant involvement in the French techno
scene during the 1990s. How did being a part of this underground culture influence your
perspective as an artist, and how does it manifest in your work today?
Immersing myself in this underground culture deeply influenced my artistic perspective, fostering
a fervor for a lifestyle teeming with hedonism, independence, and a spirited playfulness imbued
with sass and mischief. This immersion not only granted me access to diverse spaces but also
catalyzed profound personal and communal connections that sculpted me into the artist I am
today. These experiences I believe are mirrored in my inclusive body of work, and depicted
through a myriad of characters and situations that may resonate more universally.
Rave parties were described as central places of emancipation for minorities. Can you
elaborate on how these spaces were transformative, both personally and artistically, and
how they continue to influence your creative process?
Rave parties served as crucial hubs of emancipation for minorities, reshaping societal norms and
offering safe havens for individuals breaking free from constraining conventions. These
transformative spaces underscored equality, fostering unity irrespective of class or sexuality.
Today, the rave culture's unyielding embrace of the LGBTQ+ community inspires me, as I
celebrate the resilience and expression of queer individuals in their journey of self-discovery and
liberation.
Your early video work documented the parties you organized in your living space and later
in a basement. How did the act of capturing these experiences through your camera
contribute to preserving the legacy and spirit of free parties?
My early video documentation captured the essence of an era, preserving the energy and
camaraderie within a community. These recordings depict a novel concept of nightlife, offering an
alternative to conventional techno parties by fostering an ethical and collective environment. The
documentation serves as a narrative, illustrating the genesis of a movement rooted in
resourcefulness and rapid networking.
Moving to Berlin in 2009 marked a new chapter in your artistic journey. How did the city
and its queer scene impact your work?
The city's vibrant queer scene left an indelible mark on my work, reflecting the LGTBQ+
communities' influence on Berlin's nightlife. Witnessing the creation of safe spaces for uninhibited
self-expression deeply resonated with me, impacting the gentleness and intimacy encapsulated in
my photographic approach.
Your documentation of queer "Italo Disco" parties at Ficken 3000 is noted for capturing
Berlin's nightlife atmosphere. What draws you to this particular subject, and how do you
approach photographing the vibrant and libertine scenes?
My documentation of queer Italo Disco parties at Ficken 3000 encapsulates Berlin's nocturnal
essence. These events, steeped in seduction and provocation, become arenas of mutual gaze
and self-expression. I endeavor to capture the fleeting moments of glamour and the gradual
transformation into something more raw, reflecting the party's evolution from its peak to its
aftermath.

16
Yohann & Ludo

Drunk punk
 Axelle & Laurent
Liza flirting
The description of the queer "Italo Disco" parties includes terms like libertine and
sulfurous. How do you navigate capturing the essence of these atmospheres while
maintaining a respectful and authentic portrayal of the people and events?
Navigating the essence of these libertine atmospheres while preserving authenticity demands
meticulous communication. I engage with subjects well before and after the shot, seeking to
capture moments of abandon and excess authentically. Balancing spontaneity and respect is
pivotal; I strive to capture genuine emotions amid an environment that often teems with posed
behaviors.
Your work involves a mix of photography, video, and archival elements. How do these
mediums complement each other in telling the stories of the underground cultures you
document?
The synergy between photography, video, and archival elements in my work serves as a temporal
patchwork, weaving tales of parties, characters, confidences, and intimate moments. Each
medium complements the others, forming a complex narrative akin to an animated portfolio of
interconnected frames.
In your artistic practice, do you find a balance between being a participant and an
observer? How does this dual role influence the authenticity and intimacy of your work?
As both a participant and observer, my work's texture reflects the state I inhabit when capturing
moments. The trust forged through camaraderie and mutual understanding allows me to delve
deeper, capturing vulnerable moments and authentic emotions, ultimately enhancing the intimacy
and authenticity of my photographs.
Over the years, have you noticed any shifts or evolutions in the underground cultures you
document? How do these changes impact the narratives you aim to capture?
The underground cultures I document exhibit a perpetual quest for immediate intensity. While
celebratory rituals might retain some semblance, there's a pronounced desire for instant
gratification and intimacy. Personally, I'm drawn to after-parties, seeking immediate connections
that unfold as the sun rises.
Looking ahead, are there specific projects or themes you are excited to explore in your
work? How do you envision the continuation of your artistic journey?
Looking forward, my artistic vision inclines toward directing, manifesting in a queer comedy show
centered on camp wrestling performances in Berlin. This transdisciplinary venture rejuvenates my
passion for event organization, offering an exciting avenue to explore and create within the realms
of performance art and live entertainment.

19
Marie

religion and spirituality can be a way to find connection, community, meaning, and peace in the universe. sadly, not all theists uphold the tenets of their faith. even more
upsetting is the growing population of Christian nationalists in the US. the far-right has latched onto evangelicals, preying on their values to move more people to the political
Magnetic
‘’I am inspired by my experiences as a Jewish, Indigenous
(Blackfeet Nation), neurodivergent (ADHD), and queer
woman as I examine dystopia, delight, and delusion in
society. My artwork reflects the experiences of being

far-right. if America truly has freedom of religion, why is this extremism being forced onto the population? has benevolence forsaken us?
othered. In my work, I critique the mundane, the morose,
and the magnificently mad.
Within my practice, I use a bit of Dada, surrealism, and
satire to engage my audience and play with color and form. I
like to experiment with art. Painting, collage, and mixed
media allow me to delve into a world where familiarity and
the unknown merge.
Art is more than a means of expression for me- I use my
creations to heal, connect with others, and grow. My
Indigenous roots help to ground me as I explore the

screaming-meemies
Mixed media, 2023
elements through art. Overall, I hope to teach my audience
to think about the world differently, challenge societal norms,
and inspire a greater social consciousness.’’

Marie Magnetic is a Chicago-based artist focusing

on neurodivergence, queer identity, feminist
issues, discrimination, human rights, politics, and
social commentary. Growing up in a small town in
southwestern Michigan helped to shape her
values as she witnessed friends and family
experience addiction, mental health issues,
poverty, and other forms of systemic
disadvantage. Marie was awarded a Bachelor of
Science in Psychology from Central Michigan
University and originally worked in positions with
child services, state government, and several
library roles before returning to art during the
COVID-19 pandemic. She is dedicated to
exploring culture and the multi-faceted humanity
through her art.

20
Your journey as an artist has seen you
return to art during the COVID-19
pandemic after working in various roles,
including child services, state government,
and libraries. How did this return to art
unfold, and how has the pandemic
influenced the themes and direction?
I was always interested in art as a child and
won a few awards in secondary school art
classes. Sadly, there were a lot of people who
told me being an artist wasn't a valid career or
life path, so I studied psychology in college. I
never truly stopped making art but I didn't
engage with it like I am doing now until during
the pandemic. I was laid off from work when
businesses shut down in March 2020 and
decided to start making art again. I would say I
pay a lot more attention to politics, human
rights, and social issues than I ever did before,
and hope this is reflected in my work.
authority absconded
Growing up in a small town in
collage on paper, 11'’x8.5'’, 2023
southwestern Michigan exposed you to The chaos of this piece represents the chaos I experienced as a 21st-
various systemic challenges, including century woman in America. It’s almost as if democracy is a laughing
matter.
addiction, mental health issues, and
poverty. How do these experiences inform Your art explores dystopia, delight, and
and shape the values that are central to delusion in society, reflecting the
your artistic exploration of experiences of being "othered." Can you
neurodivergence, queer identity, and delve into how your personal experiences
societal issues? as a Jewish, Indigenous (Blackfeet Nation),
When I was younger, I knew there were a lot neurodivergent (ADHD), and queer woman
of problems in American society as well as resonate in your artistic narratives?
around the world, but didn't understand why. I I like to think my art appeals to outsiders and
have gone through a lot of personal growth anyone who has ever felt othered by society. I
seeing others hurt and struggle through no have faced some discrimination and
fault of their own, and feel a great deal of marginalization in my life due to my ethnicity,
discordance living in a world where people are disability, queerness, and womanhood. Art is
allowed to be treated as less than others. For healing for me, and I hope to help others heal
example, untreated mental health issues and through my art. I think it is important to raise
trauma are the root of many problems and can consciousness of sociopolitical issues through
intersect with addiction and poverty. art.

21
In your artistic practice, you incorporate do you incorporate elements of Indigenous
elements of Dada, surrealism, and satire. culture into your work?
How do these artistic movements influence My mom's family is part of the Blackfeet
the way you engage with your audience Nation, and sadly never really got to connect
and convey your critique of the mundane, with her on this before she passed of cancer.
morose, and magnificently mad aspects of Being Indigenous means that I am responsible
society? for taking care of the earth and its inhabitants.
We are living through mad times. Every day, I I feel like I relate more to animals and nature
wake up and see violence in the news, than other people, which is partially due to
whether it is another mass shooting, migrants being neurodivergent. I like to express myself
living on the streets in Chicago, or people and my values through the different art forms I
going without housing and healthcare. I don't use.
feel like I can ignore anything happening, and
I have to put it in my art. I use satire and dark
humor to make people think. I also share a lot
of views and beliefs with the 1st wave Dadaist take your medicine
artists, and I like how they criticized the collage on paper, 11'’x8.5'’, 202
3
mainstream art movement. We use a manner of methods to distract ourselves from pain, loneliness,
Experimentation is a key aspect of your and financial struggle. Our environment is degrading quickly. Who will
reach out for a solution that is more than a placebo or a placeholder?
artistic process, encompassing painting,
collage, and mixed media. How does this
exploration of different mediums
contribute to your ability to merge the
familiar and the unknown in your art?
I like playing around with texture, tactile
things, and new art forms. I think each has a
place and time. For example, collage is very
affordable and accessible. Painting is very fun
but can be messy and more expensive. I think
my mixed media pieces are weird and
interesting. Most of the ingredients involve
found objects or things I have found at thrift
stores, art sales, or in unexpected places.
Experimenting and making discoveries
through my art is fun and helps me grow as
an artist.
You mention that your Indigenous roots
ground you as you explore the elements
through art. How do these roots influence
your artistic expression, and in what ways

22
 just capitalize
collage on paper, 11'’x8.5'’, 2023

how can a little piece of paper hold so much value? we refuse to allow ourselves to see other possibilities. Is it out of greed, fear, or reluctance to
change? The effects of late-stage capitalism are upon us, and people are tired of working just to survive. We are bombarded with consumerist practices,
to spend what little money we have on enriching the lives of the rich. People have lost their ability to think for themselves. Social media addiction runs
rampant with little recourse.

23
Art is described as more than a means of
expression for you; it serves as a tool for
healing, connecting with others, and
personal growth. Can you share specific
instances where your art has played a
significant role in fostering healing and
connection, both for yourself and your
audience?
I would say art as a whole helps me
understand myself and the world around me. I
have had audiences tell me that my art is
inspiring, intriguing, and weird. One piece, in
particular, I created was about my mom's
death from lung cancer and the dangers of
smoking. Some have expressed that my
collage art is eye-catching and that my use of
bright colors in painting brings something new
to the table.
24
You aim to teach audience to think about
the world differently, challenge societal
norms, and inspire a greater social
consciousness. What specific messages or
themes do you hope viewers take away
from your work, and how do you envision
art contributing to broader social change?
I hope the overwhelming message people find
in my work is that capitalism is oppressive and
toxic. So many forms of discrimination and
bigotry take root in capitalism and imperialism,
and I hope to show people there is a better
way and other options to living than the
systems we have in place currently. I think it is
important for artists and art to showcase what
is happening in the world, and how we can
make life for all humans more equitable and
joyful.
Acrylic on canvas, 18'’x24'’, 2023
death by any other name
Chicago serves as your artistic base. How Looking ahead, what themes or projects
do the city’s vibrant culture influence you? are you currently exploring in your art, and
The busyness of the city can be both an how do you envision your role as an artist
inspiration and a distraction. Unfortunately, evolving in the future?
some art spaces are more welcoming toward A lot of my current work is focused on the
emerging artists than others. The art scene in American sociopolitical context. I like to do a
Chicago can be cliquish, and not all local mix of painting, collage, and mixed media,
artists care about political and social issues though my attention ebbs and flows. My
but just impressing galleries and critics. I like purpose for making art is therapy, to calm my
to use intention toward where I apply my art soul and quell the pain. I hope to be honest
practice and where I focus my work. I'm and steadfast and to care for others in all I do.
currently a member of a newer artist space In the future, I hope to attend art school in
close to my neighborhood, which has Germany this upcoming fall and am currently
supported my work and growth as an artist, working on both applications and preparations
and I just sold my first gallery painting there! to do so.

cirque du absurdité - acrylic and beads on canvas, 16'’x20'’, 2023

American society is becoming a spectacle for grifters and clowns. politicians and the elite make decisions for their own
benefit, namely money. capitalists, oligarchs, and imperialists care not for the wellbeing of society, but stuffing their own
pockets. they are slowly sucking the color, beauty, and humanity from our lives.

25
Mark
Stopforth
A painter of great lyricism and sensitivity, Stopforth captures the majesty and drama of
the British landscape at its wildest while expressing a profound reverence for the sublime
tradition. His work over the past twenty years has been devoted to those vistas that are
associated with the untamed and wild atmosphere that can be found in the moors, fens,
fells, and coastal waters of Britain. He has carried those impressions of the sublime in the
landscape that were left on him as a child growing up in the Fens of East Anglia,
impressions that are still relevant to his work today. Recently it has been the vast
immersive spaces of moorland and river estuary that have consumed Mark's imagination
and which he strives to evoke through charcoal, pencil, and oil.

His influences are many and varied,

and include the calligraphic paintings
of Cy Twombly, the tonal ink
paintings of Hasegawa Tohaku, and
the landscapes of Constable,
Claude, Cotman, and Turner.
Mark has exhibited work around the
country, most notably on several
occasions at the RWA in Bristol. He
has also been successful as a
published poet, being shortlisted for
the Brit Writers’ Award in 2012 and
winning Fleeting Magazine's
International Best Short Writing prize
in 2010. Writing has been put on the
shelf for the time being as Mark
wishes to devote himself full-time to
his painting.
Ghosts - Oil on paper, 42x30cm, 2023

‘’I like to revisit this theme of the classical arch in a chiaroscuro light. It’s
both an exercise in mark-making and expression, as well as being a
subject that both interests and haunts me. Classicism is never far away in
the pantheon of great works by so many great artists like Claude Lorrain,
Nicolas Poussin, or more recently John Piper. How those ideals have
changed and evolved is still, to my mind, of interest and relevance.’’

26
The wilderness of silence

We lay there drawn down deep

into the belly of the night,
two lovers lost in the lanes of the dark,
feeling our way with quickening breaths,
back home across the valleys and shouldered hills
that in perfect stillness wait for morning.

Outside our rooftop room a curlew’s

lonely lofted call drifted across
the moon’s silver dusted moor,
and a sea mist rolled up against our window,
softening the eye of each incoming storm
that gripped like a hand claws at the sweat soaked bed......

.......and we watched Venus hold us in its glow,

lay there moved to admire how the world
turns and nothing remains forever,
save the memory of nights like this,
and the wilderness of silence,
held in a kiss.

27
Your paintings are described as capturing Recently, your focus has been on the vast
the majesty and drama of the British immersive spaces of moorland and river
landscape at its wildest, expressing a estuary. What draws you to these
profound reverence for the sublime particular landscapes, and how do you
tradition. How do you approach conveying strive to evoke their essence through
the untamed and wild atmosphere of the different mediums?
moors, fens, fells, and coastal waters in More recently the landscapes have been very
your work? much linked to the Fens but a burst of light
My paintings are a mix of intuition, memory, can and has switched that up to the moors
and an acquired language in paint that has and fells of Britain. My mountain pieces are
taken the best part of thirty years to accrue. I light exercises caught on a rock face of ice
like to paint myself into the subject matter with snow drifting off their peaks. In my
whether it be a stormy sea or frosty winter waterfalls, the landscape is an abyss of black
morning on the fens of East Anglia. The in which the waterfalls as light. I treat each
paintings are an emotional contact point for all subject or theme differently but rarely have an
of those key memories. idea of what the painting will be or how it will
Growing up in the Fens of East Anglia has turn out. This makes the painting fresh and
left lasting impressions of the sublime uncontrived, I don’t work from photos for the
landscape on your artistic sensibilities. same reason. Each medium moves me in a
Can you share specific moments or certain direction and I just go with the flow.
aspects from your childhood that continue
to influence and inspire your paintings
today?
The Fens are known for vast eternal skies and
endless horizons. I used to stop my parents,
as a child, when driving back from London just
so we could watch the sun setting. There have
been many times since when a moment has
stopped me in my tracks, a v line of winter
geese in the sky, a flock of swans taking off in
a morning mist, the wind rattling the lines of
moored boats in the sinuous creeks of mud. It
was the best place, as a child, to go for long
bike rides, happy just to get lost in the
landscape.

Awakening
Oil on paper, 42x42cm, 2023

A nocturne where the light comes from within the cloud formation
creating a sense of the sublime with a presence of foreboding.

28
In addition to your success as a painter,
you've been recognized as a published
poet, winning prizes and being shortlisted
for awards. How does your experience as a
poet intersect with or influence your visual
art, and do you see any parallels between
the two forms of expression?
Painting is a language made up from a lexicon
of line, colour, shades, form, mark making and
so much more. When it works it genuinely
feels like another hand has taken over, in the
flow you might call it. Poetry for me is very
similar in that the phrase, the line the image
has to be crafted and honed many times over
before it feels right. Again when I’m the flow of
writing phrases seem to come from out of
nowhere, and that has always blown me away.
Into the wave - Oil on card, 30x21cm, 2023
29
You've exhibited your work around the
country, with notable showings at the RWA
in Bristol. How do you navigate the
process of presenting your paintings to a
wider audience, and what do you hope
viewers can experience with your art?
I use Instagram as a toe hold for someone to
get the essence of what I do but the work is
always better observed in the flesh so to
speak and that’s where galleries and sales
come to the fore. I’m not about those photos of
the artist standing next to their work, arms
folded, which says more about the artist than
the art….not interested…it’s the Art I want to
look at. As experiences go I think that’s a very
personal moment and everyone sees
something different, that’s part of the fun.
Falls the night (North Sea) - Oil on paper, 42x30cm, 2023
Writing has been a significant part of your
artistic journey, winning prizes and
accolades for your poetry. Why did you
decide to put writing on hold to devote
yourself full-time to painting, and how has
this decision impacted your creative
process?
I’m always open to writing and I’m still coming
up with lines as I walk the dog and those lines
can sometimes develop further. I’m not as
proactive as I once was in seeking
publications and so on. Painting has now
taken over in that respect but I would love to
combine the two in the future.
The British landscape has a rich tradition
in art, with many iconic painters
contributing to its representation. How do
you see your work contributing to or
change my approach a little and this then
leads to further developments.… “It’s all about
failing, trying again, and failing better” (Samuel
Beckett)
Looking ahead, are there specific themes,
locations, or artistic experiments you are
eager to explore in your upcoming
paintings?
To go bigger.
Softly falls the light
Oil on paper, 42x30cm, 2023
A cloudscape created in Prussian blues and pthalo greens giving it that
stormy evening hue. The flat horizon brings back memories of growing
up in the Fens of East Anglia.

diverging from this tradition, and what

unique perspective do you bring to the
portrayal of the British landscape?
The likes of Turner, Constable, and the more
contemporary works of Hodgkin are not full
stops in the pursuit of expression. I’m just
standing on the shoulders of giants for a better
view. The way I paint is quite different in that
it’s very intuitive and comes with a high-risk
value. Sometimes it works to my advantage,
but it is all about the work and commitment to
the effort required.
Can you share any specific challenges or
breakthrough moments you've
encountered in your journey as a full-time
painter, and how have they shaped your
artistic trajectory?
I never trained as a painter and I think that’s
helped me in my journey in that I have no
preconceived ideas about the how’s and
why’s, I just do. I’m really enjoying working on
canvases at the moment as it means I have to

30
in all aspects

....as you walked through the doorway

light followed in all aspects,
pearlescent, iridescent, a prismatic dawn,
and blood in the heart stopped to applaud,
to embrace and to fall in
the moment, drunk
on the love that I’d found
Fallen to light
Oil on canvas, 90x90cm, 2023

Conversation

In the morning we talked about

how language is a music,
how French is like a river
or how the warmth of the sun
can bend a word in the mouth
like a grape pressed into the tongue
31
 Michael Wagner
‘’For me, photography is a means of poetic expression. I am interested in images that reveal something that
goes beyond everyday experience. Images that raise questions instead of providing answers. And images
whose appearance evokes a meditative gaze rather than rationality. I like to use photography as an
experimental medium. My aim here is not to depict, but to visualize. In this way, I mainly make use of macro
photography, motion blur, and double exposure. These photographic means promote the ambiguity, the
complexity of my work. I am interested in the open picture, in a creative approach whose aim is to create
content that gives the viewer considerable scope for interpretation. This leeway is, so to speak, part of the
creative process. This results in photographs that are ambiguous in a certain way and yet have a firm
character and suggest a clear goal.’’

Born in Heidelberg in 1953, Michael Wagner used every free minute for artistic studies
during his studies of social work at Mannheim University and then concentrated entirely
on the fine arts after completing his degree. Since 1981 he lives and works as a freelance
painter, graphic artist, and self-taught photo artist in Heidelberg.
While Michael Wagner worked in the beginning classically depictive photographic, this
changed over time in the direction of photographic abstraction. Today he is interested in
images that reveal something that points beyond everyday experience. Images that
evoke questions instead of providing answers. And pictures whose appearance does not
evoke rationality, but a meditative gaze. Michael Wagner wants his pictures to be
understood under these aspects.
„Raum-Zeit-Momente (Fassade)“, 2022

32
 „Raum-Zeit-Momente (Blauwelt)“, 2019
„Raum-Zeit-Momente (Rotland)“, 2019
Your journey as an artist began during
your studies in social work at Mannheim
University, where you used every free
minute for artistic studies. How did this
early engagement with art shape you and
what motivated your transition to
becoming a freelance painter, graphic
artist, and photo artist?
During my studies, I was able to make
intensive use of the existing freedom for my
art and practice various forms of artistic
expression. This and the intensive
examination of interpersonal and social issues
that my studies entailed probably shaped my
approach to art and creative activity. My
decision to work as a freelancer was simply
because my paintings were very, very well-
received at the time. They sold so well that it
was almost an obvious choice.
Having initially started with classically
depictive photography, you shifted
towards photographic abstraction over
time. What prompted this evolution in your
artistic style, and how does photographic
abstraction allow you to convey something
beyond everyday experience?
„Raum-Zeit-Momente (Katarakt)“, 2020
34
Well, this path from representation to
abstraction is a natural one that many artists
take in the course of their lives. For me, too,
the point of maturity came one day and my
work began to lean towards abstraction.
Incidentally, this applies to all parts of my
work, whether photography, painting, or
graphics. With photographic abstraction, I can
show the viewer a way to expand their
everyday way of seeing and arrive at a
perception of the world that is not accessible
without this expansion.
As a self-taught artist in photography, how
has this journey of self-discovery
influenced your artistic process and the
development of your unique visual
language?
I have learned to look at things not just on one
level, but holistically, from different angles,
and to prefer transparency to a compact view
in every respect. Transparency has the quality
of opening up and providing alternatives. If a
work of art has intellectual transparency and
therefore also openness, I believe it has the
potential to have a positive effect on myself.
„Raum-Zeit-Momente (Fließender Raum)“, 2021
Your work is described as focusing on Your artistic approach emphasizes images
images that reveal something beyond that provoke questions rather than
everyday experience, evoke questions, and providing answers. How do you navigate
encourage a meditative gaze. Can you the balance between ambiguity and clarity
elaborate on the themes or concepts that in your artworks, ensuring that viewers are
inspire you to create images with these engaged in a contemplative exploration of
qualities, and what do you hope viewers the visual narrative?
take away from such contemplative This balance between ambiguity and clarity
artworks? cannot be constructed by planning, at least
We live in a highly complex universe and there not by me. It is a fact that has to emerge
are many indications that a considerable part during the work, that I have to practically
of this universe is not accessible to our search for until it suddenly appears. Intuition is
everyday human consciousness. This may certainly an important tool here, and patience
lead to influences on our feelings and actions is also required. Because it often takes 100 or
that are beyond our control. Since this cannot more pictures before the result is convincing
be desirable, an attitude or way of looking at before the degree of abstraction matches my
things that broaden our horizons in some way wishes.
could help us to live life more holistically. This
means revising our view of things and
reviewing our thoughts and feelings. If my
paintings could contribute to this, it would be a
great result for me.
Living and working in Heidelberg since
1981, how does the city's cultural and
artistic environment contribute to your
creative inspiration? Are there specific
elements of Heidelberg that find their way
into your work?
The city of Heidelberg has probably had little
influence on me artistically because the visual
arts do not play a very big role here.
Heidelberg is a city of literature and music and
can be celebrated for these disciplines. What
Heidelberg still is, however, is a city with an
atmosphere, a special history, and a
wonderful scenic location. And this
atmospheric quality possibly affects my artistic
work, which is all about atmosphere,
especially in photography.

„Raum-Zeit-Momente (Erwartung)“, 2018

35
In the realm of fine arts, you work as a
painter, graphic artist, and photo artist.
How do these different mediums inform
and complement each other in your
creative process, and do you find that
certain ideas are better expressed in one
medium over the others?
Each medium has its own process, of course,
and yet I find that the media support each
other. Because my experiences in one
medium also shape my experiences in the
other medium and thus ensure diversification.
However, the exchange between the media
also has its limits, for example in terms of the
degree of abstraction. Photography and
painting are two completely different media
whose requirements cannot be compared.
36
Over the years, how have you seen your
artistic vision evolve, and are there
particular milestones or moments in your
career that significantly influenced your
trajectory as an artist?
An important moment for me was my
encounter with Concrete Art, especially the art
of Max Bill, which had a great influence on me.
This applies to my painterly and graphic work,
but I can't rule out an influence on my
photographic work either. This is about
concretion, a step following abstraction
towards a design completely unrelated to the
image. Concretion means new creation
without reference to reality. It may be that this
important step has also influenced my
photographic work.
„Raum-Zeit-Momente (Corrida)“, 2020
Can you share insights into your
conceptualization process? How do you
approach the creation of a new piece, from
ideation to execution, and how much room
do you leave for spontaneity or
experimentation in your work?
While I design, plan, and think through each
work precisely with a high degree of rationality
in the painterly and graphic part of my work, I
take a completely different approach to the
photographic part. Here I usually follow an
intuitive need for visualization, handle the
camera rather playfully, and get involved in
processes. Spontaneity and experimentation
are at the forefront here and always allow me
to achieve surprising results. Very few of my
photographic images are planned, but they do
exist.
37
Looking ahead, what themes, projects, or
artistic explorations are you currently
engaged in, and what aspirations do you
have for the future of your artistic
practice?
At the moment I am working very intensively
with abstract photography, and I have the
impression that this subject is almost
inexhaustible. My painterly and graphic work is
in a phase of reorganization and I am very
curious to see how it will develop. For the
future, I hope that my work will continue to
prosper and that its vitality and spirit will be
preserved. And I would like to see the number
and quality of exhibition opportunities in
Germany, which have suffered during the
Corona years and which have largely
disappeared, increase again.
„Raum-Zeit-Momente (Konfrontation)“, 2020
Monique J Dufour
Monique J. DuFour is a Canadian self-taught expressive abstract painter living in Spain
known for creating “Healing Art”. Monique began painting in 2013 after returning from a
trip to the South of France. After a lifetime in the corporate world, she pursued her art
career with passion and love, embracing new challenges and spiritual growth. Monique
paints with unbridled spontaneity from the heart. She is an intuitive self-taught painter.
she paints with music and music paints through her, orchestrating a symphony of colors,
movements, energies, and vibrations.
Life, music, colors, and nature are her sources of inspiration, and her paintings are a
journey for both the artist and the viewer. She identifies herself as painting from the inside
out, she paints from personal feelings and experiences, and her art is her process of
storytelling.
She exudes, “It is indeed a journey and I have chosen to share it through my art.”
She has received many honors and accolades for her art and her collectors span the
globe.
In November 2018 she relocated from Canada and is now living in Orba, Spain.
Monique’s many exhibitions include solo shows at Beach House, Torrevieja, Spain; La
Macina di san Cresci, Tuscany, Italy; and Hall of Art, Feltmate, Delibato & Heagle,
Burlington, Ontario, Canada; among others. Her several group exhibitions were those
held at Galerie Sonia Monti, Paris France, and the Art Gallery of Burlington, Ontario,
Canada. She was also selected for a juried exhibition by Joshua Creek Heritage Art
Centre in Oakville, Ontario, Canada. Recent finalists and awards in juried exhibitions
(2022-2023) include the Healing Power of Arts, J Mane Gallery and Camel Back Gallery,
Art Fluent, Fusion, Gallery Ring, Color 365, Helvet Art, HMVC Gallery, Grey Cube
Gallery, Artrepreneur, J. Mane Gallery, KBM Art Gallery, Las Laguna Art Gallery, Light
Space and Time Art Gallery, Teravarna, Kooness. Please visit my website for links to all
exhibitions
In addition, Monique participated in a Charity Art Auction to help support Women’s
Shelter Burlington, ON, Canada. Singulart Charity Art Auction to Benefit Doctors of the
World (November 2022). Her painting “Dawn” was featured in the “Pantone Colors of the
Year: Rose Quartz and Serenity Collection” on the renowned Saatchi Art’s homepage.
Her art has been selected several times to be included in Singulars’s Featured
Collections. In addition, she is the recipient of Artist Residencies in Italy.

38
Your journey into art began in 2013 after a trip to the South of France. How did that
experience inspire and catalyze your transition from a corporate career into the world of
expressive abstract painting?
I visited St Paul de Vence for 2 weeks where I was captivated by the charm, vibration, and history
of this village. I was able to spend time in the numerous museums and art galleries and visit Marc
Chagall’s grave. I viewed the art as an expression of the artists, and who they were as individuals.
At the time I did not know that Picasso, Modigliani, Dufy, and Matisse all lived for a time in Saint-
Paul de Vence, I felt an energy that I could not put into words. I went back to Canada and was
spontaneously guided to pick up a paintbrush. I loved it so much that I painted every moment that
I could. I intended to paint for myself but I soon began selling my art to friends and their friends
and collectors on Saatchi Art. The feedback was and still is that they connected with the painting
and that it brought healing energy to them. In 2016 I retired completely from the corporate world
and became a full-time painter.
Your painting process is described as intuitive and spontaneous, often guided by music.
Can you elaborate on how music influences your painting, and how the synergy between
music, colors, movements, energies, and vibrations shapes your creative expressions?
Listening to music has always been a part of my life. A safe place to embrace the energy and
vibration of every single note, and the silence in between. Music gives me what I need at that
moment, be it joy, soothing, energy, healing, inspiration, peace, and more. I soon realized that
when painting I felt that I was transmitting those notes to canvas. To me, each note and frequency
represents a color(s) and movement. Together with my feelings, energies, and vibrations, it
creates a visual symphony. I paint mostly with classical music or Solfeggio frequencies.

Equanimity Wherever you go, there you are

Acrylic on stretched canvas, 66x66cm, 2023 Acrylic on stretched canvas, 91.44x91.44cm, 2023

39
Nature, life, music, and colors are sources
of inspiration for your art. How do these
elements manifest in your paintings, and
how do you translate personal feelings and
experiences into visual narratives?
It’s all about energy and vibration. Hearing the
birds sing, marveling at the beauty of Mother
Earth, hearing the laughter of children, hearing
the clatter of a family putting dinner together,
the sources are endless and inspiring. When I
paint, I have no idea where I am going with it. I
paint in a trance-like state, with no
predetermined outcome. I say that I paint from
the inside out, so what appears on the canvas
are often my feelings, that’s where life events
and experiences come into play, though I am
never aware of the specifics at the time of
painting. Other times I know that I am
expressing emotions/energies, but not my
own. These paintings always find their home.
Art for me is expression and flow. It’s also a
safe place, not only for myself but also for the
viewer. At times my art is very thought-
provoking, other times it can be a peaceful
place or journey for the inner self.
We are immersed in the energy that comes to
us from the sun and space, from the moving
cells of everything that exists, we are like
inside an engine always in motion, a flow in
perpetual motion. To grasp it in art makes the
traveler aware of the flow in which he is
traveling and I have experienced that which
pushes you out of daily life and then you
perceive the energy flow of which you are part
and makes you say “Look how beautiful”! Like
the wonderment of a child.
You mention that your art is a journey of
storytelling. Could you share a specific
painting that holds a particularly
meaningful or personal story for you, and
40
how that narrative unfolds in the artwork?
One of my favorites is entitled “Dreams” 2015.
I truly was a novice painter and I so enjoyed
exploring this world of art. I recall selecting
my colors, and that’s all I recall. The process
is a blur, like all my paintings. When the
painting was finished I had a strong sense that
I had put my aspirations and dreams onto the
canvas. The painting depicts what I perceived
as colorful pods and I thought each one
contains one of my dreams ! It’s an adventure
painting . To this day I still love this painting.
As the years passed, I experienced loss and
sadness and always found safety and healing
when I painted, even when I painted from
sadness or other emotion or experience, it
translated onto the canvas in a transformation
to positive energy and healing that is always
beautiful for the soul. I often paint with many
layers, which to me are part of how the story
unfolds. Something that I truly love about my
abstracts is what individuals see in my
paintings. Often they see faces, people,
animals, objects and what they feel are
positive energies and how it relates to them.
Dreams
Acrylic and molding paste on stretched canvas,
112x147cm, 2015
Since relocating to Spain in 2018, how has world is noteworthy. How do you see art
the change in environment influenced your contributing to social causes, and what
artistic practice and the themes explored in role do you envision forartists in creating
your work? positive change through their work?
Relocating to Spain was a lifelong dream for In life it is so important to share and to give, I
me, I am lucky to have this opportunity. The have always given of myself and my time, and
milder weather and the ability to hear birds now being able to donate my art for causes
singing all year round is a gift to me every day. that help individuals or collectives is very
Another important factor is the culture rewarding. I believe that we are all connected
including the food and festivals and people. vibrationally and energetically and that
Bright colors, laughter, and joie de vivre that positive collective energy is very powerful.
they incorporate into everyday life. I adapted Visual art, music, dance, and all other
quickly to the slower pace of this country and categories of art, play a crucial role in society
environment. This has influenced my life and for positive change as we take the
therefore my paintings to a great extent. Not viewer/listener away from all the conflict and
having to rush through life has been my pressures and hopelessness, even if it’s just
greatest gift to myself. I feel that the themes of for a little while. The more that we get
my work have been still energy and vibration, involved, the greater the chance of making an
but I find myself painting with more freedom of impact for positivity.
movement and colors.
Your exhibitions span various locations, Portal
Acrylic on stretched canvas, 117x96.5cm, 2023
including Spain, Italy, Canada, and France.
How do these diverse settings impact the
reception and interpretation of your art,
and what role does cultural context play in
your exhibitions?
This is interesting, I have found that each
location is drawn to a different collection of
works, with some overlap of course. For
example, I find that France is drawn to my
larger paintings that are bold. Italy on the other
hand, is attracted to softer colors and
movements, Spain enjoys the stories behind
each painting, and the USA is drawn to
paintings that are somewhat different from the
norm and they like diversity. So I believe that
the cultural context does play a role.
Your involvement in Charity Art Auctions
and support for causes like Women's
Shelter Burlington and Doctorsof the

41
Your paintings have received numerous friendships will always remain with me. I
recognitions. What has been the impact of shared that I was a self-taught novice and had
such accolades on your artistic journey? a lot of self-doubt. The encouragement that I
Each exhibition and award is an honor for me, was given played a role in my retiring from the
to be selected alongside so many talented corporate world, and I decided to follow my
artists surprises me each time. The most heart.
important one for me was my first inclusion in
a juried group exhibition at Joshua Creek Art
Gallery in Oakville, Ontario, Canada in 2016.
At the exhibition, I asked the jurors why I was
included, and they responded that they had
“felt” the painting. This statement encouraged
me to keep showing my work. The second
was an invitation to a group exhibition at the
Gallery Sonia Monti in France in 2019. The
third one would be my acceptance to the
Healing Power of Arts where I continue to
show my works online as a finalist, in several
juried exhibitions. When I enter a juried
exhibition, I don’t plan to win an award, I
submit what I feel is the best of my work
relating to a theme. Every recognition is an
encouragement to continue. With each No regrets - Acrylic on stretched canvas, 56x56cm, 2023
passing year, I am more confident in myself as
a painter and strive to do better. Blue Lagoon - Acrylic on stretched canvas, 56x56cm, 2023
Your participation in Artist Residencies in
Italy is intriguing. How have these
experiences influenced you?
I was able to embrace the culture and I think
the culture embraced me! I felt very at home,
living in and around 1000-year-old streets and
buildings. The energy was incredible and I do
believe that I was living where I had had a
past life. This shaped the artwork that I
created. I did have some trepidation about
working alongside talented and well-known
artists. These artists were from all over the
world with different cultures and views, but we
were bound by the love of creating art. The
conversations exchange of ideas and

42
Looking ahead, what themes or projects are you currently exploring in your art, and how
do you envision your artistic journey evolving in the future?
My life is much calmer and balanced now, which opens me up for more inspiration and creation.
Though some of my previous paintings might have shown some of the chaos in my life, I now feel
very much grounded. I would like to explore new techniques and materials, perhaps with more of
a minimal direction. I will paint what I am guided to paint! In the summer of 2024, I and a fellow
artist from Australia are planning a trip back to La Macina de san Cresci in Tuscany, where we
look forward to meeting new artists and creating beautiful work.

Time to let go Into the light

Acrylic on stretched canvas, 91.44x91.44cm, 2022 Acrylic/India Ink/Gilding on stretched canvas, 91.44x91.44cm, 2022

Healing Energy The Frog Prince

Acrylic on stretched canvas, 90x90cm, 2023 Acrylic/India Ink on stretched canvas, 92x92cm, 2023

43
Natasha
Burenina
‘’Within the canvas of my digital artistry, I weave narratives that delve into the tender nuances of love, the
captivating charm of women's beauty, and the enchanting allure of magical power. Utilizing AI and diverse
digital tools, I breathe life into personas that evolve into standalone expressions of art. Each piece
embodies a story—a testament to the intricate interplay of emotions and experiences. I aim to transport
viewers into a world where love is palpable, beauty is mesmerizing, and the mystical essence of power
unfolds. Through my art, personas emerge not as constrained identities but as vibrant manifestations of the
intricate beauty of the common human spirit.’’

Natasha Burenina, a digital artist originating from Kyiv, Ukraine, utilizes the potential of AI
and an assorted range of digital tools in her artistic pursuits. Her creative journey is an
ode to the heartfelt exploration of love, the captivating allure of women's beauty, and the
enchanting essence of magical power. Natasha's artistry transcends conventional norms,
transforming personas into vibrant embodiments of artistic expression. Her art speaks a
universal language, resonating with a global audience, and illuminating the multifaceted
nature of human emotion and experience. Through her work, Natasha invites viewers to
immerse themselves in the captivating stories woven within each creation, reflecting a
common human heritage.

Swim, Fish, Swim - Digital Art, various sizes, 2023 Swim, Fish, Swim - Digital Art, various sizes, 2023

44
Your digital art explores themes of love,
women's beauty, and magical power. What
draws you to these specific themes, and
how do you believe digital tools, including
AI, enhance your ability to express these
concepts?
Female beauty has always captivated me and
became an inspiration for my creative
endeavors reflected in my poetry, drawings,
and photography. Seeing women as living
pieces of art, emerging through the images
they wear, adds emotional power to my artistic
works. This unique aura of female beauty and
strength, including what might be considered
mystical, permeates through each of my
tfilled with air raid sirens and sounds of
explosions. I constantly held a phone or a
laptop in my hands. To stay sane, I found
solace in creating digital art incessantly.
Within a few months, I produced over 400
pieces, possibly more than I had created in
my entire life. That's when I realized, more
than ever, that art quite literally saves. I
retreated into my works, distancing myself
from the rest of the world, remaining mostly
silent and creating almost all the time.
Quantum Scriptography - Digital Art, various sizes, 2023
‘’I often find myself grappling with the limitations of words when attempting to
express the depths of my emotions. The artworks of the "Quantum Scriptography"
collection resonate with me on a profound level, echoing the sentiments that have
filled my heart for more than a year. These enigmatic faces emerging from the

artistic creations, becoming the main source
of my inspiration. New digital tools are
amazing and sometimes seem like magic to
society. Their capabilities allow me to delve
intricate letterforms mirror my own journey—sometimes concealed, sometimes
seeking to break free. They encapsulate the essence of my experiences, where the
art itself has played a pivotal role in preserving my sanity and providing a refuge for
my thoughts. In these captivating pieces, I see myself, hidden within the art, yet
yearning to be seen. They serve as a powerful reminder that art has the incredible
capacity to reflect our innermost struggles and triumphs, offering solace and
understanding when words fall short.’’

deeper into exploring themes of love, female

beauty, and enchantment. Technologies like
artificial intelligence open up new avenues for
embodying these concepts, providing my
creativity with endless possibilities for self-
expression.
In your artistic journey, how did you
discover the potential of AI and digital
tools as mediums for your creative
expression?
I ventured into AI art from collage art, using
compilations of photographs, flowers, tree
leaves, cutouts from magazines, and more. It
doesn't matter what tool you use to convey
your thoughts. AI is just another tool, much
like paints, photography, or elements of
nature. Artificial intelligence provides an
endless well of material for creativity. The
pivotal moment that drew me into the realm of
new technologies was the sleepless nights
and restless days at the onset of war, filled

45
Your artworks transcend conventional me. Images can come to me while reading a
norms and transform personas into vibrant book, listening to music, having
expressions of artistic exploration. How do conversations, or in any everyday moment.
you approach the process of creating a It's like assembling pieces of energy puzzles
digital persona, and what elements do you that suddenly come together, inspiring
prioritize to convey the richness of human creativity. Various digital tools bring this
emotion and experience? together into a unified whole.
I begin with a feeling or an image that comes
to mind. The priority lies in imbuing this
character with layers of my emotions, my
energy, and details that resonate with my
essence. If it makes my knees literally tremble
- that's when I know it's a piece, I'll keep :)
Your art speaks a universal language, Daydream in Red
Digital Art
resonating with a global audience. How do Various sizes, 2023

you ensure that your creations, rooted in "Daydream in Red"- these collage portraits of women in abstract red,
personal exploration, connect with diverse white, and black tones immerse you into the world of their inner dreams
and fantasies, creating a captivating atmosphere of mystery and
viewers worldwide? inspiration.
I'm not striving to elicit a response from a
global audience, but I communicate through
my creations in a language that resonates.
Perhaps it's because when words fail,
universal archetypal symbols resonate more
deeply than in the conscious mind. Art is
humanity's most precious heritage, preserving
the imprints of every creator's soul. If you
pause for just a moment, engaging with art
and diverting from thoughts of credit and
purchases to dinner, you find yourself in a
realm where neither humans nor time hold
dominion, transcending even personal
identity.
Each of your pieces embodies a story,
reflecting the intricate interplay of
emotions and experiences. Can you delve
into your narrative process? How do you
conceptualize and develop the stories
within your art, and what role do digital
tools play in shaping these narratives?
I work with what comes from the world around

46
47 Day Watch - Digital Art, various sizes, 2023
How do you convey the mystical and
magical elements within your digital art,
and what significance do these themes
hold for you personally?
I have what psychologists call magical
thinking. I've practiced various energy
techniques, runes, Tarot cards, my whole life.
Exploring what's considered the unknown is a
significant part of my life and naturally reflects
in my art. Mystical and magical elements in
my digital art are conveyed through
symbolism, ethereal imagery, and the infusion
of esoteric themes. These themes hold a
deeply personal significance for me, serving
as a reflection of my ongoing exploration of
the mystical and the unexplained.
Summertime sadness - Digital Art, various sizes, 2023
How has your background or origin
influenced your artistic vision?
I think that our unique and diverse culture,
with its abundance of emotions and energy,
undoubtedly influenced who I've become. I
was born in Zaporizhzhia, a city in southern
Ukraine. The island of Khortytsia, one of
Ukraine's ancient cultural and energetic
centers, holds a piece of my heart. With the
onset of the war and my profound
psychological crisis, initially, I chose silence
and detachment from everything. Later, my
artistic focus deliberately shifted towards love
and beauty in all their manifestations. About
the values I consider true, saved me and my
psyche, and can help others.
48 Liminal Citrus - Digital Art, various sizes, 2023
Through your art, you invite viewers into a world where love is palpable and beauty is
mesmerizing. What emotions or responses do you hope your audience experiences when
engaging with your artwork?
I hope that my viewers can feel themselves. Alive, trembling, sensitive. Sometimes just pausing
and feeling something at all is already an achievement.
As a digital artist, how do you navigate the balance between the capabilities of AI and the
personal touch of artistic intuition? How much room do you leave for spontaneity and
organic creativity in your digital process?
Each of my works is quite spontaneous, and sometimes I realize what I'm doing only in the
process of creation. Perhaps all creators are a bit "unusual" in this sense :)
As I've mentioned before, artificial intelligence is merely a tool for creativity; I rely on my feelings
beyond that. I prefer the organic use of tools to maintain authenticity and naturalness in my
artwork.

Looking ahead, what themes or

explorations are you currently
passionate about, and do you
envision any new directions or
technologies influencing your
future artistic endeavors?
I am working on an interactive art
project that allows me not only to
pause and feel oneself but also to
interact with the art for a deeper
immersion. Interaction with art
holds immense potential.

Day Watch
Digital Art
Various sizes, 2023

"Day Watch" - these faces observe the unseen shades

of emotions, standing guard over fleeting nuances of
human experience. They track the whispers of joy,
thousands of untold stories of light and shadow, and the
delicate, infinite changes, almost beckoning us to pay
attention to the magic, mystery, and beauty of moments.

49
 Susan
Williams

‘’I make site-responsive installations exploring materials, light, and space. I use everyday
materials with minimal intervention, keying into their surroundings, and developing ideas
as the work progresses. I aim to make what is already there more visible, at times
capturing what we don’t normally see, light, wind, space, the potency of a colour. Illusions
such as floating and evanescence often occur making links to the magical, the
metaphysical, and the spirit of a place. I am inspired by the everyday, the basics that are
also the fundamentals of life which can reflect surprising aspects of our lives, our
humanity.’’

Susan studied at Kingston University and the Royal Academy, London. She has won
national and international residencies including the Vermont Studio Center and Brush
Creek Foundation for the Arts, Wyoming, USA. Awarded membership to the Royal
Society of Sculptors, she has shown her work throughout the UK and abroad. Exhibitions
include lakeside installations in Toledo, Spain, and Laugarvatn, Iceland, and exhibiting
with the Stadtmuseum, Germany, and Geumgang Nature Art Biennial, Korea. During the
lockdown, Susan developed new works specifically for online exhibition contributing to
projects such as the Coantivirus International Exhibition, NYplus, China.
Susan uses many different mediums but the core of her artwork is site-specific installation
where the space, the ambient lighting, and the moment in time have a defining influence.
Her research is an exploration of this influence and its effects.

50
Spellbound
shoes and plastic, footprint 3.3 x 21 metres
Your site-responsive installations explore materials, light, and space, often using everyday
materials with minimal intervention. How do you approach the selection of materials for
your installations, and what role do they play in conveying your artistic vision?
The material is an important part of the concept and is always linked to the space/place where the
work is made. This connection is at times obvious, for example, the shoe works were made for
exhibition in Kettering and strongly link to the history of the town which grew up on the shoe
industry creating the town as we know it today. These works were placed either beside the shoe
museum or on a property built by one of the ‘shoe barons’ thereby emphasizing their context.
The materials I use are already heavy with associations which I want to further emphasise so I
make my interventions as minimal as possible, allowing the material to speak for itself.
Your work aims to make what is already there more visible. Can you share specific
examples of installations where you believe you've successfully achieved this goal,
revealing aspects of light, wind, space, or color that might go unnoticed?
The work Spellbound was built beside the shoe museum in the shortcut from the carpark into the
town center, the shoes themselves taking a shortcut across the grass, emphasizing the location
and purpose of the space. The slight slope of the shortcut becomes much emphasized with the
shoes appearing to drop off the edge of the incline, on the approach to the work. The space
beneath the shoes is magnified, with the shoes appearing to impossibly hover above the ground,
emphasizing both the gap below and the weight of the shoes which normally have no presence at
all. Shadows forming beneath the shoes seem to enlarge the gap between the shoe and the
earth and there is a strong sense of the missing people which amplifies the shoe’s connection to
us, through their absence.
Illusions such as floating and evanescence are recurring elements in your installations,
making links to the magical and metaphysical. How do these illusions contribute to the
overall narrative of your work, and what do they represent for you?
I believe the floating, evanescence, and magical and metaphysical qualities are partly linked to
my psychological makeup/personal experiences where the making of art is fused with recovering
and rising above difficulties experienced in my childhood. My artworks might also be seen as an
emotional landscape, where the disparate parts become whole again, unified, fitting the space,
belonging, and the regeneration manifesting in my work as energy fields suddenly made visible
with a sense of celebration, freedom, or endurance.
Your inspiration comes from the every day and the basics that reflect surprising aspects of
our lives and humanity. Can you elaborate on how you find inspiration in the mundane,
and how you translate these everyday elements into your installations?
I am drawn to the most ordinary of materials partly as a challenge to be daring, at times
mischievous, and partly because life is full of simple routine acts rather than extraordinary
heightened moments and it is there that you must find yourself. I think materials already have
amazing inherent properties that I could not possibly compete with. Their familiarity allows me to
be playful; they are like old friends and I can comfortably interact with them whilst reflecting on
their place in the world.

52
Having studied at Kingston University and the Royal Academy in London, how has your
formal education influenced your artistic approach and the evolution of your installations?
I went to art school as a mature student and was already quite a formed person finding my artistic
vision in the life I had already led, my family, work, and home. Art school broadened my ideas
about what art can be, a subject so all-encompassing, taking in and absorbing every age, race,
color, creed gender, and style, a universal language like no other, almost a god. During my art
education, I was often vigorously challenged and this gave me the determination and
independence to pursue my vision which became important later when there was less support.
Winning national and international residencies, including chaNorth Residency in NY and
Brush Creek Foundation for the Arts in Wyoming, USA, must have been transformative
experiences. How have these residencies impacted your artistic practice, and do you have
any particularly memorable moments from these experiences?
For me, every residency is an exciting challenge, delicious stimulation, and also potentially
terrifying as I try to work towards a rapid understanding of the place, space, people, and culture
looking for that thread, that slice of reality in that short time. I was at chaNorth in the month of
October/November when Halloween was being very publically celebrated in the USA with
pumpkins adorning many houses which inspired several tiny mischievous works using pumpkin
seeds that perfectly fitted the unexpectedly tiny studio. One of my outdoor works came from the
group bonding around the shared preparation of delicious meals that filled the fridge, inspiring
work using cling film stretched between trees, which had unexpected strength and captured the
idea of refreshing and replenishing food, energy, ideas, oxygen, and the residency itself.
Being a member of the Royal Society of Sculptors is a notable achievement. How has this
recognition affected your career, and how do you perceive your role within the sculptors'
community?
It was an exciting opportunity to showcase my contemporary art during a period when the Society
was more traditional and make a contribution to its more modern outlook. This of course had its
unique challenges as well as presenting and exhibiting opportunities. Recently I showed with the
RSS in The Shape of Life exhibition and 10 Gram Challenge in Dora House, London. I think
exhibiting with the best uplifts one self image and this is one of the great benefits.
Your exhibitions span locations worldwide, from Spain and Iceland to Germany, Korea,
and Brazil. How do different cultural and geographical contexts influence your approach to
creating site-responsive installations?
I find the different landscapes and different cultures inspiring and love hearing about people's
lives, their stories, and histories, sampling new foods, and hearing new sounds. In this way I am
subtly influenced, however, working closely with the land and finding materials locally immediately
creates strong links to a place. I also find the movement of the wind speaks a universal language.

53
Momentum
shoes and plastic, footprint
12 x 9 metres
As a Londoner by birth, you've lived and worked in Kettering, England, for the last eleven
years. How has this change in environment influenced your artistic perspective and the
themes you explore in your installations?
Since moving to Kettering I have made more outdoor works using the landscape and local
gardens and drawn many more materials from nature as is fitting for a more rural environment.
The themes in my work have always incorporated the moment in time, the wider dominant themes
of society and this has continued, for example, the COVID pandemic and the lockdown issues
manifested clearly in my work of that time. Covid also prompted the use of new mediums to
connect with the wider public such as mini Instagram videos, animations, and photographic
works.
Looking ahead, what themes or concepts are currently inspiring your work, and are there
specific locations or environments where you dream of creating installations in the future?
I am profoundly saddened by the conflicts in the world, the environmental issues that fail to be
addressed, and the social injustices that still prevail. These issues are now becoming more
dominant in my work and I expect this to continue. I have some proposals out for interesting
works but I’m a little superstitious and don’t want to jinx anything by talking too soon. I also find
that I often plan to do one thing and then end up doing something entirely different, so we will
see...

Leap of Faith
shoes and plastic, footprint
18 x 28 metres

55
 Suyu Chen

‘’Through composing jewelry works related to forms and marks, I explore relationships
between practices and rituals, artificial objects, and their interconnection. Similarities
among traditional art-making processes, industrial production, and art training I received,
which all required massive and repetitive actions, led to my interest in experimental
practices of combining artificial objects. My work was inspired by man-made objects that
lay forgotten in the embrace of wind and snow. The snow blankets these abandoned
items while creating subtle forms that blur the line between the natural and the artificial.
Those discarded remnants of human activity - plastic debris, industrial scraps, and
forgotten artifacts - become silent witnesses to the passage of time. Through recutting,
reshaping, and coloring plastic components, as well as combing sterling silver findings,
ordinary industrial parts are transformed into wearable jewelry. I see my work serves as a
metaphorical gesture that expresses a silent dialog between nature and human
intervention.’’

Originally from Guangzhou, China, Suyu Chen is currently living and working as a
contemporary jewelry artist and adjunct faculty in upstate New York after graduation from
the MFA program at Rochester Institute of Technology. Suyu received a BA from the
Guangzhou Academy of Fine Arts, China. She also studied at Rhode Island School of
Design, USA, and Kunstuniversität Linz, Austria. She has been practiced in jewelry and
metalsmithing for about a decade, and her works have been exhibited nationally and
internationally including Beijing International Jewellery Exhibition (Beijing, China), JOYA
(Barcelona, Spain), NYC Jewelry Week (New York City, USA), Brussels Jewellery Week
(Brussels, Belgium) and Burchfield Penny Art Center (Buffalo, USA).

56
 Artificial Orbit

Work type: Necklace

Material: Resin, Plastic, Acrylic Paint
Size: 37x32x4cm
Photo credit: Haolan Zhou
Model: Anna Leung

57
Your jewelry works explore relationships between practices and rituals, artificial objects,
and their interconnection. Can you share specific examples of pieces where these
relationships are particularly pronounced, and how they contribute to the overall narrative
of your work?
The similarities among art practices, rituals, industrial production, and even the art training I
received, all of which involved repetitive actions, piqued my interest in the concept of modularity
within the art field and experimental practices involving repurposed artificial objects. 'Artificial
Orbit' stands as one of my early works crafted from repurposed plastics, transforming industrial
objects into wearable pieces that encapsulate personal practices. It documents the outcomes of
numerous experiments and the evolution of my research. Unlike traditional jewelry that seeks
perfection, I retained all the bends and marks from the manufacturing process so that the viewer
can glimpse the story behind the piece.
The inspiration for your work comes from man-made objects forgotten in the embrace of
wind and snow, transforming discarded remnants into wearable jewelry. How do you
approach the process of recutting, reshaping, and coloring plastic components and
combining them with sterling silver findings to create these pieces?
The forming processes involve careful consideration of the form, structure, and wearability of the
chosen plastic components. The objective is not solely to physically reshape the material but also
to unveil its potential as a wearable work of art. I conducted research into various craft modeling
methods, pigment properties, and types of adhesives, and conducted experimental tests.
Additionally, I designed silver components to achieve the right combination, resulting in a one-of-
a-kind piece that has the ideal weight and is suitable for wearing.
You mention the subtle forms created by snow on abandoned items, blurring the line
between the natural and the artificial. How does this blurring of boundaries influence the
conceptual and aesthetic aspects of your jewelry, and what do you hope viewers take
away from this interplay?
Inspired by the gentle outlines shaped by snow, and using repurposed industrial materials, the
resulting pieces exhibit a balance between the rough and the refined, the chaotic and the ordered,
reflecting the subtle relationship between the natural and the artificial. I hope this interplay sparks
a dialogue about our relationship with the world around us, introducing contemporary jewelry as
an art form to a broader audience.
Your work is described as a metaphorical gesture expressing a silent dialogue between
nature and human intervention. Can you elaborate on the themes or messages you aim to
convey through this dialogue, and how it reflects your perspective on the relationship
between humanity and the environment?
By imitating the forms and colors of the artifacts abandoned in the snow, I try to use jewelry to
express a complex narrative about the evolving relationship between humanity and the
environment. My work raises questions about responsibility, participation, and our narratives
about the environment. Ultimately, the silent dialog in my work is intended to inspire a deeper
connection with the natural world and a sense of responsibility to preserve its inherent beauty.

58
Trace
Work type: Ring
Material: Resin, Plastic, 925Silver, Acrylic Paints
Size: 2x2x4.5cm

Falling Branch

Work type: Ring

Material: Resin, Plastic, 925 Silver, Acrylic Paint
Size: 8x2.5x4cm

59
You've exhibited your works nationally and internationally, including in Beijing, Barcelona,
New York City, and Brussels. How do different cultural and geographical contexts impact
the reception of your jewelry, and do you notice variations in how viewers interpret your
pieces?
I take pride in having my work selected for these international exhibitions. For instance,
exhibitions at the Baltimore Jewelry Center (Baltimore, USA) and Enjoia’t (Barcelona, Spain) have
strong connections with the college and art community. My work resonates particularly with the
younger generation, who often bring creative and fresh perspectives to my art.
Conversely, exhibitions with strong ties to fashion, contemporary crafts, and the market, such as
the Philadelphia Museum of Art Craft Show (Philadelphia, USA), Brussels Jewellery Week
(Brussels, Belgium), New York City Jewelry Week (New York, USA), and the Burchfield Penney
Art Center (Buffalo, USA), provide me with opportunities to gain practical advice from
professionals and engage in discussions about the future market.
As an adjunct faculty in upstate New York, how does your role in academia complement or
influence your work as a contemporary jewelry artist?
My role in academia serves as both a complement and a catalyst for my work as a contemporary
jewelry artist, enabling me to remain at the forefront of innovation in the field. Outside of
academia, I also contribute to my profession by serving as an exhibition juror for Apexart Gallery
in New York City on several occasions. This role allows me to bring the finest curators and
proposals from around the world to the gallery space. Together, these academic and professional
pursuits create a dynamic balance that propels my professional identity forward and contributes to
a broader dialogue within the contemporary craft community.
Looking ahead, are there specific themes, materials, or techniques you are eager to
explore in your future jewelry creations?
In terms of materials and themes, I am drawn to the idea of incorporating everyday objects and
elements that can convey a story. Salvaged and repurposed materials, each with its own history
and character, offer unique narratives within my jewelry. This exploration aligns with my aspiration
to create pieces that carry meaningful stories.
Can you share any memorable moments or experiences from your journey as a jewelry
artist, whether it be a specific exhibition, collaboration, or personal revelation that
significantly impacted your artistic trajectory?
For many years, collaborating with professional curators and galleries in the realm of
contemporary craft arts, I have always been in pursuit of new and unconventional ideas. One of
my most memorable experiences was my solo exhibition overseas at Galleria Riutta in Finland,
titled 'A Study of Snow.' Through collaboration with the organizers, the Finnish Jewelry
Association, and the Artists’ Association of South Karelia, I gained insights into the curating,
transporting, presenting, and promoting processes beyond the jewelry-making realm. This
broadened my understanding of the creative process. The positive reception from the community
and audiences continues to inspire me to explore the potential of contemporary craftsmanship
further.

60
 Transform

Work type: Necklace

Size: 25x25x2.5cm
Material: Resin, Plastic, 925 Silver, Acrylic Paint

A Study of Snow

Work type: Necklace

Material: Resin, Plastic, 925 Silver, Acrylic Paint
Size: 14x3.8x2.5cm
Photo credit: Haolan Zhou
Model: Anna Leung

61
 Yangyoongab

Media artist Yangyoongab is an animator who wants to share time with the audience. She
wants to communicate her own story of the time that is given equally to everyone and
provide her audience with the experience of being in the same space within that time.
She also approaches the audience with a performance that combines music and videos
on the outer wall of the building, a space where people always stay, to create a new
world.
She's a person who plays "With Light and Drawings." Yangyoongab is also a person who
has different senses that humans can use and allows each person to travel where they
want to go in the same amount of time that they are physically given to them. She would
like to study the strengths and weaknesses of each medium through different mediums
and use video grammar that can be understood more easily.

All published works are from the series of:

What Happened To Me?

Digital Art, 2023

Inspired by Kafka’s novel “The Metamorphosis”. In the novel, after becoming a bug, the event
proceeds through the reactions of the people around him. On the other hand, in this work, the
event unfolds in the process of changing. It is just “Changing” It doesn't come out what kind of
object it turns into. The 2D part is a conflict with the surrounding people that the main character
(referred to as One for convenience) experiences in the process 3D is a visualization of emotions.
It will be a landscape of nightmares. OSC part is a part of quantifying this by concluding that the
cause of all these conflicts is that the "distance of mind" of each relationship is different. Repeat
the beginning and the end so as not to inform the result of the knot.

62
63
64
Your artistic practice involves sharing time with the audience through animation. Can you
elaborate on how time becomes a central element in your work, and how you aim to
communicate your own story within the shared experience of time?
The framework of the video is time. During the screening of my work, the audience's time
becomes mine. In that given time, I tell my story piecemeal through the pieces that I have made
and attached. All I do is ask questions through the video. The answer is always different.
The combination of music and videos in your performances on the outer wall of buildings
creates a unique sensory experience. How do you approach the integration of music and
visuals, and what do you hope audiences take away from this multisensory encounter?
Basically, I think the basis of visual work is "beauty." When music and video flow together, it
increases the sense of immersion, but on the contrary, it creates a different sensory experience
even when music and video have the opposite flow. I want the audience to be distracted from this
multisensory encounter.
Your work is described as playing "With Light and Drawings." Can you delve into the
significance of light and drawings in your artistic expression? How do these elements
contribute to the narrative or emotional impact of your pieces?
'Playing' is a verb that is usually used to move a musical instrument. For me, animation is a
rhythm. I say that I play my own rhythm visually.
How does this choice of location influence the way you conceptualize and execute your
performances? What unique opportunities or challenges does this space present?
Buildings are always bigger than people. People stay in those spaces and make memories.
The work of projecting images into a building acts like a button to return engraved memories.

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Can you share insights into the specific mediums you work with, how you navigate?
The media used by artists has a history. So Artists always have to know in what context this art
has developed and what the audience accepts most universally when they accept it, and artists
have to understand and anticipate it. History is both an advantage and a disadvantage. It
depends on the artist's intention to break the set (rule)grammar or allow it to flow moderately in a
predictable sequence.
How do you approach storytelling through animation, what themes do you explore?
I don't like to tell my story. Look for the most common possible story and one that anyone would
experience. So there are a lot of philosophical elements and the characters without gender.
How do you see the role of technology in shaping the future of your art form?
Contemporaneity. It's a word that goes through all the works. Technology improves the quality of
your work and makes you more focused on your message. The topic of the present era that
anyone can agree on AI has had a great influence. It's all easy and fast, regardless of style or
technique. This is because you can create the work as you wish.
Can you share a specific project or performance that holds particular significance to you?
It was a visually interesting implementation of a performance in collaboration with a lighting
director. It created a visually satisfying performance by breaking away from a performance where
music was usually the main stage. It allowed the audience to experience a theme park being built
like a mirage.
Looking ahead, what are your aspirations or goals for your artistic journey?
My goal is to dig another pit of philosophical depth. Currently, I am deeply interested in ceramics
and plants.

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Winter Issue | Seasonal Edition | VOL37 | January 2024