COLLECT

ART

Women Art

Special Edition
VOL 43
May, 2024
Tbilisi, Georgia
 Celebrating Women in Art

Welcome to a special edition of our art magazine, Volume 43, dedicated to

Women Art and Women Artists. In this edition, we proudly celebrate the
creativity, talent, and vision of female artists from around the world.

Throughout history, women artists have made invaluable contributions to the

world of art, enriching our cultural landscape with their unique perspectives
and innovative approaches. Despite facing challenges and barriers, women
have continued to break boundaries, challenge norms, and pave the way for
future generations of artists.

In this volume, we showcase a diverse array of artworks spanning various

mediums, styles, and themes, all created by women artists who are making
waves in the contemporary art scene. From paintings to 3d art, photography to
digital art, and everything in between, each piece tells a story, captures an
emotion, or challenges the status quo in its own compelling way.

As you immerse yourself in the pages of this magazine, we invite you to explore
the multifaceted world of women's artistry, to appreciate the beauty, power,
and resilience reflected in their creations, and to join us in celebrating the rich
legacy and ongoing contributions of women in art.

Thank you for joining us on this journey of discovery and appreciation. We

hope you find inspiration, insight, and joy within these pages as we shine a
spotlight on the incredible talent of women artists worldwide.

Happy reading and happy exploring!

Collect Art Editorial Team

On the cover: ‘Nurture’ by Luying Dong, ‘Dance of the Dead’ by Rubica von Streng, ‘Psychopath’ by Mad Bu
04

TABLE OF
CONTENTS
05 11 17 21
Angelica Carmen Carol Izabela
Guerrero Schaefer Burns Brudkiewicz

28 33 39 45
Kat Louise Luying Mad
Holmes Wiseman Dong Bu

50 55 60 66
Margret Minni Odelle Rubica von
Schopka Mäkinen Golomb Streng

73 78
Sarah Tianxi
Liebenberg Wang
Angelica
Guerrero
Angelica Guerrero, originally from Chihuahua, Mexico, is a talented artist with a diverse
background. She earned her bachelor's degree in Graphic Design from the University of
Monterrey and pursued further studies, achieving a Master's in Fine Arts from the
Autonomous University of Chihuahua. Angelica has enriched her artistic education by
attending renowned institutions such as Parsons and the School of Visual Arts in New
York, as well as Central Saint Martins in London.
Angelica's artistic expression ranges from representational to abstract, with her preferred
medium being oil on canvas. In addition to painting, she explores various artistic forms,
crafting sculptures using an array of materials such as resin, plastic, cloth, and limestone.
Her artistic prowess has garnered recognition on an international scale. Angelica has
proudly participated in twenty-seven prestigious exhibitions around the world, including
notable showcases in Mexico, China, the United States, Greece, and England.

Roses Noires - Mixed media on panel and frame, 71x99cm, 2023

05
‘’As a painter, my sources of inspiration consist of experiences that I have in my daily life and my
dreams. I employ a personal vocabulary to express the ephemeral quality of the world. Within this
ambit, my work varies from representational to abstract, and I am continuously moving along
these two, sometimes intervening the representational with the abstract. Although the subject
matter of my work may vary, color, as an intrinsic element remains its constant theme. I prize
color for its powerful symbolism and employ it to communicate emotion and mood.
Embedded within my work is the unmistakable influence of my Mexican heritage, vividly portrayed
through a vibrant palette and infused with elements reminiscent of naïfsurrealistic Mexican folk
ex-votos. Furthermore, echoes of my graphic design background reverberate in my abstract
pieces, as evidenced by the geometric compositions that mirror the symbolism found within my
figurative paintings.
In essence, my creative endeavor is a conduit to share a profound sense of vitality and joy, an
unending celebration of a life well-experienced.’’

Invaders of the Deep

Oil on canvas,
51.7x62.4cm, 2023

06
Your artistic journey has taken you from
Chihuahua, Mexico, to prestigious
institutions such as Parsons and Central
Saint Martins. How has this diverse
background influenced your artistic style
and perspective?
This journey has been particularly enriching
for me, as the art scene isn't very active in my
hometown. The museums there have very
local collections, and there aren't as many
galleries or exhibitions. Having lived for
periods of my life in cities like New York and
later in Leeds, England (where I worked for 3
years at Leeds Art Gallery), has allowed me to
visit many diverse museums, galleries, and
exhibitions that open your mind and inspire
Memento Mori
creativity. The courses I took at Parsons, the Oil on canvas, 120x120cm, 2022
School of Visual Arts, and Central Saint
Martins have helped me learn new ways of
creating. I don't know how I would paint if I Oil painting has been my go-to since I was
hadn't had these experiences, but they have young because of its flexibility; I can change
influenced how I see things and represent my things until they look just right. It's perfect for
ideas. working on something detailed, like portraits. I
Your work spans a wide range of mediums, switch to acrylics for quicker projects or when I
from oil painting to sculpture. Can you tell want bold colors that dry fast. Sculpture came
us about your creative process and how into play to explore beyond flat surfaces, using
you decide which medium to use for a materials like resin to create something you
particular piece? can experience from different angles.

Op Art III - Mixed media on canvas, 46x46cm, 2020 07 Op Art I - Mixed media on canvas, 46x46cm, 2020
Four is for Boy
Oil on canvas,
94x83cm, 2019

In "4 is for boy," the artist presents a self-portrait featuring a baby in her womb, accompanied by four magpies. This composition alludes to an English
superstition that seeing four magpies signifies the birth of a boy. The artist's portrayal captures the anticipation and maternal connection to the unborn
child, while the presence of the magpies adds a layer of cultural and symbolic significance to the piece.

08
Your statement mentions that you draw
inspiration from both daily experiences
and dreams. How do these sources of
inspiration manifest in your artwork, and
how do you translate them onto the
canvas or into sculpture?
I believe that every artistic piece reflects its
creator's life experiences and surroundings
because it would be impossible to paint what
we are not or have not experienced in our
lives. With that said, I'll provide some
examples: When I lived in England, I painted
elements from my experiences, folklore, food,
and exhibitions I visited. For instance, I
created a small series of paintings inspired by
Op Art shortly after attending an exhibition on
Op Art at Tate Liverpool, and this happened
because I have always loved geometry and
visual illusions. Another example: I am
currently working on a painting titled "The
Garden of Artistic Delights," which pays
homage to art history by filling it with artistic
references. Interestingly, a few months ago, I
finished reading Gombrich's "The Story of
Art," and in a way, this, along with other
experiences, sparked the idea for this piece.
Everything in it reflects aspects of my own
life.
Color plays a significant role in your work,
symbolizing emotion and mood. Can you
elaborate on how you choose colors for
your pieces and the symbolism behind
them?
Colour is crucial in my work, often symbolizing
different emotions and moods. Though there
are exceptions, I have developed a distinctive
color palette that characterizes most of my
artwork. When choosing colours for my
pieces, I consider the theme and emotional
context of the artwork.
Each colour holds symbolic significance. For
example, warm tones may evoke passion or
energy, while cool tones like blues and greens
can convey calmness or introspection. I also
09
consider any specific requests from clients
when working on commissions, adapting my
palette accordingly to align with their vision.
Ultimately, my colour choices are intentional
and play a vital role in conveying the intended
mood and symbolism within each piece of art.
Your Mexican heritage is evident in your
artwork, particularly through the vibrant
palette and elements reminiscent of
Mexican folk ex-votos. How do you infuse
your cultural background into your art, and
what does it mean to you to represent your
heritage in your work?
I believe that our paintings reflect who we are,
as mentioned in question 3, and thus, my
nationality is inherently woven into my
artwork. As a vibrant country, Mexico
approaches even challenging subjects like
death with a positive perspective, viewing it as
a natural part of life's cycle. This cultural
outlook is beautifully celebrated through
holidays such as Día de los Muertos (Day of
the Dead).
Representing my Mexican heritage in my art is
a source of great pride. I am deeply
connected to my cultural roots and enjoy
showcasing its richness and diversity to
worldwide audiences. It's an honour to share
a part of my heritage through my artistic
expression.
8 muses
Oil on canvas, 145x200cm, 2023
How do you balance the geometric
compositions with the symbolism found in
your figurative paintings?
In my abstract pieces, the geometric
compositions are designed to be a visual
stimuli for the viewer and to transform the
spaces they inhabit. In these artworks,
symbolism is reached through the use of
colour. In other pieces, deeper layers of
symbolism emerge when I introduce figurative
elements into some geometric pieces. This
balance allows for a nuanced exploration of
meaning within my artistic compositions.
Can you share some highlights or
memorable experiences from exhibitions?
For me, there have been two exhibitions that
have left a lasting impact on me. First, my
solo show in Chihuahua, Mexico, titled "Peace
Proposal" in 2015 was a significant milestone.
It felt like a moment of professional growth for
me. Although not my first exhibition, it was the
first major project I presented to the public. I
put in tremendous effort and years of work to
prepare everything. The exhibition featured a
series of 15 medium-sized oil paintings, each
representing a proposal for peace in an
environment of normalized violence in my
country. Each piece was accompanied by an
audio interview with someone working to
rebuild the social fabric in our country.
The second exhibition that left a mark on me
was "A Work of Art" in London in 2019.
Exhibiting in such a culturally rich city like
London was a dream come true for me. The
exhibition took place in an incredible venue—
an old factory transformed into an exhibition
space. Exhibiting there represented believing
in myself and visualizing that I could reach
more spaces and people.
What challenges have you faced in your
career, and how have you overcome them?
The path of an artist is full of challenges,
particularly in the early stages. There's a lot of
10
rejection and uncertainty. The key for me has
been persistence—continuing to create,
showcase my work, and apply for
opportunities, even when nothing seemed to
happen. Over time, this persistence has paid
off in opening new doors and growing my
career.
How do you hope your artwork impacts
viewers?
I've noticed that, as viewers, art can evoke a
range of emotions, from happiness,
inspiration, and entertainment to nostalgia,
sadness, horror, or disgust. In my case, I've
always sought, or at least hoped, that viewers
of my work feel positive emotions or are
entertained by observing my artwork. For
example, I mentioned my series "Peace
Proposal." Why did I name it that? Instead of
approaching the issue of violence in my
country like many Mexican artists who depict it
explicitly with paintings filled with blood, I take
a different approach. I acknowledge the
serious problem but aim to propose solutions
where we can try to change reality and use art
as a refuge for positive things. I'm not saying
that the other type of art isn't important or
necessary—it is. However, my interest lies in
a different approach, where I reflect on what is
pleasant or propose ideas that bring vitality to
viewers in some way.
What future artistic projects or endeavors
are you excited to explore?
I have a project that I'm eager to see realized
soon: the publication of a book I wrote about
women in art history. This project ties into one
of my greatest interests: art history and
gender equity in the art world. My book aims
to shed light on the significant disparity
between art produced by men and women and
to visualize women artists meaningfully.
Similarly, through my paintings, I have
attempted to visualize these women. I don't
believe I'm finished with this topic, so I will
likely continue exploring it soon.
 Carmen
Schaefer

Carmen Schaefer is an accomplished artist with an impressive educational background,

holding both an MA in Art History and an MFA in Photography and Drawing. She studied
under renowned artists Allan Kaprow at Stony Brook University, Henry Homes Smith at
Indiana University, and Arnold Gasson at Ohio University. Born into a career Navy family,
Carmen lived a life of constant travel and had no “hometown”. This peripatetic and
isolated upbringing has had a profound impact on her work.
Carmen’s photography has been exhibited both nationally and internationally, including at
the Everson Museum in Syracuse, Alex Ferrone Gallery, Plymouth Centre for the Arts,
Rhode Island Center for Photographic Arts, and the Texas Photographic Society
International Competition to name a few. She has also shown her photographs at PH21
Gallery in Budapest, Hungry. In addition to photography, Carmen has exhibited her
drawings at over 40 venues and galleries nationally and internationally, including the
Rochester Memorial Art Gallery, Prince Street Gallery in NYC, The Center for
Contemporary Art in NJ, The Ellington-White Contemporary, and First Street Gallery in
NYC to name a few. She has also won numerous awards for her drawings, including the
33rd Bradley Print and Drawing Exhibition, the 29th International Drawing & Print
Competitive Exhibition at Gormley Gallery Notre Dame of Maryland University, The 53rd
Annual National Drawing & Small Sculpture Show in Texas, The Connecticut Academy of
Fine Arts CAFA+ in 2021 and 2023 and the 2020 American Art award winner, 2023
American Art award winner, 2023 World Art award winner competing with artists from 62
countries. Carmen’s artwork has been featured in Lake Affect magazine (cover), Along
Magazine, and Spotlight Contemporary Art Magazine. She is an elected member of the
Connecticut Academy of Fine Art, a signature member of the Rochester Art Club, a
member of Rochester Contemporary Art, a signature member of the National Association
of Women Artists, and a Member of Artist Circle Arts. She currently maintains a studio in
Rochester, NY. Carmen’s unique perspective and upbringing have resulted in artwork
that is deeply personal and thought-provoking. Her work can be found in many private
collections.

11
‘’I draw in black and white and in color on paper, exploring the nuances of human expression and
emotion. My work is figurative and straddles the line between realism and impressionism
presenting a unique style that is neither wholly one nor the other. Shadows play a prominent role
in my work, often surrounding isolated figures and barren landscapes. I am deeply fascinated by
the way inanimate objects can evoke memories of times gone by, imbuing the present with a
bittersweet sense of nostalgia.
I also delve into the realm of portraiture and self-portraiture over time. Through these portraits, I
embark on a journey of self-discovery and introspection, capturing not only physical likenesses
but also the evolution of inner landscapes.
As I revisit the portrait genre repeatedly throughout my artistic career, I document the changes
and growth within myself—both as an individual and as an artist, and my subject. Each portrait
becomes a reflection of my state of mind, my experiences, and my emotions at a particular
moment in time. Whether rendered in graphite, charcoal, or vibrant colors, these portraits serve
as visual diaries, chronicling the passage of time and the complexities of the human condition.
Through my work I seek to explore the complexities of the human experience, drafting pieces that
are simultaneously beautiful and haunting. My art invites viewers to consider the interplay
between light and shadow, the poignancy of memory, and the subtle undercurrents of emotion
that shape our lives.’’

Self Portrait in Studio Self Portrait, Reflection

Graphite, charcoal, color pencil, 32'’x24'’, 2023 Graphite, 32'’x24'’, 2016

12
How have your academic experiences
influenced your artistic practice and the
themes you explore in your work?
Having expertise in both photography and
drawing allows me to draw upon techniques,
concepts, and insights from both disciplines,
enriching my work with a diverse range of
tools and perspectives. My academic
background equips me with an understanding
of visual language, composition, and
storytelling techniques and my academic
studies have exposed me to various
theoretical frameworks, critical discourse, and
contemporary art practices.
Can you share how your upbringing
informs the themes and concepts in your
photography and drawings?
Constantly moving from one place to another
has fostered a deep sense of displacement,
but it also cultivated a unique perspective on
identity and belonging, reflecting themes of
transience, nostalgia, and the search for a
sense of home...
The Last Happy Day - Color pencil, 32'’x24'’, 2023
How does exposure to diverse audiences
and cultures influence your creative
process and perspective?
Interacting with people from different
backgrounds exposes one to a variety of
perspectives, beliefs, and experiences. This
exposure can broaden your worldview and
inspire you to explore new themes on identity,
subjects, and artistic approaches in your work.
Could you discuss the differences in your
approach and technique between
photography and drawing, and how each
medium allows you to express different
aspects of your artistic vision?
While photography excels at capturing
objective representations of reality and
conveying the visual qualities of light and
texture, drawing allows for a more subjective
and interpretive approach to representation. I
can distort, stylize, or abstract my subjects to
convey emotions, ideas, or concepts that may
not be immediately apparent in reality.
13 The Rust Chair - Color pencil. 32'’x24'’. 2018
 Blue Woman
Color pencil, 32'’x24'’, 2023

Step into a world of quiet contemplation and ennui with "Blue Woman," a stunning color pencil artwork measuring 32x24. The figure, a woman with short,
dark hair, gazes directly at the viewer with an enigmatic expression, enveloped in a textured, fur-like dress rich in earthy brown tones. The meticulous
rendering of the blanket's folds adds to the tactile quality of the image, inviting viewers to reach out and touch. Inspired by the relation of subject to color
and surroundings.

14
What draws you to a balance between
realism and impressionism styles?
Navigating between realism and
impressionism in drawing I maintain a
foundation in realism (anatomy, proportions,
expressions, etc.) then move on to gestural
marks to convey atmosphere and to suggest
rather than render every detail to remain more
suggestive and open to interpretation.
Can you elaborate on the significance of
shadows in conveying emotion and
atmosphere in your drawings and
photography?
By manipulating the intensity, direction, and
shape of shadows, I can create artwork that is
not only visually striking but also rich in
emotional and narrative resonance. Shadows
can also contribute to the overall atmosphere
of the artwork. Deep shadows can evoke
feelings of mystery, melancholy, or tension,
while softer shadows may convey a sense of
gentleness or tranquility.
Rome Remembrance - Graphite & Charcoal, 32'’x24'’, 2023
Your exploration of portraiture and self-
portraiture serves as a journey of self-
discovery and introspection. How do you
approach capturing not only physical
likenesses but also the inner landscapes
and emotional nuances of your subjects?
Capturing not only physical likeness but also
inner landscapes and emotional nuances in
portraits requires a multifaceted approach that
combines observation, empathy, and artistic
interpretation. I focus on body language,
gestures, and the eyes, and use light and
shadow and sometimes symbolism and
metaphor to create portraits.
How do you reflect on the evolution of your
artistic style and the themes explored in
your portraits throughout your career?
I try to look at and reflect on key milestones,
analyze style changes, explore emerging
themes, consider influences and inspirations,
and evaluate experimentation and innovation.
15 Portrait of Solitude - Graphite & Charcoal, 32'’x24'’, 2024
Through your art, you seek to explore the complexities of the human experience, inviting
viewers to consider the interplay between light and shadow, memory, and emotion. How
do you hope viewers will engage with and interpret the deeper layers of meaning
embedded in your work?
I hope viewers will engage in the visual composition, any symbolism and metaphor there may be,
the narrative ambiguity, and emotional resonance from universal themes and experiences such
as love, loss, longing, etc.
Looking ahead, what themes or subjects are you eager to explore in your future projects,
and how do you envision your artistic journey evolving over time?
In my artistic journey, I look to explore new themes as I develop new interests in life and to
artistically visualize my place in a world becoming more difficult to understand. I want to
experiment with new mediums and techniques. I want to stay curious and inspired.

Androgyny
Graphite & Charcoal, 32'’x24'’, 2022

Experience a moment of quiet contemplation with this striking graphite

Frieze Hope
Graphite & Charcoal, 32'’x24'’, 2022
Experience the profound sense of peace and introspection captured in
this monochrome drawing titled "Frieze Hope." This stunning artwork
features a female figure with closed eyes, exuding a sense of anxiety
and contemplation. The intricate detailing and skilled shading techniques
bring the figure to life,
and charcoal drawing. The figure, a young woman, stands elegantly
against a tree, her expression pensive and calm. The artist's meticulous
attention to detail truly brings the scene to life, capturing the essence of
the figure's emotions and the beauty of the natural surroundings.
Through the intricate interplay of light and shadow, the artist conveys a
sense of depth and movement, encouraging viewers to take a moment
to appreciate the peaceful connection between humanity and nature
and the questions that arise.

16
Carol
Burns
Carol Burns is a Scottish-born Artist living in Wiltshire, England, who is best known for her
unconventional abstracts. She starts with an idea or concept which she then explores through the
layering of paint, intuitive mark-making, and collage. The end result is a work that is rich with
history, color, and pattern all of which combine to capture the essence of the initial idea. Carol
originally studied Fashion Design in her native Scotland before going on to achieve a 1st Class
Master's in Organising for Social and Community Development in London. In 2018 she undertook
a six-month intensive one-to-one painting course with artist Caroline Hulse FRSA followed by a
year-long Abstraction Course with artist Judy Woods in 2022. She has had work accepted to the
Royal Cambrian Academy of Art for the last three years in a row, in 2023 she exhibited at the
Royal West of England Academy of Art (RWA) as well as the ING Discerning Eye Exhibition
(Selected by Chris Levine) at the Mall Galleries in London and so far this year she has had work
accepted to seven juried shows and will be showing two pieces at the Mall Galleries as part of the
SWA (Society of Woman Artists) in June. She has been a regular on the art fair circuit and, after
applying to the Royal West of England Academy of Art's Artist Network Initiative at the end of last
year, she is now an RWA Network member.
‘’I am interested in people and I find our internal and external narratives captivating. After all, we dream in
narrative, daydream in narrative, remember, anticipate, hope, despair, believe, doubt, plan, revise, criticise,
construct, gossip, learn, and love by narrative. It enables us to share our internal world in a meaningful way
and helps us make sense of the external world we inhabit. Finding a visual means of examining those
narratives, and the abstract ideas contained within them, is endlessly fascinating to me and it's those inner
landscapes that I aim to capture within my work.’’

Floating Looking Down

Mixed media on cradled wood panel, 31x31cm, 2023 Mixed media on cradled wood panel, 31x31cm, 2023

17
How has your background in fashion influenced your artistic style and approach?
I have always been interested in exploring what happens when different fabrics, colors, shapes,
and patterns are combined. In fashion, I discovered that I could create interesting textures and
contrast by incorporating layers into my designs and I have brought that curiosity and multi-
layered approach to my paintings.
Could you walk us through your creative process?
I always work in multiples, I usually have three or four paintings on the go at any given time, and I
start with a very rough idea of the theme I want to explore. I select my color palette and lay down
the first layer. I then ask myself ‘What do I have and, more importantly, what don’t I have?’. For
example, if I have a lot of paint then I will go in with a pencil or if I have a lot of lines I will go in
with a shape. I slowly build up the layers, making sure each element relates to the theme, till the
painting has interest, depth, and texture. I then create my grand design by ‘cutting’ into what is
there.
What role does intuition play in your artmaking process?
I am a very intuitive painter. My early layers are very much based on play and they are where I
experiment and try out ideas. Most of those early layers get covered over, although some
elements do sometimes make it into the final work, but more often the learning from those early
layers is applied to later ones. That’s where the balance of spontaneity and deliberate decision-
making comes in.
Can you share a specific example of how you translated an abstract concept into a visual
artwork?
My painting ‘The Private Music Of Whispered Words’ is a good example of how I take an abstract
concept and create a visual artwork. A whisper creates a private cocoon that temporarily excludes
the outside world. The memory of those barely spoken words can melt your heart, make you
smile, and give you comfort when you are alone. My goal was to create a work that was not just a
mere object, an image for the mind, but something that sparks the imagination and enables the
viewer to re-visit memories of their own experiences.
The Private Music Of Whispered Words Daydreams of Inhabitable Places
Mixed media on cradled wood panel, 60x60cm, 2024 Mixed media on cradled wood panel, 60x60cm, 2024

18
Your academic background includes a Master's degree in Organising for Social and
Community Development. How, if at all, does this background inform or influence your
artistic practice?
The narrative is what links my art to my Master’s degree. During my studies, I did a lot of work
with patients. My role was to enable each patient to share the story of their experience using our
health services, I then looked for commonality within those experiences and identified areas
where those services could be improved. In my art, I explore our experiences of being human. I
look for the commonality in those experiences but leave each piece open to interpretation so the
viewer can apply their own experiences and narratives to it.
You've participated in various exhibitions and art fairs, including prestigious events like
the Royal Cambrian Academy of Art and the ING Discerning Eye Exhibition. How has
showcasing your work in these venues impacted your artistic journey?
I don’t have a traditional art degree, I had an art teacher at school who told me I wasn’t talented
enough to go to art school, so confidence in my own ability has been something I have battled
with over the years. One of the ways I have tried to combat that has been to submit work to
prestigious events - feel the fear and do it anyway! Having work accepted, and accepted multiple
times, has given me back my confidence. It also shows collectors that I have a proven track
record of creating high-quality work and I think it helps me stand out from the crowd.
Your statement emphasizes the importance of narratives, both internal and external, in
shaping our understanding of the world. How do you explore these narratives visually in
your artwork?
Every single element in every single painting relates to the narrative I am exploring within it. Every
shape, line and collage piece has meaning. For example, I often use words in my work. If I am
adding line then I might write them normally using a pencil or I might write them back to front in oil
pastel and overlap them. If I am doing a shape layer then I might write them out on a larger size
on a separate piece of paper, cut them out and then use the shapes created from that process as
a stencil. There is intention in everything.
A Daydream Of Elsewhere Over Clouds Aglow With Delicate Lights
Mixed media on cradled wood panel, 31x31cm, 2024 Mixed media on cradled wood panel, 31x31cm, 2023

19
What themes or concepts do you find yourself repeatedly drawn to in your art, and why do
they resonate with you?
Our consciousness is one of the most mysterious, yet familiar, aspects of being human and we
still don’t really understand where it comes from. All my work revolves around this central theme
and the tension between how we experience life vs how those experiences reverberate within us.
I’ve just finished reading ‘The Poetics of Space’ by Gaston Bachelard which discusses the
interaction between physical space, consciousness and poetics. I find the subject endlessly
fascinating.
Can you discuss your experience as a member of the Royal West of England Academy of
Art's Artist Network Initiative and how it has contributed to your development as an artist?
I submitted my application to become an RWA Artist Network Member at the end of last year, was
accepted in January and attended my first meeting in February. Being an Artist Network Member
has opened up a world of knowledge and opportunity that I just don’t think I could access any
other way. Being able to network with artists who are already established as well as academics is
invaluable, but I also believe it is important to give back. The RWA put engagement and learning
at the heart of what they do and I hope to have the opportunity to get involved at that level and
use some of the skills gained whilst doing my Masters.
Looking ahead, what do you hope viewers take away from experiencing your artwork, and
what future artistic goals do you aspire to achieve?

Our imagination is a major power of

human nature. I would love people
to look at my work and have it
resonate within them. To create a
piece that takes the viewer on a
journey, reminds them of
something from their past or invites
their imagination to roam, is the
goal. In terms of my what next, I
am currently working on a
commission for a client in France,
have work going into another four
shows (including The Society Of
Women Artists juried Open
Exhibition at The Mall Galleries),
will be taking part in Open Studio’s
and am in the process of creating
my own artist residency. There is a
lot going on!

But First I Need To Know If That’s Where I’m Really

Heading

Mixed media on cradled wood panel,

41x31cm, 2023

20
 Izabela
Brudkiewicz

Izabela Brudkiewicz is a Polish-born artist based in Katowice (Poland). Her works have
been exhibited internationally in Poland, France, Holland, the USA (NY), Serbia, and the
UK (London, Edinburg, Brighton, Bexhill, Hastings, St Leonard’s, and Eastbourne). Most
of Brudkiewicz's works are live installations/performances or video performances. She
has recently been working with photography and text. Her artworks are inspired by the
domestic life of an artist's mother. Brudkiewicz investigates a physical and mental
metamorphosis that occurs.

The triptych “The Silence of a Pink Lipstick”

The triptych “The Silence of a Pink Lipstick” deals with a process of healing postpartum
depression. By creating a non-existent color of pink I only emphasize the sensitivity of this still
underestimated mental illness. Depression likes to hide. My depression hides under a pink or red
lipstick and a smile. Depression cuddles up with guilt and self-disrespect. For this series, I am
using a family tablecloth as a canvas to shorten the distance between the art and the domesticity
of motherhood. This triptych discloses a private journey that I am going through. This is a way of
making a clear statement that it is ok not to be ok and it is ok to seek help.

The Silence of a Pink Lipstick - Acrylic on Cotton Tablecloth, 120x120cm, 2023.

This piece relates to the happy quote “Seeing the world through the pink glasses”.

The Silence of a Pink Lipstick - Acrylic on Cotton Tablecloth, 120x120cm, 2023.

This one express the hope of curing the illness after a therapy and medical treatment.

The Silence of a Pink Lipstick - Acrylic on Cotton Tablecloth, 150x120cm, 2023.

The third piece of this series analyses the relationship with the artists’ partner and/or father.

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How has the international exposure influenced your artistic practice and themes?
Traveling to different countries has allowed me to immerse myself in diverse cultures, traditions,
and perspectives, which in turn have inspired new ideas and concepts. Through my work, I aim to
shed light on universal issues that resonate with people regardless of their cultural background.
Themes such as identity have become one of the central to my artistic practice. It has fueled my
passion for exploration and collaboration, pushing me to constantly evolve as an artist and
engage with the world in new and meaningful ways.
Could you elaborate on how your recent exploration of photography and text aligns with
your previous works, particularly in live installations and video performances?
Certainly! Mostly it gives new dimensions to my artistic practice.
Firstly, my background in live and video installations and performances has injected a deep
personal appreciation for the power of creating emotional storytelling. Whether through immersive
performances or dynamic installations, I have always sought to create experiences that engage
the audience on both intellectual and emotional levels. The text allows me to continue this
tradition by capturing moments in time and refining them. Without exposing my own body I am still
creating strong emotional responses, similar to those that live performance does. The immediacy
and intimacy of the text allow me to capture fleeting moments of beauty, vulnerability, or
ambiguity, inviting viewers to contemplate. Overall, it represents a natural evolution of my artistic
practice, building upon the themes, techniques, and methodologies developed through years of
work. By integrating it into my practice, I strive to create immersive and thought-provoking
experiences that resonate with audiences on a deeper level.
“The Silence of a Pink Lipstick”; tackles the sensitive topic of postpartum depression.
What inspired you to address this theme, and how does your personal experience
influence the narrative of the artwork?
The Silence of a Pink Lipstick" was inspired by a deeply personal journey through postpartum
depression, a topic that is often concealed in silence and stigma. As an artist, I believe in the
power of art to confront difficult subjects and spark meaningful conversations, and postpartum
depression is a topic that is too often overlooked or misunderstood. My own experience with
postpartum depression played a significant role in shaping the narrative of the artwork. Like many
new mothers, I struggled with feelings of sadness, anxiety, and inadequacy in the wake of
childbirth, yet I found it difficult to articulate these feelings or seek help due to the social pressure
to appear happy and fulfilled as a new mother. The title "The Silence of a Pink Lipstick" reflects
the facade of happiness and perfection that many women feel compelled to maintain, even as
they combat internal turmoil. Through this artwork, I want to challenge the silence surrounding
postpartum depression and shine a light on the emotional complexity of the postpartum
experience. The use of symbolism, such as the pink lipstick, represents the superficial
expectations of motherhood, while the silence evokes the internal struggle of those who suffer in
silence. My personal experience informed the emotional authenticity of the artwork, allowing me
to tap into my own feelings of vulnerability, isolation, and ultimately, resilience. By sharing my
story through art, I hope to create a sense of solidarity and empathy among viewers who may be
experiencing similar struggles, while also raising awareness and encouraging open dialogue
about postpartum depression. Overall, "The Silence of a Pink Lipstick" is a deeply personal and
poignant exploration of a sensitive topic, driven by my own experiences and a desire to break the
silence and stigma surrounding postpartum depression.

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The use of a family tablecloth as a canvas adds a layer of intimacy to your artwork. How
does this choice of material contribute to the storytelling of your pieces?
Yes, it adds a profound layer of intimacy and personal significance. The tablecloth, imbued with
memories, traditions, and familial connections, serves as a tangible symbol of domesticity and the
shared experiences of family life. By incorporating it, I aim to evoke a sense of nostalgia and
familiarity, inviting viewers to connect with the artwork on a deeply personal level. The worn
fabric, adorned with stains, wrinkles, and embroidered patterns, tells a story of its own.
Moreover, the tablecloth serves as a metaphorical canvas for narratives. The juxtaposition of
traditional domesticity with contemporary themes and imagery creates a dynamic tension that
invites viewers to reconsider familiar objects and spaces in new and unexpected ways. Overall, it
infuses the work with a sense of intimacy, nostalgia, and cultural resonance. It invites viewers to
engage with the artwork on a personal level.
Can you discuss the symbolism behind the non-existent color of pink in your triptych?
How does it serve to emphasize the sensitivity of postpartum depression?
The pink in my triptych serves as a powerful symbolic choice that underscores the sensitivity and
complexity of postpartum depression. Pink is often associated with femininity, motherhood, and
newborns, symbolizing joy, tenderness, and innocence. However, by deliberately choosing this
color, I aim to subvert conventional expectations and challenge the idealized portrayal of
motherhood. Light consists of electromagnetic waves, and color depends on the wavelength.
Pink doesn't exist in the external reality as a wavelength of light but exists as a perception in our
minds. All colors are subjective and created in our heads particularly those related to color
perception and the nature of reality. However, it's important to clarify that pink does exist as a
perception and experience, but it doesn't exist as a single wavelength of light, like colors such as
red, green, and blue. It is a perfect mixture of perception and reality symbolizing the social ways
of seeing postpartum depression. It exists in our perceptions but not in our reality.
You mentioned that depression often hides behind a facade of lipstick and smiles. How do
you convey this concept visually in your artwork, and what emotions do you aim to evoke
in the viewer?
In my artwork, I convey the concept of depression through the symbolism of color pink associated
with femininity, tenderness, and innocence. I aim to foster empathy, understanding, and support
for those who are experiencing the challenging journey of motherhood.
Your triptych reveals a private journey you experienced. How do you balance the personal
and universal aspects of your storytelling to create a relatable narrative?
I believe that the balance of personal and universal aspects of storytelling is essential for creating
a relatable narrative. I draw upon my personal experiences as a starting point while weaving in
broader themes and emotions that, I hope resonate with a wider audience.
Firstly, I began by reflecting on my own journey through postpartum depression. Identifying the
specific emotions, struggles, and moments of insight that shaped my experience. These personal
insights are the foundation of the narrative, providing authenticity and depth. Then, I try to identify
universal emotions that are inherent to others, particularly those related to motherhood, mental
health, and the search for identity and meaning. I want the narrative to resonate with a broader
audience, regardless of their own personal experiences.
One way to balance the personal and universal aspects of storytelling is through symbolism and
metaphor. I use visual symbols and motifs that are deeply personal to me, such as the family

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tablecloth or the "none-existing" pink, to convey my own journey through postpartum depression.
At the same time, these symbols carry broader significance and can be interpreted in various
ways by viewers, allowing them to connect with the narrative on a personal level.
Additionally, I incorporate elements of vulnerability and authenticity into the process, sharing my
own struggles and insights in a way that feels genuine and relatable. By opening up about my
own experiences, I create a sense of empathy and connection with the audience, inviting them to
see themselves reflected in the artwork and to engage with their own emotions and experiences.
Overall, throughout the authenticity I want to create a narrative that is both deeply intimate and
universally resonant.
In what ways do you hope your artwork can contribute to breaking the stigma surrounding
mental illness, particularly postpartum depression?
I hope that my work will contribute in several ways to breaking down the stigma around mental
illness, especially postpartum depression. By depicting the raw and honest reality of postpartum
depression in my work, I aim to raise awareness of this often misunderstood and stigmatized
condition. By confronting stereotypes and challenging societal norms through my artwork, I hope
to dismantle the stigma surrounding mental illnesses. I hope to develop a greater sense of
compassion and support in society. Art has the power to spark meaningful conversations about
difficult topics. I hope to contribute to the ongoing conversation around mental health and play a
role in breaking down the barriers that prevent people from seeking help and support.
Seeking help and acknowledging one struggles are central themes in your work. How do
you envision your art sparking conversations and promoting mental health awareness?
By exhibiting my artwork in galleries and public spaces, I hope to reach a wider audience.
Perhaps in the near future there will be an opportunity to host artist talks, workshops, and panel
discussions.
As an artist, what do you hope viewers take away from experiencing “The Silence of a Pink
Lipstick” both on a personal and societal level?
Through "The Silence of a Pink Lipstick," I hope viewers take away a deeper understanding of
postpartum depression and the complexities of maternal mental health, both on a personal and
social level. I hope viewers who have experienced postpartum depression or similar challenges
feel seen, heard, and validated through the artwork. I want them to know that they are not alone
and that it's okay not to be okay and to seek help and support.

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 Kat
Holmes

Kat Holmes is a 27-year painter and writer from Preston, Lancashire, now based in
Bristol. Kat took up Art in 2017, aged 21 studying a Foundation Degree at The University
of Central Lancashire and completing a BA in Fine Art at The University of the West of
England. Kat has in the past exhibited her work at The Harris Museum, Preston. Kat
predominantly uses oil paint on a variety of materials such as canvas, cotton, and paper.
Writing and painting and combining them both has enabled Kat, to develop her work
conceptually and has made her question her place in the contemporary art world and as
her practice has evolved, she has taken a ‘storytelling’ stance. This enabled her to
capture the world around her and particularly her early experiences of growing up with
four siblings on an industrial estate in Ribbelton, Preston. Kat continuously references
and celebrates the characters that were present In her early years in her work. Though
the storytelling aspects of Kat’s painting focus on these characters, she also touches on
themes unrelated and more relative to the ‘now’, such as substance use, being a massive
party girl, love, and loss. Though some of the topics may strike an emotional chord with
the audience she endeavours for the comedic element of her work to shine through. Kat
feels like she has a ‘story to tell’.

‘’Self-proclaimed ‘working class’ artist; exploring truths: the dichotomies between rich and poor,
though orchestrated from a personal gaze, a stance derived from first-hand experience of growing
up on a large industrial estate.
The essence of my work embellishes truth and pushes boundaries in the language used and in to
refer to the context of the explicit nature of my ‘storytelling’. My ethos both on and off the canvas
is to ‘reveal all’ an. to never sensor myself. Though my childhood experiences of growing up on a
large industrial estate are often at the forefront of my paintings, I also document the now. The
‘now’ in the context of some of the paintings encapsulates what it means to walk with shame. To
be continued…. ‘’

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 Just like the Windsors
Mixed media on canvas board, 200x100cm, 2023

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Your biography highlights your upbringing on a large industrial estate as a significant
influence on your art. How do your personal experiences inform the themes and narratives
depicted in your paintings?
I stand by the idea that your formative years shape and inform how you experience living; those
people who nurtured me and treated me as ‘one of their own’ ought to be celebrated. I feel from
my experience I can relay a depiction that is honest.
You describe your work as embellishing truth and pushing boundaries in storytelling.
Could you elaborate on what you mean by "truth" in your art and how you navigate the
balance between honesty and artistic interpretation?
I have a strong resonation with words that embellish truth and the discovery of art that explores
the whole emotional experience has led me to hold nothing back, in the context of never
censoring the language or imagery I use. I ensure the subject matter is based off of real-life
characters who have left an imprint on me.

Emin
Oil on canvas board,
18'’x22'’, 2024

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Your ethos both on and off the canvas is to "reveal all" and never censor yourself. How
does this commitment to authenticity manifest in your artistic process and the content of
your work?
The revealing all aspect of my painting is to ensure both myself and the subject matter is
accurately expressed. I feel it is as important for the works to be aesthetically pleasing, though I
feel the language I use is more important, whether it Evoque’s lovely or sad feelings. Those
feelings are part of the human experience.
The dichotomies between rich and poor are central to your exploration as a self-
proclaimed 'working class' artist. How do you depict these dichotomies in your paintings,
and what message or commentary do you aim to convey through them?
The dichotomies between rich and poor, I feel is strikingly obvious. In the painting ‘Just like The
Windsors’, I feel it does hold comedic value though we lived on a council estate, and they live in
palaces with riches all around and not on single-parent benefits. I spouse I have no further
comment to make on that, other than ‘not my king’.
Can you elaborate on what aspects of the contemporary world you capture in your art and
how you approach portraying the present moment?
I will continue to use my experiences of being a self-proclaimed party girl to express my
relationship with drugs, music and alcohol. Neither an advocate nor preacher. I’m depicting my
own experience. A vast majority of the works convey what I may have got up to the weekend, and
how I am feeling now in the present. For me what I am doing in the present is walking with shame
and I feel this is not talked of enough, especially in mainstream media outlets. It’s all sunshine,
lollipops and rainbows.

5:15 - Oil on paper, 42x29.7cm, 2024 31 The Girls In The Bathroom Are So Kind - Pencil on paper, A1, 2024
How do you navigate the balance between personal storytelling and creating art that
resonates with a broader audience or addresses societal issues?
To answer simply I would state that it is fact and not fiction. Maybe some fiction in there. I
suppose that is for the viewer to gauge.
Could you share an example of a specific painting that encapsulates the essence of your
artistic vision and the themes you explore? What inspired this particular piece, and what
do you hope viewers take away from it?
‘I am not living well and I do not walk without shame’, before applying any words to this piece the
words “walking with shame” echoed through my mind continuously – I suppose walking with
shame is part of the human experience and I wish for the viewer can draw some resonation in the
context of their own emotional experiences. How do they deal with shame?
As a 'working class' artist, how do you perceive your role in the art world, and what
challenges or opportunities do you encounter as a result of your background?
To summarise and answer the question simply: I feel I have got a story to tell. Without my
background, I feel that I would not have a story to tell. I think it was all fate.
Looking forward, what are your aspirations for your artistic practice, and how do you hope
your work will continue to evolve in the future?
Physically showing and displaying the works is the next step.

The Queen of the People’s Hearts Scott and Sharon v The Worlds
Oil on material, Oil and pencil on canvas,
130x80cm, 2024 100x50cm, 2023

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Louise
Wiseman
Louise is a photographer and printmaker based in Derbyshire, England. Although she
was always creative, she did not discover her artistic path until quite late in life. She
studied law at Oxford University and since then has pursued a long and interesting career
in data privacy, holding senior roles at many global organizations. Until recent years,
photography was a lifelong passion but very much a spare-time pursuit. Her photography
led her to discover printmaking - almost by accident - in 2019 and since then has had her
work selected for exhibitions across the UK and beyond. She was fortunate to have her
first solo exhibition, ‘Wherever I go I take you with me’ at The Green Door Gallery in
Derby, England in Nov 2020 and then a second solo exhibition ‘Dream in Colour’ in June
2023 at the Surface Gallery in Nottingham, England. She was the winner of the ‘Dizzy
Ink Award’ in the Derby Print Open in 2020 and the ‘Surface Gallery Award’ in the same
exhibition the following year. In 2023 she was awarded the Judges’ Award for her entry
in the ‘Self-portraits make me smile’ exhibition held by Bradford’s ‘Heart of Art’. Louise
now pursues a busy and fulfilling artistic practice (both print and photography) alongside
her ‘day job’ and continues to be exhibited widely.
La Cantina - Screen print, 40x50, 2019

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‘’I am a photographer and printmaker based in Derbyshire, England. A lifelong photographer, I
am a relative newcomer to the world of print and fell into it almost by accident when I took a short
course in screen printing Christmas cards. I was instantly hooked and it is no exaggeration to say
that it was the start of a life-changing creative journey on which every step brings new
discoveries, new techniques and new ideas.
I now work across a range of techniques but particularly enjoy those that lend themselves to the
use of photographic images, such as photographic (solar plate and photopolymer) etching, screen
printing and cyanotype, where my photography and printmaking practices can overlap and
enhance each other.
Inspiration can come from anything at any time and I am generally happy to go where it leads but
travel has been one recurring theme, with many of my works based on my own travel
photographs. I also enjoy playing with colour, and particularly using it to bring new dimensions to
what might otherwise be an ordinary scene. There are no overarching ideals behind my practice;
some of my work may be more ‘serious’ and meaningful, some light-hearted and whimsical, but
mostly it’s intended simply to be pleasing to the eye and the mind. Above all, I make images for
the joy of creating them and in the hope that they’ll bring some of that joy to the people who look
at them.’’

El malecon
Screen print,
40x50, 2019

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Your journey into printmaking seems quite serendipitous. Can you tell us more about how
you stumbled upon this medium, and what drew you to it?
It really did take me by surprise. A few years ago, I’d been through a difficult time and was looking
for things to cheer me up, so I signed up for a ‘screen print your own Christmas cards’ workshop.
I loved it, so much so that I immediately joined the printmaking studio (Green Door Printmaking
Studio in Derby, UK), took every printmaking course they offered and suddenly found myself on
an unexpected new direction in life. I’m drawn to the experimental aspect of printmaking - you
can never be 100% sure what you’re going to get until you’ve actually printed it - and I find the
process itself a good antidote to everyday life because it forces you to slow down and focus. It’s
methodical and quite meditative and I can get pleasantly lost in it.
Transitioning from a career in data privacy to a thriving artistic practice is quite a leap.
How did you navigate this transition, and what motivated you to pursue your passion for
photography and printmaking more seriously?
It’s very much an ongoing transition. Years in the corporate world had left me unhappy and
unfulfilled, in part because I’d lost touch with my creative side. Discovering printmaking was the
catalyst for some big changes – I started to find my way back to the things that really matter to me
and gradually bringing my life back in tune with my values. The success of my print work also
made me braver about showing my photography to the world, and I finally realised that I could
and should pursue that more seriously too after years of feeling quite shy about it.

Courtyard, Seville Fortune shine upon you

Solar plate etching, Solar plate etching,
32xx27, 2023 30x20, 2023

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Your recent solo exhibitions, 'Wherever I go I take you with me' and 'Dream in Colour,'
sound captivating. Can you share some insights into the themes or concepts you explored
in these exhibitions?
I’ve always been passionate about travel, and ‘Wherever I go’ was centred around a series of
screen prints made from photos taken on a trip to Cuba, although it also included a lot of my other
work up to that point - so in a way it was about taking people with me on my creative journey as
well as on my travels. ‘Dream in Colour’ showcased a series of photographic etchings in which I’d
used colour to give an ethereal, dream-like feel to otherwise ordinary everyday scenes.
Winning awards like the 'Dizzy Ink Award' and the 'Surface Gallery Award' must have been
incredibly rewarding. How have these accolades impacted your artistic journey and
confidence as an artist?
It’s been amazing! I struggle to think of myself as a ‘proper’ artist. Just a few years ago I’d have
laughed at the suggestion that I’d be able to create art, and particularly at the thought of that art
being exhibited or sold, so to receive awards has been a brilliant surprise. It’s boosted my
confidence hugely in all areas of life, not just the creative sphere, and it’s helping me to gradually
overcome some of that ‘imposter syndrome’!
'Self-portraits make me smile' seems like a particularly intriguing exhibition theme. Can
you discuss your entry for this exhibition and what inspired it?
I usually dislike photographs of myself but, strangely, I have one selfie that I do like (probably
because I was actually trying to photograph my earrings rather than myself, so I was neither
posing for, nor trying to hide from, the camera!). I’m very drawn to that image and keep coming
back to it and experimenting with it in different techniques. When I saw the call out for the
exhibition, I’d literally just made it into a linocut, so the timing seemed perfect and I entered at the
last minute. My print went on to win the ‘Judge’s Choice’ award, so I’m glad I did!

Dreamstate - Solar plate etching, 47x37, 2021 36 Chromesthesia - Solar plate etching, 30x20, 2023
Balancing a busy artistic practice alongside a full-time job is no small feat. How do you
manage your time and energy between these two pursuits?
It isn’t easy and my ‘day job’ limits my time and flexibility quite a bit, but I’ve always had a lot of
things going on outside work so, to some extent, I’m used to juggling my commitments anyway. I
have to manage my time carefully, though, and I try to be organised, although inevitably there’s
usually some last-minute panic!
Your statement mentions that travel is a recurring theme in your work. Can you elaborate
on how your travels inspire and influence your artistic practice?
I’ve always been passionate about seeing the world and have been lucky enough to travel widely.
I love capturing the sights and sounds of a place in my photographs and there are always some
scenes that particularly resonate with me. They’re rarely the ‘iconic’ shots but more often
mundane moments or small details that just speak to me for some reason. Now, as well as
producing photographs of those scenes, I can also use them as the basis for my print work.
Color plays a significant role in your work, often transforming ordinary scenes into vibrant
and captivating images. How do you approach the use of color in your art?
Largely on a ‘try it and see’ basis. When I set out to make a print, I pick an image that interests
me and then I use the colours I’m drawn to in that particular moment, playing with them to see
how the image turns out. For a while now, I’ve found myself blending colours to create a dream-
like, slightly otherworldly effect – I never purposely planned to do that but somehow I keep ending
up there and it seems to have become a sort of ‘signature style’ for me. For the moment, I’m very
happy with the results!

Havana Dreams - Photopolymer gravure, 20x30, 2024

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Your artistic practice seems to encompass a wide range of techniques. Are there any
particular techniques or processes that you find most enjoyable or rewarding?
I love it all and I guess I go through phases, but my favourite is solar plate etching because it lets
me use my own photographs, and the process of creating a plate is relatively quick and foolproof.
I also love cyanotype – anything that stands still for long enough in my house or garden gets
turned blue as soon as there’s any hint of sun! I like trying new techniques too – occasionally, I’ll
have a play with gelli print, collagraph or tetrapak. During lockdown, I couldn’t get to the studio to
print, so in desperation I even inked up and printed some rusty garden furniture!
What do you hope viewers take away from experiencing your artwork? Is there a particular
emotion or response you aim to evoke?
There have been a few pieces I’ve made with the intention of provoking particular feelings - I
made a series of lino and monoprints on the theme of women’s rights around the time Roe v
Wade was overturned in the USA, and some on the theme of anger and protest in the wake of the
George Floyd case, for example (although ‘political’ art is usually not something I feel moved to
do). Aside from those, I’ve always aimed just to make art that pleases the eye of at least some of
the people who see it. If it pleases or engages their minds too, that’s an added bonus. I love the
thought of each viewer responding in their own personal way to my work and – honestly – if one
of my pieces can bring someone a moment of joy, that makes me happy.

Ferns - Solar plate etching, 20x30, 2023

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 Luying Dong

As a Singaporean Chinese artist, her cultural heritage deeply influences her work, serving
as a bridge between the East and the West. She strives to connect diverse perspectives
and traditions through her art, creating a dialogue that transcends geographical
boundaries and fosters mutual understanding. This fusion of influences enriches my
artistic expression, infusing it with layers of meaning and complexity.
In her artistic practice, Lu seamlessly merges photography and video art, infusing her
creations with vibrant colors, sharp contrasts, and flashes of light and darkness. Each
piece is a dynamic exploration of action and movement, capturing moments in vivid detail
and conveying a sense of immediacy. Through careful composition and narrative-driven
storytelling, she immerses viewers in a world where people are at the forefront, their
emotions and interactions intricately woven into the fabric of each image.
The vibrant art scene in the UK has played a pivotal role in nurturing her creative spirit
and allowing her artistic flair to blossom. Surrounded by diverse cultures and
perspectives, she has been inspired to push the boundaries of her practice, embracing
experimentation and innovation. The dynamic energy of the UK art scene fuels her
passion and drives her to continually evolve as an artist, exploring new techniques and
ideas while staying true to her unique vision.

‘’Embarking on my passion project, A Series of Red, I delve into the profound significance
of the color red in Chinese culture—a tapestry woven into the fabric of my being. It's not
just a hue but a symphony of emotions, a language of love, prosperity, and spirituality.
Through my lens, I explore the interplay between tradition and modernity, capturing the
crimson hues of ancient temples and neon-lit cityscapes alike.
In this visual dialogue, I confront the dichotomy of nature versus nurture, examining how
our surroundings shape our cultural beliefs. Beyond mere symbolism, red serves as a
conduit to the divine, resonating with gods and celestial beings. Through this series, I
invite viewers to contemplate the transcendental nature of color and its profound
influence on our perceptions and beliefs.
Join me on this journey where tradition meets modernity, and the true essence of red is
revealed in all its multifaceted glory. Through A Series of Red, I illuminate the intricacies
of culture, spirituality, and the human experience, one frame at a time.’’

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 Nurture, 2023

"Nurture" captures the essence of new life emerging into the world, enveloped in the nurturing embrace of crimson hues.
Symbolizing the universal experience of birth and renewal, red becomes a warm and welcoming embrace, reminding us of the
primal connection shared between all living beings.
Can you share how your cultural heritage influences your artistic expression and the
themes you explore in your art?
My artistic journey is deeply influenced by my cultural heritage, particularly by traditional Chinese
concepts and myths. However, I don't merely replicate these elements; rather, I reinterpret them
through a contemporary lens, seeking to uncover connections between East and West. For
instance, in one of my recent artworks, I drew inspiration from a Chinese myth and then infused it
with symbols and themes that resonate with Western audiences. This process of blending diverse
perspectives allows me to bridge cultural gaps and highlight both the similarities and differences
between different traditions.
In your practice, you seamlessly merge photography and video art, capturing moments
with vibrant colors and sharp contrasts. How do these mediums allow you to convey the
dynamic energy and emotions present in your work?
Within my artistic practice, the fusion of photography and video art serves as a powerful means of
capturing and conveying the vibrancy and intensity of the moments I seek to portray. Both
mediums offer unique opportunities for clarity and precision, enabling me to illuminate the
essence of my subjects with vivid colors and sharp contrasts. Whether through still images or
moving visuals, I am drawn to the dynamism that arises from vibrant hues and defined edges.
This clarity and intensity allow me to communicate my artistic message directly and effectively,
ensuring that the emotions and energy present in my work resonate with the viewer.
How has the diverse cultural landscape of the UK influenced your art?
The rich and diverse cultural landscape of the UK, especially in cities like London, has profoundly
influenced my artistic development by exposing me to a myriad of new ideas and perspectives.
Engaging with the vibrant art scene has continuously pushed the boundaries of my practice, as
I'm inspired by the unconventional ideas and innovative works of fellow artists. The melting pot of
cultures has broadened my artistic horizons, encouraging me to think beyond conventional norms
and embrace experimentation. Through interactions with diverse creatives and exposure to a
plethora of artworks, I've found myself constantly stimulated and motivated to evolve creatively.
Could you elaborate on the symbolism of red and its multifaceted meanings, from love and
prosperity to spirituality?
The symbolism of red holds deep cultural significance in Chinese tradition, representing joy,
prosperity, and the celebration of life's milestones like weddings and births. Growing up immersed
in this cultural context, red became ingrained in my perception as a symbol of happiness and
abundance. However, my experiences in the UK have introduced me to a different perspective,
where red often symbolizes danger, boldness, and fiery energy. This intriguing contrast has
inspired me to explore the reinterpretation of the color, bridging the cultural gap between East and
West.
Through your series, you confront the dichotomy of nature versus nurture and examine
how surroundings shape cultural beliefs. How do you approach capturing this complex
interplay between tradition and modernity in your art?
In exploring the intricate interplay between tradition and modernity, I approach my art by
employing visual juxtapositions that symbolize the dichotomy of nature versus nurture. By
incorporating contrasting objects or elements within the frame, I aim to capture the complex
relationship between tradition, shaped by natural surroundings, and modernity, influenced by
societal constructs.

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 Born As God, 2023

"Born As God" delves into the raw vibrancy and complexity of Chinese gods, deeply intertwined with the vivid symbolism of the color red. Each
deity emerges from the canvas, embodying the timeless essence of divinity, their presence a captivating fusion of ancient mythology and
contemporary reverence.
Beyond its symbolic significance, red serves as a conduit to the divine in your work,
resonating with gods and celestial beings. How do you convey this spiritual essence of the
color red in your visual narratives?
In my visual narratives, I convey the spiritual essence of the color red by photographing divine or
godly beings and portraying them adorned in red hues. This visual representation not only
symbolizes birth and divinity but also establishes a personal connection to my culture. By
capturing these entities in real-life settings rather than through cartoons or statues, I aim to evoke
a sense of authenticity and intimacy, allowing viewers to resonate more deeply with the spiritual
themes depicted.
Joining tradition with modernity, your series invites viewers to contemplate the
transcendental nature of color. How do you hope viewers will engage with and interpret
the symbolism and meaning embedded in your work?
My series aims to present a direct yet open invitation for viewers to engage with and interpret the
symbolism and meaning embedded in the transcendental nature of color. By joining tradition with
modernity, I offer another interpretation to the world, one that encourages contemplation and
reflection. Ultimately, how viewers perceive and engage with my work is entirely up to them. I
hope that by presenting this fusion of elements, viewers will find personal resonance and
meaning, sparking their own unique interpretations and connections to the themes explored
Could you share any specific challenges or highlights you encountered while creating A
Series of Red, and how they influenced your artistic process and perspective?
Creating "A Series of Red" presented initial challenges as I shifted from video to still imagery,
navigating the technical aspects of photography with limited expertise. Yet, I viewed these hurdles
as opportunities for growth and experimentation. Despite my amateur status, I found liberation in
the creative potential of still imagery, each endeavor igniting my passion for the project.
Ultimately, these challenges proved integral to its development, molding not only my technical
skills but also my artistic outlook.
As an artist, how do you navigate the balance between honoring cultural traditions and
exploring innovative techniques and ideas in your practice?
For me, balancing the preservation of cultural traditions with the exploration of innovative
techniques and ideas is a constant challenge. It's about understanding the deep personal
significance of these traditions while also approaching them with a fresh perspective. I often find
myself navigating a fine line between knowing these traditions intimately and 'pretending' not to
know them, allowing room for experimentation and reinterpretation. Ultimately, it's about honoring
the past while embracing the potential for new forms of expression.
Looking ahead, what themes or subjects are you eager to explore in your future projects,
and how do you envision your artistic journey evolving over time?
Looking ahead, I'm eager to delve into the exploration of myths and traditions from diverse
cultures around the world, transcending boundaries beyond just Chinese heritage. I'm fascinated
by the origins of these traditions and the universal themes they encompass, and I envision my
future projects centering around uncovering and reimagining these narratives. As I explore
various global traditions, my artistic journey is set to evolve. By interweaving narratives that span
cultures and generations, I aim to bridge the gap between the past and the present, offering
insights into the diverse spectrum of human experience.

43
 Red Earth's Bounty, 2023

In this evocative image, the model adorned in vibrant red embodies a primal connection to nature, symbolizing the lifeblood that flows through all
living things. The strands of wheat held delicately in her hand serve as a poignant reminder of our intimate relationship with the earth, representing
sustenance, growth, and abundance. Through the rich symbolism of red, we are invited to contemplate the cyclical nature of life, the
interconnectedness of all beings, and the enduring beauty of the natural world.
Mad Bu
Mad Bu creates magical worlds that are transmitted to the viewer. They inhabit an
alternative world of hidden thoughts, fever dreams, and dark fantasies. Their paintings
depict ambiguity between light and dark, innocence and guilt; their installations present
spaces that are both theatrical and mystical and lead the viewer to break through from
reality into an alternative world. Soft materials are essential. They like to change textures,
combining different mediums to produce a raw and organic feel. Traditional mediums are
also utilized, to connect with the past. Many of their works are tactile -the touch of the
surface being part of the communication and energy transfer between them and the
viewer. They are mad and hysterical. They are aware of you, and they need your
awareness to awaken. Feed them with your secrets and they will be pleased.

Go, people - Oil on linen, 80x100cm, 2012

45
Your art is described as creating magical

I Will Not Let You Down - Mixed media on paper, 109x74.5cm, 2015
worlds that draw viewers in. What inspires you
to create these alternative realities in your
work?
Dark thoughts and fantasy, dreams and
nightmares, carnival culture, folklore, fairytales and
theatre art.
The ambiguity between light and dark,
innocence and guilt is a recurring theme in your
paintings. How do you navigate these contrasts
within your artistic process?
Philosophical thinking.
Could you elaborate on how you create spaces
that lead viewers into alternative worlds?
Making sure the exhibition space is interactive and
dramatic. A blackout room with spotlights or a
highly decorated or themed space is preferable to
white walls and solid floors.
Untitled - Oil & oil pastel on linen, 79x99.5cm, 2016

46
How do you choose and combine different mediums

Happy Day - Oil & Oil pastel on linen, 60x60m, 2018

to achieve the raw and organic feel you desire?
We treat fabrics with technical gelatin, PVA glue, or
other gel mediums and stain them with natural dyes or
sprays until they reach the raw and organic texture.
You mention using traditional mediums to connect
with the past. How does this connection influence
your artistic expression?
It influences us in a way that those ancient-looking
characters become alive again in the contemporary
world.

Psychopath - Oil & Oil pastel on linen, 80x80cm, 2018

47
 Timeless Play
Mixed media on paper, 87.5x65.5cm, 2017
How does the tactile aspect enhance the viewer's experience?
Viewers feel closer to the artwork and the artist through touches as most of the artworks,
especially paintings are very distant to the audiences when displayed in frame, on a white gallery
wall. Visual art is not only “visual”.
The statement "They are mad and hysterical" is intriguing. How does this description
reflect your artistic identity and the themes you explore?
When we do art, we are not the same as the mundane characters who go to the supermarket, or
gym and watch Netflix. We switch to this mad wizard who lives in the alternative world when we
do art. The themes are a combination of daily gathered information and thoughts with the mad
wizard’s “magic potion”.
Could you elaborate on how viewer interaction influences your creative process and the
meaning of your work?
Viewers give the artworks more meaning and extend their artistic value and language. Viewer’s
imagination and different understandings offer our artworks to stay alive and remembered, this
extension gives us further inspiration and motivation for the new works.
How have educational experiences shaped your artistic journey and approach to painting?
Being surrounded by art fellows who are talented and passionate about art makes us feel not
alone. The study experience and art people that we met in the colleges opened our minds and
perspectives toward art development.
Looking ahead, what themes or ideas are you eager to explore?
Social and society-related themes and also some more specific psychological-related issues and
aspects among people around us.

Mute - Mixed media on paper, 84x55.5cm, 2015 Mute II - Oil and Oil pastel on linen, 100x75cm, 2018

49
Margret
Schopka
Margret Schopka is an acclaimed artist whose creative journey spans decades and
continents. Born with a passion for art, Margret embarked on her artistic path by studying
fine art, specializing in painting, at a renowned institution in Hamburg from 1979 to 1983.
It was during this formative period that she honed her skills and developed her distinctive
artistic voice. Over the years, Margret's talent and dedication have been recognized
through numerous awards and accolades. In 2020, she was awarded the prestigious
Gedok FormART Prize in Munich, followed by the Elke and Klaus Oschmann Prize the
following year. Prior to these honors, Margret received the 2014 Art Prize from the
Jundith Dielämmer Gallery, solidifying her reputation as a leading figure in the
contemporary art scene.

Intarsia, 2018 Intarsia, 2020 Intarsia, 2018

Margret's artistic endeavors have taken her to various corners of the globe, with her work
being featured in exhibitions and symposiums in Germany, Iceland, Poland, Thailand,
Hungary, the Netherlands, the UK, Italy, France, and Ukraine. Her international acclaim is
a testament to the universal appeal of her artistry, which transcends geographical and
cultural boundaries. Notable highlights from Margret's career include being a finalist in the
Recycling Art Prize at the Museum MARTa Herford in 2012, as well as participating as a
curator in the Artists Symposium at the Stiflisdalssee in Stiflisdal, Iceland, from 2010 to
2016. Additionally, Margret was honored as a guest of honor at the prestigious art fair in
Joinville-le-Pont, France, in 2008, further solidifying her status as a prominent figure in
the art world. Margret's artistic vision is deeply rooted in her experiences and
observations of the world around her. Her work often explores themes of nature,
sustainability, and the human condition, reflecting her profound connection to the
environment and her commitment to raising awareness through art.

50
A characteristic of my work is my joy in playing with assumed realities. Through my
unhampered treatment of objects and forms, she creates optical illusions or ambigrams
which, beyond their aesthetic quality, raise questions of materiality and technique without
exhausting their capability to provide answers. My works are the product of an artistic
perception that surpasses the mere seeing of things. I alter items of everyday life to such
a degree that, as a result of their artistic recreation, they become hardly recognizable as
such and gain a whole new significance.
The everydayness of things and their transformation, their metamorphoses become the
very own artistic theme in my art.

Poetry that combines growth and decay determines my painterly and object-like
approach. I develop my delicate images on the back of old carpets
TAUSENDBLÜTENTEPPICHE or in my wall objects LYRISCHE VERSCHMELZUNG by
fusing countless dried petals and colors together.

Or in the fleeting installations INTARSIA I scatter coffee grounds across the floor like
dark earth as a landscape in Iceland. The loneliness and tranquillity, the power of nature,
and the beauty and barrenness of the landscape with its exceptional mountain formations
inspire my work's minimalistic comments thereupon.

TAUSENDBLÜTENTEPPICH
Back of industrial carpet collaged with flower petals and acrylic paint, 180x170 cm, 2008-2009
Photo by Harald Neumann

51
 TAUSENDBLÜTENTEPPICH
Back of industrial carpet collaged with flower petals and acrylic paint, 230x190 cm, 2000-2023
Photo by Harald Neumann
Your work is described as playing with assumed realities and creating optical illusions.
Can you delve into the inspiration behind this approach and how it influences your artistic
process?
Due to a lack of money, I began to integrate simple materials into my art, such as flower petals,
wallpaper paste, coffee grounds, and industrial carpets from bulky waste.
And it has remained that way to this day. I love transforming simple materials into something
precious.
You mentioned altering everyday items to such a degree that they become hardly
recognizable and gain a whole new significance. How do you choose these objects, and
what significance do they hold for you personally?
The objects choose me and I see them. For me they are artistically inspiring objects that want to
be transformed.
The transformation and metamorphoses of everyday things are central themes in your art.
Could you share some specific examples of how you've explored this theme in your work?
For example, wallpaper paste, which is used to stick wallpaper on the walls. After long
experiments, I create objects from wallpaper paste collaged with leaves and coffee grounds. For
me, they are lyrical fusions or herbaria of plant diversity in space and time.
The poetry of growth and decay seems to inform your artistic approach. How do you
balance these contrasting elements in your work, and what emotions or messages do you
aim to convey through them?
I don't have a specific message in my art, I'm happy when people feel what moves me, the love
for nature and my respect for it.

Your use of unconventional materials like coffee

grounds and dried petals is intriguing. What
draws you to these materials, and how do you
incorporate them into your artistic practice?
Coffee grounds are a wonderful artistic resource. I
love the transience of my arabesques made from
coffee grounds in nature. These traces are silent
and lead to nothing lasting. They arise and dissolve
again after a short time. Only photographic
memories remain.
Even when they fall apart, petals have something
magical and great visual power on a picture support.
How does this process contribute to the overall
concept and meaning of your work?
The thousand-flower carpets are an integral part of
my artistic work. I've been working on them for
years; they have traces of time like a diary. A
cosmos of its own, grown organically, never-ending.

TAUSENDBLÜTENTEPPICH
Back of industrial carpet collaged with flower petals and acrylic paint,
230x190 cm, 2000-2022
Photo by Harald Neumann

53
Your installations, such as INTARSIA, evoke landscapes and natural elements. How does
your environment, particularly Iceland, influence your artistic vision and choice of
themes?
Iceland is my second home and for me an extremely artistically inspiring landscape. I also
developed my Intarsia series there, with coffee grounds, volcanic ash, and sometimes flour on
snow.
Your extensive exhibition history spans various countries and events. How has exposure
to diverse cultures and audiences impacted your artistic evolution?
There are works in my oeuvre that I could only develop and implement in the country in which I
worked, and these works have greatly enriched my artistic thinking and sometimes I have further
developed the ideas here in Germany.
Winning awards like the Gedok FormART 2021 Elke and Klaus Oschmann Prize and
participating in events like the Artists Symposium at the Stiflisdalssee are significant
achievements. How have these experiences shaped your artistic career and ambitions?
The awarding of the Gedok FormART 2021 Elke and Klaus Oschmann Prize made me very
happy, inspired, and spurred on to continue working artistically.
The artist symposium in Iceland, which I curated and organized myself, was a wonderful
experience on the topic of fairness and appreciation for female artists. It showed me how
important it is for one's own artistic work to work with other artists and to develop joint projects
and thereby learn from them.
With over three decades of individual and group exhibitions, what do you hope viewers
take away from experiencing your art, particularly in the context of its rich history and
international presence?
I hope that my art will be remembered by many visitors over the decades and that buyers will live
well with my art.
Lyrische Verschmelzung 2
Lyrische Verschmelzung 1 Lyrische Verschmelzung 3
Wallpaper paste, coffee grounds, leaves
Wallpaper paste, coffee grounds, leaves, Wallpaper paste, coffee grounds, leaves, tulle,
tulle,
80x40cm, 2023 80x35cm, 2023
70x35cm, 2023

54 Photos by Harald Neumann

Minni
Mäkinen
Finnish artist Minni Mäkinen, raised in Brazil and Switzerland, found her artistic voice
early, using it to bridge cultural gaps. With a background in photography and new media,
she crafts abstract compositions, exploring the intricacies of modern society and the
complexity of individuality. After completing her art degree, she now works as an
independent artist in Switzerland.

Gates To Provence
Photography & Photo manipulation
60x90cm, 2024

Gates To Provence from Translated Landscapes is a combination of both, a personal reflection on multicultural upbringing and a focus on the energy set
in different countries and places. The project embodies the process of learning a new language and process of adjusting to new sceneries. Moreover, the
ambiguous forms shine a light on how visual references, such as art compensate for language barriers, when the one's mother tongue isn’t enough to be
understood. What could be described as muted moments, offers time to closely observe and feel the energy in new places. The high level of distortion in
floral still life photography reflects both the complexity of translated communication as well as the beauty and energy surrounding various places.

55
Can you tell us about your upbringing in Brazil and Switzerland and how it has influenced
your artistic journey?
The way I express my perspective of this world through art is greatly shaped by my international
upbringing. For a long time, I felt uncomfortable with not having a place I was local in, I still don’t,
but now I embrace the combinations of cultures that shape me into who I am. The same goes for
my art, it’s not traditional fine art, photography or graphic design, rather it’s a crossover of all of
their best parts in one frame.
How did you discover your artistic voice, and what led you to focus on bridging cultural
gaps through your artwork?
My current style came to life a few years back when I learned about the abstract art movement
and art itself. What fascinates me is the whole purpose of abstract art being up for one's own
interpretation, meaning that there’s no right or wrong way of understanding or creating it. That is
the beauty of art for me as it’s a way of communicating without language barriers which can
separate people from different cultures from understanding each other
With a background in photography and new media, how do you approach crafting abstract
compositions that explore the intricacies of modern society and individuality?
My recent series is a combination of photography and digital photo manipulation. I start by taking
still-life photos of floral arrangements which I later deconstruct and manipulate. After hundreds,
maybe even thousands of layers later, and the benefit of my fine art painting background I begin
to form my final compositions.

Cycle - Photography & Photo manipulation, 90x60cm, 2023 Intuition - Photography & Photo manipulation, 90x60cm, 2023

56
 Divinity - Photography & Photo manipulation, 60x90cm, 2023
She - Photography & Photo manipulation, 90x60cm, 2023
57
What motivated you to pursue a Bachelor of
Arts in Photography and New Media at
Accademia Italiana?
Since I was about 13, I’ve had a strong intuitive
feeling that I’d study something creative in Italy.
Originally I wanted to study fine art, but I thought
it’d make sense to learn more about modern
digital art as there is a higher demand for it and I
didn’t know much about it. The school gave me
all technical tools and rules which I then had to
reform and mold my style and path with.
What significance do group exhibitions, like
"Dream" at Youth Forum Switzerland and the
Swiss Photo Awards, hold for you?
They hold great significance to me, not just as
memories but also as starting points of my
career. Not only were they some of the first
events o took part in, but the concepts such as
dreams at Youth Forum Switzerland never failed
to motivate me to keep working and reaching for
my own.
Mediterranean Waves - Photography & Photo manipulation, 60x90cm, 2024

Milanese Jungle - Photography & Photo manipulation, 60x90cm, 2024

Could you share some insights into the themes or concepts you explore in your solo
exhibitions, such as "Lumo" and your exhibition at Altstadthalle?
My last year's exhibition, Lumo, showcased some of my early professional works, all of which
invited the audience to reflect and see the diversity of our individuality. It was surprising to see the
guests point out details or interpret shapes in my own works which I wouldn’t have been able to
do on my own. Before the exhibition, my sold works were purely by commission, so that day also
holds a special place in my heart as a number of my original, non-commission works were
purchased.
Congratulations on your recognition at the Muse Photography Awards! How did it feel to
receive the silver place in the Fine Art & Photo Manipulation category for "Bloom IV"?
Thank you so much! At first, I was surprised to hear that my work had even received recognition
from the incredibly large competition, as the only people seeing my work prior were my professors
and family. Once I had actually processed the formation I felt more motivated than ever to keep
exploring my style and producing more art works.
How do you navigate the balance between individual expression and societal commentary
in your artwork?
I’m grateful to have incredibly talented and honest friends and family who are in and out of the
creative industry. Often I show my work to them before publishing anything. They give me either
feedback or reassurance about my work in ways that I can’t do on my own, which I’m very grateful
for.
As an independent artist working in Switzerland, what are some challenges and
opportunities you encounter in the contemporary art scene?
Switzerland offers endless inspiration and great connections to galleries and events seeking
quality art. Reaching out to other artists outside of the commercial space or with similar goals as
me is more challenging compared to other places.
Looking ahead, what future projects or artistic endeavors are you excited to explore?
With more time and skills on my hands, a start to my career, and a hunger to see what the art
world is like, I’m thrilled to connect with more artists and learn and grow alongside them while I
keep making my dreams come true.

St Tropez Energy Geisha In Mt. Fuji

Photography & Photo manipulation, Photography & Photo manipulation
60x90cm, 2024 60x90cm, 2024

59
Odelle
Golomb
Odelle Golomb was born in Israel on November 15th, 1980. She completed her schooling
in Israel and became inspired by the arts. In 2005 she became impassioned by the idea
of creating special lighting that would bring the beauty of nature into the home. She
began a search for the exact material that would fulfill this vision and came across glass
the perfect medium for creating the warmth and ambiance in lighting that she had been
searching for. Shortly afterward she undertook a course in Fusing and Slumping at the
Gill Raphal College in Tel Aviv, Israel. Once she had completed that course of study, she
began work as an assistant in a Bronze factory and learned about making shapes and
models from many kinds of materials.

60 Ruby Flame on Amethyst - Brass, glass, stone, 45x38cm, 2018

 create lighting fixtures that instill a restful, relaxing, and romantic atmosphere. My purpose is to
provide therapy through art by using the mineral realm. The lighting fittings are combined with
custom-made crystals so as to get across healing. It is a powerful tool and after having observed
the transformation people went through after using the five elements crystal layouts, I decided to
combine them with my lighting fixtures Glass operates as a frame to the crystal as it is very close
to the same in terms of colors and lucidity. Crystal is a natural mineral. Sometimes, I engrave it
but I mostly prefer to leave it untouched. Only with glass, do I allow myself to draw on it and
create some abstract picture that will emphasize the crystal via the glass. I cast, carve, and fuse
the glass in a kiln over 700 degrees. The body which holds the lighting has an energy influence
over it so I endeavor to use various special kinds of metals such as copper, brass, and bronze.
How do crystals work? According to a physical rule, whenever there is an interaction between two
magnetic fields, the strongest one prevails over the weakest one. The crystal's magnetic field is
more powerful than the human being's magnetic field. Our nervous system recognizes and retains
information regarding vibrations even after we have left the crystals’ area. We can choose
whether to work with the new vibration or not. The stones do not force us to change but if we
choose to do so, the task becomes easier thanks to the crystals’ influence. I build the crystal
layouts in a special way which I have learned from a great teacher in Crystal Healing named
Naisha Ahsian who is the developer of Crystal Resonance Therapy. According to Naisha Ahsian,
the crystals are divided into five elements: fire, water, wind, earth, and storm.
The characteristics of the elements are:
Fire - which engenders heat, doing, and transformation.
Water - brings about the processing, containing, and flowing of emotions.
Wind - produces communication and connection to self-training, intuition, and awareness of the
Creator.
Earth - provokes our actions on the globe and its development.
Storm - does not exist in its own right but rather represents the fas combination of the four
elements and serves as a catalyst to operate alterations.
Should we work with crystals in such a manner that we shall at least have one crystal out of all
the requested healing elements, the objective will be reached as the crystal will be equilibrated in
all directions. Each crystal has a connection with one or more elements so that it is possible to
assemble from its intrinsic value 5 elements to endless combinations. Each Crystal has special
characteristics and when I combine it with lighting, it becomes a healing instrument with
phenomenal influence! Sometimes, it is a communication frequency expressing the inner truth,
releasing superficial tendencies and sometimes, it is a frequency that teaches to open one’s heart
to deep feelings that find expression in creativity or visions. To succeed in obtaining the crystal's
gifts - the minerals kingdom - one needs pure intention and self-consciousness. This is a special
work that combines inner and outer beauty, bearing in mind that the ultimate goal is healing and
spiritual growth. The crystals are selected by their special features and by the customer’s specific
case. In addition to the five elements division, I combine sacred universal symbols such as the
Flower of Life and the Seed of Life in complex geometry that forms the basis for all life throughout
the cosmos Vesica Pisces, Merkaba. Fruit of Life These symbols are known as the universal
language of light, each of them has a different purpose and can transform consciousness. The
lighting fixtures are custom-made by size, color, and with the element that has been chosen to be
emphasized.

61
 Pair of Stone Pyrite Lamps
Brass, stone, glass, 60x30cm, 2018
Stone Lamps Raw Pyrites, Flourite, Tangerine, Glass shades, Symbol Flower of Life.
Can you share what initially inspired you to create lighting fixtures incorporating crystals?
My first medium of art was glass. I used to fuse it in a kiln and create unique lighting. However,
this was a toxic process, and after falling ill, I understood I must find a new medium. At this time, I
learned two different spiritual modalities that later became one practice: The Language of Light by
Talia Toker and a healing technique from The Book of Stone by Naisha Ahsian. I started to build
crystal layouts using the five elements of the stones, and I began helping many people. I was
shocked by the results, and it was a natural development in my artistic path to apply this practice
to my designs.
How did your background in glasswork and metalworking influence your approach to
creating these unique lighting designs?
Glass serves as a frame for the crystal, as it is very close in terms of colors and lucidity. Crystal,
being a natural mineral, sometimes gets engraved, but I mostly prefer to leave it untouched. With
glass, I allow myself to draw on it and create abstract pictures that emphasize the crystal through
the glass.
Could you elaborate on the process of combining crystals with glass to achieve your
desired aesthetic and healing properties?
With glass, I am more free to play and manifest from imagination to reality. However, with
crystals, I prefer to keep them natural and raw most of the time.

Stone Table Lamp

Brass base with rose quartz marble, raw havansite, raw quartz, selenite shade, Reiki symbol. 65x33x18cm

63
What role do you believe crystals play in promoting healing and therapeutic effects within
your lighting fixtures?
When we bring crystals into our electromagnetic field, the electromagnetic frequencies carried by
the stone will vibrate with related frequencies in our energy field through the physical law of
resonance. Sitting by my lighting fixtures can suggest new frequencies to choose from and can be
very healing on many levels. Each crystal has special characteristics, and when combined with
lighting, it becomes a healing instrument with a phenomenal influence. Sometimes, it acts as a
communication frequency, expressing inner truth and releasing superficial tendencies. Other
times, it opens one’s heart to deep feelings that find expression in creativity or visions. To obtain
the crystal's gifts from the mineral kingdom, one needs pure intention and self-awareness.
How do you select the specific crystals to incorporate into each lighting fixture, and what
considerations do you take into account?
Ten years ago, I created all my lighting fixtures as five-element healing lamps, each one having
all five elements with stones focused on different subjects. I chose stones based on their
characteristics, like Onyx for reason and grounding. Today, I work differently; I make many lamps
that have only a few elements, and I use astrology to find which elements to emphasize. For
example, if my client has a lot of Water and Earth in their chart but lacks Fire and Air, I suggest a
lamp with stones holding these missing elements.
What is the significance of incorporating elements like copper, brass, and bronze into the
body of your lighting fixtures?
Copper is very feminine and helps build a Yin energy in the space, while Brass carries a much
Yang masculine energy. Bronze holds the perfect balance of both.

64 Stone Table Lamp - Brass base. green onyx marble, raw Alofiilite, fused glass flame, carved selenite, 45x38cm
Can you explain the significance of the five elements and how they are represented in your
crystal layouts?
Fire engenders heat, action, and transformation. Water brings about processing, containment,
and the flow of emotions. Wind produces communication, connection to the soul, intuition, and
awareness of the Creator. Earth provides grounding, and stability, and provokes actions on the
globe and its development. Storm is created when all four elemental forces are empowered
simultaneously, acting as a dynamic balancing force and helping to correct imbalances within the
energy field.
You mentioned using sacred universal symbols such as the Flower of Life and Merkaba in
your designs. How do these symbols enhance the healing properties of your creations?
These symbols are beyond time and space and are believed to be encoded in our DNA. If present
in the room, they create healing vibrations and remembrance. However, long-lasting healing
depends on the free choice of the soul and belief.
How do you ensure that each lighting fixture is custom-made to suit the individual needs
and preferences of your clients?
I ask my clients about the space they wish to design with my lamps and the vision they hold for
reaching their full potential. Combined with the astrological chart, this gives me the indication to
choose the right stones, symbols, and elements to focus on.
Lastly, how do you envision the role of your lighting fixtures in fostering spiritual growth
and promoting inner well-being?
Crystals can be especially helpful in
balancing the elements within us. The
mineral kingdom acts as an
electromagnetic distribution system for
the earth, vibrating with specific
frequencies within the full
electromagnetic spectrum. Crystals
and stones carry the entire spectrum of
light energy available to us, from low-
frequency energies associated with the
physical realm to extremely high
frequencies linked with spiritual
awakening. I envision people sitting in
front of my lighting, absorbing the cozy
atmosphere of the stone, and
experiencing the healing they desire
just by being present with it. The next
step is awareness of the healing
symbol, praying for healing, and
believing they deserve it.

Trio Glow
Carved stone, Calcite,Rose Quartz

65
Rubica von
Streng
Rubica von Streng graduated from Berlin’s University of Arts UdK as a masterclass
student in 2018. Her works, such as the paintings of the monumental “PortLand” cycle,
have found a place in highly recognized art collections in Germany and abroad. They
often deal with the beauty of nature, biodiversity, and the future of civilization.

Abstract portrait and landscape painting enter an exciting liaison in her oeuvre. Her multi-
layered, aesthetically composed oil paintings appear watercolor-like and radiate an
unexpected lightness, however heavy and complex the subjects. The artist achieves this
balancing act by means of her self-developed so-called arpeggio painting technique:
wafer-thin layers of highly diluted oil paint are applied one after the other, creating a
powerful ensemble of overlapping color spaces and forms that interact with fragments of
varying shapes. “Von Streng’s works are profoundly intelligent, well-founded and
responsible,” says René Spiegelberger, CEO of Hamburg-based Spiegelberger
Foundation. “They open a new chapter in abstraction. Her way of dealing with highly
topical themes manifests itself in an impressively stringent manner”.

66 Rubica von Streng portrait by Efacts Photography

 Dance of the Dead
Anyone who deals artistically with subjects such as life and death, eros and asceticism,
occasionally tends to simplify them due to their complexity. Exploring such themes, working on
them and making the possibly invisible context visible is like a Sisyphean task – as is the case
with the topos of “Dance of the Dead” which originated in medieval times. The Berlin-based artist
Rubica von Streng has taken up the challenge and transported the subject to the present day.
In mysteriously moving color spaces without depth, without horizon, without prospects – interior
and exterior in one, as it were – symbolic and essential contours of bodies are dominant in the
paintings of her cycle “Dance of the Dead”. They stand out against the backgrounds in rich bone
black. Occasionally, red, white, gray and yellow contours are added. Sometimes these lines are
reminiscent of human bodies in their former richness. Often, however, they obscure the human
figure, unbalancing it to the point of expressive deformation, creating vibration and pulsation, like
a final impulse in which devotion and rejection come together.
Rubica von Streng‘s paintings use her formal language to reconstruct the fleeting character of the
moment – between having just been and already gone. They offer Dionysian resistance. This
requires the work of focused perception: those who work less diligently may hope for post-mortem
redemption after passing through the purgatory; others, like Rubica von Streng and Friedrich
Nietzsche, know that redemption can only be experienced in aesthetic illusion.
Despite thinking and feeling her way into what is to come, what could be in store for us, the artist
has not lost touch with the past. On the contrary: “It is important to know where everything comes
from in order to better understand and classify current and future events,” she says. “After all, the
future has a past. I am primarily looking for universally valid laws that go beyond subjective
experiences. For me, topics are important that have interested people living centuries before us
and that will continue to affect our lives in the future. One of them is death and how we deal with it
– individually, but also as a society.”
However, the Grim Reaper rarely appears as a figure in von Streng‘s “Dance of the Dead” –
unlike in many paintings of other artists who have worked on the subject. And for good reason:
“Death does not kill. People kill. Not only each other, but also millions and millions of other living
beings that inhabit this planet with us. That‘s why death usually only appears as a figure in the
pictures of the cycle when humans bring it about,” explains the artist. “But I don‘t actually depict
death figuratively. Because dying is a disappearance from the here into the there. And unlike the
here, the there has no form.”
In this respect, a special form of entropy is at work in von Streng‘s pictures: the basically
unfortunate physical-chemical condition that is responsible for the fact that everything, meaning,
everything universally, strives for the greatest possible disorder, however much we may long for
orderly conditions. Ashes to ashes, dust to dust.
“Viewed on a cosmic scale, we have no chance to stop this trend towards chaos,” she states with
reference to physical certainties. Such findings and the scientific discourse that led to them have
long occupied von Streng; her home library on these topics measures several meters of shelves.
“To understand what makes the world tick,” she says, “it is helpful to understand its mechanisms
as precisely as possible. I prefer to look deeper into the subject matter instead of being satisfied
with the superficial.”
“Dance of the Dead” was shown from May 19 – October 25, 2023, at Kulturkirche Stralsund,
Germany, and attracted almost 20,000 visitors.

67
 Dance of the Dead

Oil on canvas,
180x170cm, 2018

Mulberry

Oil on canvas,
170x160cm, 2018
 Transience

Oil on canvas,
170x160cm, 2018

Questions and Answers

Oil on canvas,
180x170cm, 2018
 The topos of “Dance of the Dead” originated in medieval times. What inspired you
to transport this theme into contemporary art? How do you approach updating
such a traditional motif for modern audiences?
I have always been interested in how people experience death – their own and that of
others. What happens in such moments? What is (still) important, what is not (any more)?
Depicting these situations in paintings and sculptures, a tableau of subjective and
objective experiences of death, so to speak, was one of the driving forces that motivated
me to create this cycle of works.
Your paintings in the “Dance of the Dead” cycle feature rich bone black
backgrounds with dominant symbolic and essential contours of bodies. Can you
share the significance of these color choices and how they contribute to the overall
atmosphere of your work?
I used prilled bone black as a pigment. In these works It contains organic and inorganic
components of bone, mainly carbon – and thus one of the chemical building blocks of life.
In this respect, the pigment closes the cycle of life and death. What'’s more, outside the
Western hemisphere, for example in many Asian countries that are Buddhist or Hindu,
not black, but white is considered the color of mourning. In other cultures, the color purple
is associated with it. From a global perspective, death and mourning are usually culturally
coded with the color trinity consisting of black, white and red. Incidentally, this also
resonates with the recognition that there is life before death, the essence of which is
reflected in the color of blood.

Arbor Vitae Coat of Death

Oil on canvas, Oil on canvas,

180x170cm, 2018 180x170cm, 2017

70
Unlike many other artists who depict the Grim Reaper figuratively, you’ve chosen not to
include this traditional symbol of death prominently in your paintings. What motivated this
decision, and how does it reflect your unique perspective on mortality?
In fact, the Grim Reaper rarely appears as a figure in those works. For good reason: death does
not kill. People kill. Not only each other, but also millions and millions of other creatures that
inhabit this planet with us. That is why death usually only appears as a figure in the images of the
cycle when people bring it about. But I don’t actually depict death figuratively. That is because
dying is like a transcendence from the here into the there. And unlike the here, the there has no
shape.
How do you reconcile the longing for order with the physical-chemical reality of entropy in
your work?
According to the laws of thermodynamics, everything, i.e. everything universally, strives for the
greatest possible disorder - no matter how much we may long for orderly conditions. Ashes to
ashes, dust to dust. Viewed on a cosmic scale, we have no chance of stopping this trend towards
chaos. I have long been preoccupied by such findings, for example on entropy in relation to
becoming and passing away, to life and death, and by the scientific discourses that have led to
these findings. In order to understand how the world ticks, it is helpful to fathom its mechanisms
as well as possible. I prefer to look deeper into the matter rather than be satisfied with the
superficial.
How does historical context inform your artistic practice?
In order to better understand and categorize current and future events, I think it is important to
know where they originated. After all, the future and the present have a past. I am primarily
looking for universally valid laws that go beyond subjective experience. For me, topics are
important that have occupied people living centuries before us and that will continue to affect our
lives in the future. One of these is death and how we deal with it - individually, but also as a
society in general.
Your statement about “Dance of the Dead” highlights the idea that redemption can be
found in aesthetic illusion. Could you elaborate on this concept and its significance within
your artistic philosophy?
Everyone dies their own death. Before I dedicated myself to the subject, I spoke to some people
who are professionally involved, for example as paramedics or doctors, about their experiences
with the dying and with dying itself. It was also important to me to portray the Dance of the Dead
actually as a dance – as a struggle with death. Beforehand, I had read scientific studies, for
example about how different cultures deal with dying. I found it interesting that many societies see
coping with death as experiencing and accompanying the dying process. I can't say whether
redemption is always at the center of this. However, I have experienced that many people who
have seen these paintings in exhibitions have found solace. They told me, for example, that they
had given them strength to better understand the inevitability of death.
In your exploration of universal themes, you mentioned the role of humans in causing
death and destruction on Earth. How does your art confront these uncomfortable truths
while also offering moments of reflection and introspection?
In view of the immense extinction of species and the arbitrary rule of humans over flora and
fauna, I have dedicated three works in the cycle to hunting, slaughtering and farm animals. The
killing of these animals makes us humans henchmen of death beyond our own species.

71
 Fatstock V

Oil on wood,
120x100cm, 2018
Sarah
Liebenberg
Sarah Liebenberg is a third-year Fine Art student at UCA, who is passionate about
exploring the themes of visibility and invisibility in societal norms through her art. Her
unique approach combines sculpture and photography and employs makeup as a
medium to create thought-provoking pieces. Sarah's work encourages viewers to
challenge their perceptions of identity and societal standards and provides a space for
introspection and dialogue. Her art reflects a thoughtful engagement with these themes
and invites us to join her in questioning the status quo.

‘’Influenced by my grandmother's teachings on women's power and feminism, at 21, I am an

emerging artist exploring the complexities of beauty standards through video and photography.
My work, inspired by Naomi Wolf and Merleau-Ponty, critiques societal norms while blending my
personal narratives with feminism. Challenging conventional expectations, I invite viewers to
reflect on the constructs of beauty and identity. My art is a dialogue between personal experience
and societal critique, aiming to spark conversation about beauty, empowerment, and self-
discovery. As I continue to evolve, my goal is to blend critical observation with intimate
experience, fostering reflection and empowerment.’’

‘Unmasked Mosaic’

Digital image and canvas,

50x50cm, 2023

Her work ‘Unmasked Mosaic’ is a raw,

unfiltered glimpse of the female form,
far removed from conventional beauty
norms. Naomi Wolf once highlighted a
stark backlash against feminism,
weaponising beauty to counteract
women's progress. In response, this
series of photographs showcases the
authentic essence of women's bodies, a
narrative so often overlooked. In a
world where women's forms are
regularly objectified, this collection
boldly defies such standards. Each shot
is a deliberate move away from the
conventional, presented on a 50x50cm
canvas, challenging viewers to see
beyond the surface. Join this visual
journey, shattering stereotypes, one
image at a time.

73
‘Nailed It’
Digital image, print
A2, 2024

‘Nailed It’ by Sarah Liebenberg is a series of digital images that confronts the issue of
body dysmorphia against the backdrop of digital-era beauty standards. In this work,
Liebenberg dramatically extends her fingers, creating a striking visual metaphor for the
distortions in self-perception fostered by the unrealistic portrayals of bodies online. This
artistic choice serves as a critique of the pursuit of perfection, mocking the extremes to
which individuals might feel pressured to conform. Each image, while highlighting the
absurdity of such beauty ideals, also carries a spiritual essence, suggesting a path
towards self-acceptance and the celebration of our natural forms. ‘Nailed It’ invites
viewers to reflect on the impact of digital media on our self-image, advocating for a more
authentic and compassionate view of beauty.

74
Your artist statement mentions exploring themes of visibility and invisibility in societal
norms. Could you elaborate on how you approach these themes in your art and why they
are important to you?
My art aims to bring to light the hidden aspects of life and identity that are often overlooked due to
societal norms. My work particularly focuses on femininity and beauty standards, and how they
can constrain one's sense of self and expression. I have personally experienced the pressure to
conform to these expectations, which has driven me to use art as a tool for empowerment and
self-reclamation. By challenging these norms, my artwork encourages the viewer to reflect on the
rituals of beauty and the complex layers of identity construction.
The combination of sculpture, photography, and makeup as mediums in your work is quite
unique. How did you come to develop this approach, and what do you feel it adds to the
message you want to convey?
My art is a fusion of sculpture, photography, and makeup. I use this approach because I don't
want to be limited to a single medium. Instead, I want to be able to choose the most effective form
of expression for each piece and tailor my message accordingly. My academic environment has
encouraged me to experiment, and I've found that this approach is best suited to critique beauty
standards, consumerism, and personal identity. By using multiple mediums, I'm able to provide a
multidimensional perspective on these themes.
Your art encourages viewers to challenge their perceptions of identity and societal
standards. Can you share an example of a piece or series that particularly embodies this
idea and the response it elicited from viewers?
One of my notable works, "Vanity's Veil," is a tapestry made from collected used makeup wipes,
symbolising the daily ritual of conforming to societal beauty standards. This piece challenges
viewers to reconsider their perceptions of identity and the societal pressures that dictate self-
worth. It has resonated deeply with audiences, sparking conversations about the personal and
collective struggle against these imposed norms.
Your biography mentions being influenced by your grandmother's teachings on women's
power and feminism. How have these influences shaped your artistic journey and the
themes you explore in your work?
The teachings of my grandmother on feminism and the innate power of womanhood have had a
profound impact on my artistic narrative. Her humour and strength, combined with her creative
influence as a painter, have motivated me to look into themes of female empowerment and
challenge societal expectations through my art. Her encouragement has been a cornerstone of
my creative journey, inspiring me to push boundaries and explore my voice as an artist.
You cite Naomi Wolf and Merleau-Ponty as inspirations for your art. How do their ideas
influence your creative process and the concepts you explore?
The works of Naomi Wolf and Merleau-Ponty have been fundamental in shaping my conceptual
framework. Wolf's critique of the beauty industry and the pervasive male gaze has influenced my
examination of consumerism and societal pressures in art. Meanwhile, Merleau-Ponty's
exploration of visibility has encouraged me to uncover the unseen or overlooked aspects of our
identities, enriching my creative process.
Challenging conventional expectations seems to be a central aspect of your art. Could you
discuss a specific instance where you've confronted these expectations and the impact it
had on your artistic practice?

75
My "Unmasked Mosaic" series highlights the beauty of real, unedited bodies, featuring models
who defy traditional beauty standards. This work confronts the unrealistic expectations
perpetuated by social media, celebrating the authenticity of the human form. By showcasing
diversity and the natural aspects of our bodies, the series invites viewers to embrace their true
selves, challenging the prevailing narrative of perfection.
Your work is described as a dialogue between personal experience and societal critique.
How do you navigate this balance, and what insights have you gained from merging the
personal with the societal in your art?
Navigating the balance between personal experiences and societal critique, my art emerges from
personal insecurities influenced by external beauty standards. This convergence has led to a
deeper understanding that my personal struggles mirror wider societal issues, enabling a sense of
community and shared empowerment among my audience.
Beauty, empowerment, and self-discovery are recurring themes in your art. What do these
concepts mean to you personally, and how do you translate them into visual expressions
for your audience?
Beauty, to me, is a concept that is deeply connected with societal expectations. Unfortunately,
this connection has caused me to struggle with my body image at times. However, I use my art as
a means to embark on a journey of self-discovery, challenging these societal norms and
embracing self-love. Through my work, I aim to advocate for the empowerment and acceptance of
oneself beyond conventional standards. My art serves as a visual manifesto, urging others to
embrace their unique beauty and reject the socially constructed expectations of what beauty
should be.
As an emerging artist, how do you envision your role in fostering conversations about
beauty, empowerment, and societal norms through your art?
As an emerging artist, I am dedicated to initiating conversations about beauty, empowerment, and
societal expectations. Through pushing the boundaries of creativity and incorporating satirical
elements, my goal is to establish a platform for introspection and community building. I strive to
inspire women to reclaim their identities and express themselves freely.
Looking ahead, what are your aspirations for your artistic practice, and how do you plan to
continue evolving as an artist while staying true to your vision and values?
Looking forward, I am excited to explore performance art and continue diversifying my use of
mediums. My focus remains on creating art that resonates with me personally and challenges
societal expectations, ensuring that my practice evolves in a way that stays true to my core values
and vision. The upcoming video piece for my graduation show marks a pivotal moment in this
journey, signifying my commitment to growth and exploration within my artistic practice.

Vanity’s Veil
Makeup wipes, 110'’x60'’, 2023

‘Vanity’s Veil’ is an unusual tapestry, measuring 60x110 inches, meticulously constructed from used makeup wipes,
embodying the daily ritual of applying and removing makeup. This artwork looks into the problematic layers of beauty
standards that dictate the routines of countless individuals. Each wipe in the tapestry, stained and shaped by its unique
encounter, stands as a testament to the personal yet universal act of conforming to societal expectations of
appearance. Through "Vanity’s Veil," Sarah Liebenberg invites viewers to reflect on the cyclical nature of beauty
routines, highlighting the often-unnoticed effort and introspection involved in the pursuit of meeting these ideals, and
questioning the real essence of beauty in the process.

76
Tianxi
Wang
Tianxi, currently based in Edinburgh, is an artist with a profound foundation in illustration.
Her illustrations serve as a contemplative journey exploring the intricate relationships that
bind us to each other and to the non-human entities that share our spaces. Her work
explores and expresses the complexities of human relationships—be it with society,
family, or the natural environment. Her illustrations are imbued with subtle personal
emotions and offer commentary on feminist perspectives, gently weaving her advocacy
into the fabric of her art. She brings her illustrations to life through a diverse palette of
both digital and traditional techniques, including the tactile depth of collage, the boldness
of printmaking, and the intimacy of painting. Each piece is a testament to Tianxi’s
multifaceted approach to illustration, reflecting her adeptness at conveying delicate
familial bonds and the broader strokes of human experiences.

‘’As an illustrator currently based in culturally rich Edinburgh, my artistry is deeply rooted in the
intricate storytelling of human connections. Having previously lived in New York, my work is
infused with a unique blend of these diverse cultural experiences, enriching my understanding of
the complex tapestry of urban life and interactions. My illustrations are more than visual
compositions; they are intimate explorations of the relationships we nurture—with one another,
with our familial ties, and with the myriad non-human beings that cohabit our environment. These
relationships are the canvas upon which I paint the complexities of our interwoven lives. Utilizing
both the digital realm and traditional media, I find joy in the versatility of expression—from the
textured whispers of collage to the definitive statements of printmaking, and the nuanced
dialogues of painting. My illustrations capture the ephemeral moments of familial bonds and
societal interactions, inviting viewers to pause and reflect on the beauty and complexity of our
shared human experience. In this artistic journey, my illustrations are not merely seen—they are
an invitation to engage, to feel, and to ponder the intricate dance of existence that we all partake
in.’’

Chairs in Chair Fair - Digital Art, 22.9x27.9cm, 2024 78 No Sitting - Digital Art, A3, 2024
#1 Feminism? - Digital Art, A4, 2022

#2 Feminism? - Digital art - A4, 2022

Your illustrations are described as a contemplative journey exploring intricate
relationships. Can you elaborate on how you approach capturing these connections in
your artwork?
In my works, I draw heavily from personal experiences and everyday observations, channeling
these into symbolic and surrealistic representations of human interactions and our relationship
with the environment. My works are visual narratives that explore the subtle and often complex
dynamics of how people connect with each other and their surroundings. By employing surrealism
and symbolism—like distorted landscapes or exaggerated human forms—I aim to heighten the
emotional and philosophical impact, prompting viewers to reflect on their own experiences and
perceptions of the world around them. I employ surreal elements to amplify the ordinary,
transforming familiar scenes into extraordinary visual narratives.
Your work delves into the complexities of human relationships, including those with
society, family, and the natural environment. How do you navigate expressing these
themes through illustration?
I prefer to use a surrealistic and humorous way to express my ideas and thoughts about a topic. I
want to have conversations with the audience in a more open and not very serious vibe, everyone
has the right to say their own thoughts. I will also try to discuss a topic by swapping the position of
human beings with other characters, such as animals, robots, or even ghosts. Sometimes you
can find something interesting and inspiring when you look at an object from a different
perspective.
Feminist perspectives are mentioned as a subtle commentary woven into your art. How do
you incorporate these perspectives into your illustrations, and what message do you hope
viewers take away?
Most of my works talk about feminism from an asian cultural background and personal
experience, such as there are lots of feudal restrictions about women from ancient Chinese that I
think more people should know and break these restrictions. There is a kind of script called “Nv
Shu” also known as “women script” from ancient China, but not many people know it nowadays.
So I wrote a picture book trying to explain the background of this script and hoping more people
would know the effort of women to throw off the shackles of society.
How do you decide which medium to use for a particular piece, and how does each
medium contribute to the message you want to convey?
For me, I think I need lots of research and experimentation to decide which medium to use. The
texture, scale, and feeling of the work are all needed to be considered when choosing the
medium. For digital work, I think I will choose it when I want to make something delicate, with
strong colors and cool effects. When I want to do something with texture or in a bigger format, I
may choose painting and mixed media to do it.
Edinburgh and New York are cited as influential settings in your artistic journey. How have
these diverse cultural experiences shaped your understanding of human connections?
New York is the first foreign city that I went to study and live in, so I was impressed by it. I met lots
of great friends and teachers who supported me not only in studying art but also in exploring life
as a human being. And the style of my illustration is more American style. All of these
experiences encouraged me to pursue further in Edinburgh, where it is more close to nature. After
living here for a while, I feel like my style is more free, unlimited, and has more stuff about nature
in my work.

80
Your illustrations are described as intimate explorations of relationships. Can you share
some examples of specific relationships or interactions that have inspired your artwork?
One of the relationships that I have been trying to explore and analyze is the relationship between
me and my family members, because “Family” to me is like a small society, everyone has their
position and role in this small society. They are also the first few people I connect with before I get
to know the real society. I did a series of collages with illustrations to talk about how the
connection between me and my family members was changed when a new family member came,
which is my younger brother.
The versatility of expression is mentioned as a source of joy in your artistic process. How
do you balance experimenting with different mediums while maintaining a cohesive style
in your illustrations?
After learning illustration for a few years, I did try lots of styles with different mediums and there is
a style that I am comfortable with and I could do very quickly, so I will apply this style into
commercial illustration. (But I am still trying to make the style more personal and clear). For me, I
think I have different styles for different mediums, and these styles come from everyday practice
and experimentation. After practicing for a period of time, you could find your own way to play with
the medium.
Your artwork invites viewers to reflect on the beauty and complexity of the human
experience. How do you hope your illustrations resonate with audiences, and what
emotions or thoughts do you aim to evoke?
I hope my works are not only visually appealing, but also allow or encourage audiences to think
about the question or the situation behind the work. It might be some very normal and common
objects in our daily life, such as chairs, which people usually take for granted. But after I did more
research and observation about chairs, I found there is lots of cultural or historical background
about chairs, and how the meaning of chairs have changed in society and life nowadays.

Untitle - Collage, A6, 2024

81
Can you walk us through your creative process from conceptualizing an illustration to
bringing it to life on the canvas or screen?
When I come up with an idea in my mind, I will do some quick and rough sketches on a piece of
paper. If I want to talk about a specific topic or problem, I will definitely do lots of research from
different perspectives, subjects, and also how other artists have approached this topic. Then I
probably will do some collages and trying to extract some visual elements that I could continue
work with. After that, I will do research about the format and the medium, and experiment with
different mediums. I think research and experiments are definitely essential in my working
process, it allows me to try different mediums and styles every time.
Looking ahead, what themes or ideas are you excited to explore in your future
illustrations, and how do you envision your artistic journey evolving?
I really want to explore something more than illustration, such as making some zines, collage and
painting. I would like to challenge myself to create some large format collage or 3D works. I want
my work to be more creative and playful, and hoping to be an interdisciplinary artist in the future.

Stepping into Spring

Collage, A4, 2024

Fashion collage about the vibe of Spring

82
 Cramped Quarters

Digital Art,
30x30cm, 2023

A series of illustrations that depict the real live in New York. This one
talks about people have to live in a small apartment or house because of
the expensive rent.

Daily Deluge

Digital Art,
30x30cm, 2023

A series of illustrations that depict the real live in New York. it depicts
people bearing the burden of high living costs and expensive
expenditures.

Concrete Jungle

Digital Art,
30x30cm, 2023

A series of illustrations that depict the real life in New York. This one
depicts the constructions and scaffolding that people could see every
day on the street.

83
n o t e s :
Women Art | Special Edition | VOL 43 | May 2024 | Tbilisi, Georgia