COLLECT ART

AUGUST,
2024

‘still life’ 51

SPECIAL EDITION TBILISI, GEORGIA

‘GULL’ BY ALEXANDER MACKENZIE

CONTENT:
MARK STOPFORTH 05
MARCUS CALLUM 11
ALEXANDER MACKENZIE 16

BIBI BUDZYNSKA 21
NIMMI HUTNIK 26
JUICE CUI 33
AIDENMAY 37
XIANGFEI YAN & RANYI YANG 44
JONATHAN CROFT 52

03
EDITOR'S
MESSAGE
Throughout history, still life has been a genre that In this edition, we feature a diverse array of artists who
allows artists to explore the beauty of the every day, are pushing the boundaries of still life, each bringing their
transforming the ordinary into the extraordinary. In unique perspective to the table. From hyper-realistic
this edition, we celebrate this artistic tradition and renderings to abstract interpretations, from traditional oil
examine how contemporary artists are reinterpreting it paintings to digital compositions, these artists explore the
in ways that continue to captivate and inspire. intersection of life and art, capturing moments of stillness
Still life is more than just the arrangement of objects— in a world that is constantly in motion. Through
it is a meditation on form, color, light, and shadow. It biographies, statements, and interviews, we uncover the
is a genre that invites contemplation, urging both the stories behind the works and the artists who create them,
artist and the viewer to look closer, to see beyond the offering you a deeper understanding of the genre and its
surface, and to appreciate the intricate details that significance.
might otherwise go unnoticed. Whether it is a bowl of As you turn the pages of this special edition, I hope you
fruit, a vase of flowers, or a collection of everyday find inspiration in the quiet beauty of still life. May it
items, still life offers a window into the artist’s remind you to pause, to observe, and to find joy in the
perception of the world. simple, often overlooked, moments of life.

“Bring a brioche, I want to

see you paint one: still life is
the touchstone of painting.”
Édouard Manet
04
MARK
STOPFORTH

05 Shelf life: Bottle#9 - Oil on canvas,, 62x40cm, 2024

A painter of great lyricism and sensitivity, Stopforth captures the inner life of those single objects depicted in turn on a
single shelf that serves both as a plinth and an altar. His objects hover in that space between being and non-being and
shimmer in a light all of their own all the while expressing a profound reverence for the sublime tradition.

‘’Every painting is a new painting. Another venture into the darkness, looking for that small glimmer of light, of
candles flicker on the wall from which a new piece can be found and given a life of its own. Art of the sublime
and the romantic is my tradition into which I wish to lose myself with each painting I do.’’

Your work is described as capturing the essence need an audience? When one thinks of Palaeolithic
of each object studied, realizing its most profound Art in the caves of Lasceaux it was never intended to
and internal presence. Can you explain your be seen, the ritualistic action of painting became
process for achieving this depth and sensitivity in totemic and those animals depicted took a form and
your paintings? a life of their own in the darkness. This is my starting
That sense of an internal presence of the objects point in all that I do. Creating an object from nothing
“shimmer” is a quality I naturally gravitate towards and that can then exist on its own terms.
and intuitively feel. That movement towards a sense Your art is said to express a profound reverence
of the object coming into being usually happens for the sublime tradition. Can you elaborate on
towards the end when I try to manipulate the sense what the sublime tradition means to you and how
of light that describes the objects materiality and it manifests in your work?
fragility. The sublime for me engenders a sense of awe,
How does your background as a published poet wonder and terror in the face of something bigger
influence your approach to painting? Do you find than the ego. It’s as true a sense of nature as I’ve
that your experiences in writing poetry enhance ever come across. There is as much sublimity in a
your visual art, and if so, how? rose or a dragonfly’s wing as there is in a storm at
The two fields of study and practice do have a sea, for me there’s no difference. Within my work
natural crossover in that words get inside the object there is often a sense of serendipity where the paint
and expand upon the possibilities within. Yet the has done its thing and I’m just facilitating that
words themselves become more than their moment. It’s as much about the nature of the
supposed limitations in the way that they are used in moment as it is about the finished piece.
the context of a line or phrase, paint does the same You're currently writing a book about your art and
when describing form, colour and tone. the Alla Prima style. What inspired you to embark
You've exhibited your work around the country and on this project, and what can readers expect to
notably at the RWA in Bristol. How has the learn from your book?
exposure from these exhibitions impacted your I was approached by Crowood Publishers to write a
career and artistic development? book on the technique known as Alla Prima and my
Exposure is always a good thing as it gives you a work in general. It will cover every aspect of life in
wider audience. I don’t think it matters where the the studio creating a piece from start to finish whilst
work is though, once it’s on the wall it exists within talking in detail about Composition, Light, Colour
that space and has a life of its own to live. Does Art and inspirational artists I follow.
06
Witness III - Oil on Fabriano paper, 62x40cm, 2023
Having won the Fleeting Magazine's International moments of chance produce moments of beauty.
Best Short Writing prize and being shortlisted for It’s a great technique for losing yourself in “the flow”
the Brit Writers' Award, how do you balance your of the moment. It doesn’t happen that often and it’s
time and creativity between painting and writing? only after the event that you realise you were ever
To be honest the painting has taken over somewhat. there at all. It’s a strange place to visit but one that is
I write in my head as I’m walking the dog and then without equal. It’s as close to meditation as I can be
collect those lines and passages in note form. Every in painting.
now and then I’ll revisit those notes to create a How do you hope your audience will engage with
poem or piece of prose. Actively seeking publishers and interpret your paintings? What emotions or
and entering competitions has been put on the thoughts do you aim to evoke in viewers as they
sidelines for now, though I have included a poem or experience your work?
two in the book to be. I’m always looking for that wow moment which
In capturing the internal presence of objects, what takes me out of myself. I hope that comes across in
themes or subjects do you find yourself most the paintings themselves. I’d like the viewer to also
drawn to, and why do they resonate with you? find that space within the work where they can
I’m most drawn to the minimal and to that which is likewise, lose themselves for a moment.
hinting at the epic through that which is small,
intimate and known.
Can you describe a particular painting or series Shelf life: Bottle #8
where you feel you successfully captured the Oil on Fabriano paper,
62x40cm, 2024
profound essence and internal presence of your
subject? What was the inspiration behind it?
The series which I return to every now and then is
that of a single chair placed against a wall. This is as
close to a self portrait as I’ll ever get. There is a
sense of solitude within these paintings though I title
them as “witness” and numbered thereafter. That
changes the emphasis somewhat and gives the
chair a heightened sense of presence. One of the
major influences upon my work are the writings of
Samuel Beckett and I’d like to think that shows in
these paintings. It’s an art of impoverishment,
reducing to the fragile, liminal point between being
and non being.
Your style, Alla Prima, is a significant focus in your
upcoming book. Can you share with us what
draws you to this technique and how it influences
your overall artistic expression?
I’m drawn to this technique as it allows for those
moments that are open to serendipity, where

08
Shelf life: Bottle #5 - Oil on Fabriano paper, 42x30cm, 2023
Shelf life: Bowl #5 - Oil on Fabriano paper, 62x40cm, 2024
MARCUS
CALLUM
Born in Scotland, Marcus is an Anglo-Australian artist celebrated for his realist portraits that bridge the divide between
the timeless grandeur of traditional oil painting and the nuances of contemporary artistry. His works transcend mere
physical representation, delving deep into the psyche of his subjects, eliciting a profound emotional resonance with
viewers, and opening an enduring dialogue between the art, the observer, and the portrayed.
Benefitting from extensive training in Sydney and New York, Marcus has spent his career perfecting his craft, leading to a
reputation synonymous with excellence. His artistic journey includes accolades such as the Dame Joan Sutherland Award
in 2014 and a distinguished scholarship to the renowned New York Academy of Art in 2015. Further testament to his
artistic calibre, Marcus was a finalist in Australia’s prestigious Archibald Prize for three consecutive years from 2011 to
2013. In addition to his celebrated realist portraits, Marcus has recently expanded his practice to include abstract
paintings, further broadening his artistic exploration and expression. In 2015, Marcus's steadfast commitment to artistic
distinction was rewarded when he won the Black Swan Portrait Prize (rebranded the Lester Prize). In 2018, he won the
Shirley Hannan National Portrait Prize, earning him a place among the top tier of Australia's realist portrait artists.

‘’Working in both realistic and abstract styles, painting transports me to another world where I communicate through
colours and shapes. When you look at my oil paintings, I want you to feel the layers of light, emotion, and energy - I'm
trying to transform paint into feelings. Inspired by nature and everyday experiences, my realistic pieces capture intricate
details and the essence of my subjects, while my abstract works explore broader concepts and emotions. Each piece
invites viewers to delve deeper to uncover new layers of meaning as they engage with the art. I spent seven years
studying oil painting, academic drawing, and abstract painting in Sydney and New York, focusing on both traditional and
contemporary techniques. Ultimately, my goal is simply to create art that resonates on an emotional level, bringing a
sense of magic and wonder into the everyday.’’

11 Still Life with Wine Eggs and Buddha - Oil on canvas, 28x61cm, 2011
Your portraits are known for their deep emotional resonance and psychological depth. How do you
approach capturing the essence of your subjects in your realist works?
My approach to portrait painting blends direct interaction with contemplative observation. When face-to-face
meetings aren't possible, I turn to meticulously examining photographs, which allows me to fully immerse
myself in the subtlest details of my subjects’ expressions and gestures. This deep dive enables me to
connect intuitively with their varied emotions, and to craft portraits that authentically capture the essence of
their personalities. Having grown up with a father who was a psychiatrist, I was constantly exposed to
insights into the human psyche, which has significantly enhanced my ability to perceive and depict the
emotional layers of my subjects. Each painting session feels like a journey, where I gently uncover the deeper
layers of their souls, transforming my work into a profound reflection of the true spirit of the person. This
meticulous and empathetic approach ensures that each portrait not only captures the subject's physical
likeness but also resonates deeply with their inner humanity, inviting viewers to experience a profound
emotional and psychological resonance.
You've had extensive training in Sydney and New York. How have these experiences influenced your
artistic style and technique?
My varied educational experiences have provided me with a rich and diverse set of artistic tools, enabling me
to tackle each creative challenge with a dynamic range of approaches. This broad foundation has not only
enriched my understanding but has also cultivated a versatile and adaptive painting style. I am able to
seamlessly adjust to the unique demands of each artwork, ensuring that every piece I create is both
thoughtfully conceived and exquisitely executed. This flexibility is crucial in my work, allowing me to fluently
translate my artistic vision into reality, tailored to the distinct narrative and emotional essence of each
subject.
What was the impact of winning the Dame Joan Sutherland Award and the scholarship to the New York
Academy of Art on your career and artistic development?
Both awards were truly transformative not only affirming my artistic direction but also offering the invaluable
experience of living and studying in New York - a city pulsating with artistic vibrancy. I had daily access to
incredible artists, world-class galleries, and cultural experiences. Visits to museums and galleries such as the
Metropolitan Museum of Art became a regular part of my life, each visit enriching my understanding and
appreciation of art. This exposure continually fuelled my creativity and broadened my artistic horizons, deeply
influencing both my personal and professional growth. I often describe this time as feeling incredibly spoilt,
constantly surrounded by endless sources of inspiration that have profoundly shaped my artistic journey.
Being a finalist in the Archibald Prize for three consecutive years is a remarkable achievement. How did
this recognition influence your work and public perception as an artist?
This was not only a great honour but also a significant boost to my confidence and artistic identity. This
recognition reaffirmed my approach and opened numerous doors for exhibitions and professional
opportunities. It significantly elevated both public and critical perception of my work, casting a spotlight on
my contributions to the Australian art scene (although I currently live in the UK). As a result, I experienced a
noticeable increase in visibility and interest from galleries and collectors alike. This recognition has been
instrumental in defining my career path, encouraging me to push the boundaries of my artistic expression
and to explore new, exciting projects.

12
You've recently expanded into abstract painting. How do you balance the intricacies of realistic
portraiture with the broader concepts and emotions explored in your abstract works?
Though my foundational work is in realist portraiture, venturing into abstract painting has been exhilarating.
At first glance, these two styles might seem worlds apart, but they converge in the challenges they present -
be it compositional balance, colour dynamics, or technical execution. My realistic works demand precision
and depth, focusing intensely on the subtleties of human expression. In contrast, my abstract paintings allow
me to traverse broader emotional and conceptual landscapes, tapping into a more instinctual side of
creativity. This transition between precision and freedom makes each style a study in contrast yet
surprisingly complementary. The rigorous discipline of portraiture sharpens my focus, while the liberating
flow of abstraction injects vitality and expansive new dimensions into my work. Together, they create a rich,
interwoven tapestry of artistic expression that continuously evolves and informs itself.
Can you discuss the significance of winning the Black Swan Portrait Prize (now the Lester Prize) and the
Shirley Hannan National Portrait Prize for your artistic journey?
These awards affirmed the quality and emotional resonance of my work. The recognition and financial
support from these prizes significantly bolstered my confidence, allowing me to further invest in my artistic
education and practice. This support was instrumental in fuelling my ongoing artistic journey, inspiring me to
continue developing and refining my craft with even greater dedication and passion.
Your work is inspired by nature, everyday experiences, and art history. How do these elements manifest
in both your realistic and abstract paintings?
In my realistic paintings, I strive to capture the delicate intricacies of nature and the deep complexities of
human emotions. My portraits often reflect a conscious nod to the master portraitists of the past - icons like
Rembrandt, Velasquez, and Ingres - who have profoundly influenced my approach to composition and light.
In contrast, my abstract works are where I allow myself greater freedom, stepping away from the traditional
confines of art history. These pieces are more about capturing and translating raw, immediate sensations
into visual form. Whether it's the evocative memory of hiking up a mountain and the way the light played
across the landscape, or a poignant human interaction, my abstract art focuses on encapsulating the
essence of those experiences. Here, the aim is not to render a direct likeness but to distil emotions and
moments into their purest forms, allowing the viewer to engage with the artwork on a visceral level. This dual
approach allows me to explore and express a broad spectrum of ideas and feelings, enriching my artistic
practice with both precision and spontaneity.
You mention transforming paint into feelings. Can you elaborate on how you convey layers of light,
emotion, and energy in your artworks?
I believe that the method of applying paint - the technique itself - plays a critical role in how a painting impacts
the viewer. I work in multiple layers; often three to four for simpler pieces, but portraits can involve up to
twenty or more distinct layers. These layers each capture a unique moment of emotional and perceptual
response to my subject. As light passes through these layers, it reflects at slightly varying speeds, interacting
with the viewer's eye in a way that adds depth and vibrancy to the piece.
This layering technique does more than just add visual complexity - it embeds each stroke with a history of
my emotions and reactions during the creation of the artwork. I view these layers as a physical manifestation
of the painting's vibrational energy, which transforms static paint into a dynamic field of feelings. As the

13
artwork develops, it begins to emit an energy of its own, gradually evolving into an independent entity. There
comes a point in every piece where it no longer requires my intervention; instead, it almost seems to assert
its completeness, pushing me away. This is how I know the artwork is finished. Through this process, I aim
not just to create an image, but to encapsulate and convey a living, breathing emotional experience to the
viewer.
How do you want viewers to engage with your art, and what emotions or thoughts do you hope to evoke
through your realistic and abstract pieces?
My deepest hope is that viewers connect with my art on an intimate and personal level, experiencing a
fragment of the emotions and inspirations that fuel each piece. Whether they're drawn to the meticulous
detail of my realistic portraits or moved by the visceral impact of my abstract works, I aim for each viewer to
find a moment of reflection, wonder, and dialogue. In my portraits, I seek to not only capture likeness but also
the subtle complexities of human emotion, hoping to spark a connection that resonates deeply with the
observer.
For my abstract pieces, particularly my recent works, I've focused on creating what I think of as energy
paintings. These are intended to be more than just visually appealing; they are designed to uplift, to alter the
space they occupy positively. My goal is for these paintings to exude a palpable energy that makes people
feel enriched and invigorated in their presence. Ultimately, I aspire to create art that serves as a conduit for
viewers to explore and perhaps even discover new dimensions of their own emotions and thoughts.
Having studied both traditional and contemporary techniques, how do you integrate these approaches in
your work to create pieces that resonate on an emotional level?
In my artistic process, I no longer distinguish between traditional and contemporary techniques; they have all
become essential tools that facilitate my creative expression. My art training significantly broadened my
toolkit, freeing me from previous constraints and enabling me to execute my visions more precisely and
effectively. This versatility allows me to select the most fitting techniques for each piece, whether I'm aiming
for meticulous detail or broad emotional strokes.
For instance, the strategic layering of paint not only builds visual depth but also enhances the vibrational
energy of the artwork, which I believe profoundly impacts the viewer's emotional experience. Composition is
another critical element - I meticulously plan or spontaneously adjust my paintings to capture the right flow
and emotional tone. Colour choice plays a pivotal role as well; the interaction of colours on the canvas can
evoke specific feelings and guide the viewer’s perception.
By applying paint thickly and defining edges in areas of focus, I draw the viewer’s eye precisely where I want
it, navigating their experience through the artwork. Each of these techniques - whether rooted in traditional
craftsmanship or modern innovation - converges to create a piece that not only captivates visually but that
also resonates on an emotional level.

Still Life with Wine Eggs and Buddha

Oil on linen, 36x60cm, 2012

A symbolic journey through the cyclical dance of existence - the joyous dawn of birth, the inevitable twilight of death, and the hopeful promise of rebirth. I painted this whilst studying classical academic
drawing and painting at the Julian Ashton Art School in Sydney.

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 ALEXANDER
MACKENZIE

Alexander has been a leading pioneer in working with the arts in business for over 25 years. Alexander combines his early
careers in education and social work with his business consultancy coaching and has created a dynamic experiential
approach within the world of corporate leadership development. His seminal approach to combining the creative and
strategic orientation of left and right brain preference within the context of personal development has been widely
adopted and promulgated internationally. Alexander’s unique combination of working dynamically with mind, body, and
spirit, holistically weaving artistic thinking with pragmatic business goals, has set him apart as a consultant and coach in
senior management personal leadership development in a career that has spanned decades.
Alongside his business career, Alexander has been a painter for over forty years. After initially attending Goldsmith Art
College in London in his twenties, he joined a community of artists for several years before going solo on a private path
for his art, and only coming ‘up for air’ from time to time to exhibit his work.
Alexander was initially inspired by the Italian metaphysical still life painter Morandi and later became inured by the
fantasy flavors of Chagall, the creamy impasto of Nicholas de Staehl, the innocent idiosyncrasy of Henri Rousseau, and
arriving latterly at a palette more reminiscent of the intensity of the Scottish Colourists. Alexander is eclectic in using
slushy oils, chalk, and powdery pigment dappled with found paper patterns, leaves, and dried flowers. His visceral
approach can sometimes result in an almost 3D surface including glitter, palette knife sculpting of paint, and iconic
chalice-like images. His landscapes shimmer, stick, and Swashbuckle with energy and continually bring the eye back to
an unquiet holiness of surface wrestling within the surface.
About 10 years ago, Alexander completed a Master in Fine Art at the University of Birmingham, where he decided to take
a more definite and outward-facing step in his art. This was followed by a Masters in Illustration at Edinburgh University
which he completed this year with a distinction. During his degree, he has written and illustrated several books for both
children and adults which have been published by Tecassia Publishing UK, as well as by Superlux in Denmark and
Erzaehlverlag in Germany. For his painting work, Alexander is represented by The Scottish Artists Gallery.
Alexander’s core value of passionate integrity is reflected in his ambition to support individual artists who want to make a
creative difference in the world.
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 Bone

Oil, chalk & collage

150x120cm, 2022
You have an extensive career spanning over 25 better word, is strategic and our right brain takes
years, combining arts with business. Can you risks believing in the brighter bonnie way of life. It is
share how your early education and social work our right brain that describes the impossible and can
careers influenced your approach to business be relied on when the chips are down. I have had the
consultancy and coaching? good fortune to have been asked to put the
From the beginning, I have always been passionate experiential process of leadership between people as
about what makes people tick: in education, as a the paramount and theoretical practice of leadership
teacher I was initially bowled over by how people as a comely ‘second fiddle’ - enter the activity of
took information and applied their own preferences making artistic practice the seminal process for
first and their wider understanding after that. This understanding interrelationships with others.
was also apparent in my early dabbling with You are known for dynamically working with mind,
business consultancy and later with individual body, and spirit. Can you elaborate on how you
coaching. Coaching one to one, in the beginning, holistically weave artistic thinking with pragmatic
opened me to the art of listening as a discipline for business goals in your coaching sessions?
examining nonconceptual awareness. It was the In my earlier days of education as a teacher, I learned
original playground of still life painting. that thinking, feeling, and action were interrelated. I
Your work integrates left and right brain became preoccupied with blending these
preferences within personal development. How do intelligences through the protocol of silence and
you achieve this balance between creative and deep reflection. I learned about the non-conceptual
strategic thinking in your leadership development experience of a ‘secret sense’ that I first experienced
programs? on a spiritual retreat, which was akin to my
To be clear, it is my experience that people are experience of exploring the virtue of still life painting.
moved in one way or another before they act. Our To this day the connection between business goals
left brain calculates the difference and for want of a and personal artistry remains a ‘secret sense’.

18 Royal - Oil chalk & collage, 150x120cm, 2022 Blue - Oil chalk & collage, 150x120cm, 2022
Having been a painter for over forty years, how do colours that riff and splash. Wrestling with the
you balance your artistic practice with your image on the canvas is the essential art of a painter
corporate consultancy career? worth his salt.
For as long as I can remember I have been a painter. Your work includes a mix of slushy oils, chalk,
For just as long I have combined painting with powdery pigment, and found objects. How do
everything I did, including corporate consultancy. For these materials contribute to the almost 3D
me, the ability to speak with prosody, elan business surface of your paintings and the overall sensory
structure and vision has a similar aspiration to being experience you aim to create?
artistically creative and being personal. In the art of A bundle of paint tubes and a handful of brushes
relationships, communication with a refreshing are all that anybody needs to start painting. Throw
heart has always been the most important. in a palette knife and some slushy bright medium
Your artistic style has evolved from being inspired and you are off. I discovered soft chalk in my early
by Morandi to the intensity of the Scottish artist’s life as a bon viveur remembers butter for
Colourists. Can you discuss how your influences making good food delicious, and later collage as a
have shaped your unique artistic expression over backstop to my stroke. As long as I had beautiful
the years? paper and flowers I have been grateful for the
Morandi was, and still is, of primary importance as a sudden completely unforeseen seizure of my
still-life painter. The ability to see the archetypal in painter's hand to unfurl beauty. Just like any tasty
still life, to be unhurried and un-harassed are key to meal or successful strategy, the basic ingredients
my painter’s eye. To add colour and vivacity, to bring work best if they are already mouth-watering before
alive, are wholesome qualities that I doff my cap to you start.
with the Scottish Colourists. I owe this quality of Completing a Masters in Fine Art at the University
taking time, meandering through my palette making of Birmingham marked a significant step in your
artistic journey. How did this experience influence

19 Yellow urn - Oil chalk & collage, 30x40cm, 2024 Gull - Oil chalk & collage, 55x65cm, 2021
your decision to take a more outward-facing Can you share the themes you explore in your
approach to your art? illustrated books and how they relate to your
There comes a time in all our lives when we review broader artistic vision?
our outward successes. Despite a lifetime in my The book for hospice children (Humbert Bear Likes
studio I began to wonder: ‘What have I achieved?’ In to Doze) became a book of illustrations in the
my fifties, I decided to do a Master's in Fine Art to world's first children's hospice as a permanent
take myself differently, in an outward-facing exhibition. The theme of the plight of children dying
approach to being seen as a professional artist. I quietly and beautifully in children’s hospices hit an
entered the world of academia. international orientation for the contemplation of
You have also completed a Master's in Illustration impossible human experience. I was approached by
at Edinburgh University, where you wrote and the international book market to explore other
illustrated books for both children and adults. How impossible dreams. Divining the art of Still Life
does your background in fine art influence your approaches this dream.
work in illustration and storytelling? As someone ow do you support individual artists
Having completed my Fine Art Masters I began to who want to make a creative difference in the
experience life as a bona fide artist and increasingly world, and what advice would you give to
I reinforced the practice of art and storytelling into emerging artists?
my corporate work. I also began to explore the world These days I am very passionate about individuality
of illustrated books, especially following a in the studio, self-reflecting on the theme of the
recommendation from a senior leadership group ephemeral art of kindness, contemplation with
that I should follow the story of being more fully others about artistic practice, and leading a creative
awake with dying children in a hospice. That work professional life. I continue to explore still life as the
led to upping my game as an international storyteller method for understanding the universal and the
and illustrating books. artist as a public visionary.

20 Glass - Oil chalk & collage, 55x65cm, 2020 Dirty cup - Oil chalk & collage, 55x65cm, 2022
 BIBI BUDZYNSKA

Sometimes the artist's biography leads us to a better understanding of the work. Bibi was born in
Poland and her family moved to Sweden. From there she came to the Netherlands. She studied at
the Vrije Academie in The Hague and was accepted into the Visual Arts department at the Royal
Academy of Art there. However, her attitude was not suitable for following the pattern of the study;
her motivation was already so great that the endless exercises and the imposed reflection could not
fascinate her. She had to quit her training prematurely.
Since then she has continued to paint steadily. The experience of many years of experimentation
and self-examination can be read in her paintings. The experiences of her youth are regularly
reflected in her work. They are embedded in a world that seems lost forever.
Everything is done in an intuitive way. She has a memory image or she assembles a painted whole
from different elements. Sometimes she uses different perspectives in a painting. This results in
particularly arresting scenes where the viewer is hit on the head by sloping surfaces.
This is not about the bravado of painting; all objects, people and animals are painted in an
elementary way. There is nothing too much about brush strokes and texture of painting here. Only
what is needed to bring an image to life.
The color spectrum evokes the world of the former Eastern Bloc. Bibi uses strangely stuffy colors
that we have forgotten. She shows people in all their vulnerability and objects in couples' lives gain a
strength that can only be achieved through long work and consideration.
When Bibi is at work something happens; it's not just about the result. An energy is palpable, a
struggle to make visible the tormented nature of our existence.

Written by a teacher from the Art Royal Academy

21
Your journey has taken you from Poland to Sweden, and now to the Netherlands. How have these
different cultural experiences influenced your artistic style and the themes you explore in your work?
In my work, you can see themes inspired by the different countries that I visited and lived in. Mostly they are
landscape and still lifes.
All the images are created out of my memory and often they reflect a feeling of nostalgia.
You studied at the Vrije Academie and the Royal Academy of Art in The Hague but left due to the restrictive
nature of the training. How did this decision shape your approach to art and your development as an artist?
At the Vrije Academie, I could paint whatever I wanted. I was free to examine the painting in different
directions.
The academic study at the Royal Institute was more difficult because of all the strict rules of classical
painting. It was hard to change my style of painting. I already developed my style.
Your paintings often reflect the experiences of your youth, embedded in a seemingly lost world. Can you
describe how specific memories or experiences have inspired particular pieces in your collection?
Because my childhood time is gone, I try to bring back the memory through painting.

For example: the still-life Tea and Lemon

is a still life that represents the typical
Polish way of drinking tea. By adding the
lemon I want to evoke the taste of it.
Your work is characterized by an
intuitive approach, often combining
different elements and perspectives.
Can you explain your creative process
and how you decide which elements to
include in a painting?
I try to ignore the classic rules of
perspective and anatomy and just paint
in a more intuitive way. This leads to a
more naïeve/primitive style which I
prefer.

Tea with Lemon

Acrylic on canvas, 25x25cm, 2022

You use a unique color spectrum that evokes the world of the former Eastern Bloc. What draws you to
these "strangely stuffy colors," and how do they contribute to the overall impact of your work?
The unsual colours I use, give more expression to the painting and makes the nostalgic effect stronger I
think.
Your paintings feature sloping surfaces and multiple perspectives, creating arresting scenes. What is
your intention behind these compositional choices, and how do you hope they affect the viewer?
By making strange compostional choices and using incorrect perspective I try to attract the viewer attention.
22
 Teapot for everything
Acrylic on canvas, 50x30cm, 2023
 Bloem stilleven
Acrylic on canvas, 50x40cm, 2023
Your depiction of people and objects emphasizes their vulnerability and strength through simplicity and
consideration. How do you balance the elemental nature of your brushstrokes and textures to achieve
this effect?
I work in different layers to create depth, although the image looks really simple and sometimes childish.
The brushstrokes are expressive but not overdone, a lot of things that happen during painting are
coincidences, things don't have to be perfect I think.
When you are at work, you mention that energy and struggle become palpable. Can you elaborate on
what this creative process feels like for you and how it influences the final result of your paintings?
When I paint it gives me joy and energy. Sometimes it makes me calm and contemplative.
Your work often conveys the tormented nature of our existence. What drives you to explore such themes,
and how do you hope your audience will connect with and interpret these aspects of your art?
Many of the themes are about my childhood time which doesn't exist anymore (only as a memory). It is a
universal subject that everybody recognizes. By painting this I try to connect with the viewer.
Looking back at your years of experimentation and self-examination, how do you feel your art has
evolved, and what lessons have you learned that continue to guide your practice today?
After all these years I realized that perfection and beauty are not the most important. In my view, it's about
memory, self-reflection, fate, and coincidence.

25 2 avocados - Acrylic on canvas, 18x24cm, 2023

NIMMI
HUTNIK
Nimmi was selected as one of 35 artists for Bloomberg New Contemporaries 2020 with her painting titled "Friday
Evening." One of her drawings, "Burnout," was featured in the Trinity Drawing Prize Exhibition 2019. She completed an MA
in Painting in 2019 from UAL - Wimbledon College of the Arts. Recently, her painting has shifted towards expressing
socio-political realities, aiming to raise awareness of human structures, as seen in works like "The Big Issue 1 and 2."
However, she also creates Still Life paintings to lighten the mood and convey hope and peace. She identifies her art as
metamodern rather than postmodern. She is British-Indian by nationality.
I Love You Muchly
Ink & Acrylic on canvas,, 35x49cm, 2023

26
‘’While much of my work queries the socio-political milieu of the global village in which we live, I have always
turned to painting to glean therapeutic benefits from the very process of painting itself. Still lifes provides me
the opportunity to quieten my mind and turn my focus outward. Rather than being dark and somber and
intense as are my political work (see for example ‘Stop the Boats 1 and 2’) my still life paintings portray
sunshine and love and joy and mindful presence to Providence within my own life. They have been influenced
by both Chris Gollon and Howard Hodgkins to whom I owe a debt of gratitude. The ability to remain hopeful
in the presence of apocryphal disaster is what I see as Metamodern art.

I work with oils and acrylics on canvas, paper, and board. In my

most recent Still Life ‘My Favourite Things 1’ I have experimented
with mixing the two media in layers on the canvas. I deliberately
broke the traditional norm of acrylic first then oil to create an
interesting effect of rolling white oil paint mixed with water on top
of a layer of acrylic. This is therefore a durational painting and will
change over time.‘’

My Favourite Things 2
Oil on canvas,
61x61cm, 2014

Can you share the inspiration and thought process behind your painting "Friday Evening" which was
featured in Bloomberg New Contemporaries 2020?
For many years I have practiced as a psychologist. Friday Evening captures the exhaustion and loneliness of
a woman who has completed a demanding work week. She perambulates around her flat, facing the
prospect of an empty weekend ahead with only wine, chocolates and sleep for company. This is a statement
about the alienation that many single people face in large metropolitan cities. It is thus a social-psychological
critique of the way modern city life is structured.
Your drawing "Burnout" was included in the Trinity Buoy Wharf Drawing Prize Exhibition 2019. How does
this piece reflect your artistic journey and themes you explore?
Ever since I was 16, I have had a spiritual practice and a deep sense of the Unknown. Mostly this has been
within the confines of Christianity as I was born a Catholic and Christian mysticism has increasingly informed
my thinking. While doing an MA in Painting at UAL- Wimbledon College of the Arts I was captivated by the
Japanese Zen Buddhist concept of ‘wabi sabi’, the three major tenets of which are imperfection,
incompleteness and impermanence. Using these tenets as guiding
artistic principles, I built in impermanence by using non-archival
drawing inks that I import from India, incompleteness by leaving
large empty spaces in the drawing/painting and imperfection by
transcending the rules of perspective and by using bamboo pens
that produce loose and unpredictable brush strokes. ‘Burnout’ was
originally part of a triptych and was precursor to Friday Evening.
Subsequently I have produced many paintings in this vein using the
principles of wabi sabi.
27
What motivated you to transition your focus towards expressing socio-political realities in your paintings,
such as "The Big Issue 1 and 2"?
I do not really see The Big Issue 1 and 2 as a change of focus. Both Burnout and Friday Evening were a
portrayal of the alienation and loneliness of single people in the City. The Big Issue 1 and 2 was a
continuation of this theme, describing the struggle of a homeless woman to find a place to sleep. She
chooses the Circle Line on London Underground as being the place where she would least likely be disturbed,
as it goes around in circles. In The Big Issue 2 she is crowded out by early morning commuters: we identify
her by her Morrison’s bag and her hip being bathed in sunlight. In all these paintings my focus is on suffering.
The difference lies in the medium: the former two use drawing inks, the latter two use acrylics and oils.

Can you elaborate on how you define "metamodern" art and how it differs from post-modern art in your
work?
Metamodernism is a term used to describe ‘developments in aesthetics, culture, politics and economics
that…can no longer be understood simply, i.e. exclusively, in terms of the postmodern’. (Turner, L.
Metamodernism: A Brief Introduction, Theory, Jan 2015). The key term that hallmarks metamodernism is
‘the structure of feelings’ or, to put it more descriptively, ‘feeling that structures’. According to Vermuelan and
van der Akker (2015), the progenitors of the term, the 2000s have been characterised by developments that
cannot be captured by the term ‘post-modern’, and the cultural landscape is therefore ripe for a new
conceptualisation of what is happening on the global scene. Just as the 60s were the essential defining time

28
for the movement from modernism to post-modernism, the authors see the 2000s as a historical period that
is ripe for a cultural paradigm shift beyond post-modernism. The feelings that inhabit the cultural products of
post-modernism describe the sense of an ending: the global financial recession, the pandemic, the wars in
Gaza and Ukraine, Trump’s crimes, and potential re-election. Apocryphal thinking has preoccupied the minds
and writings of many post-modern cultural theorists. For Jameson, as quoted in Vermeulen and van der
Akker (2015) postmodernism was the structure of feeling of endings – the end of History, the end of
“ideology”, the end of the social, the end of art; one that was expressed in many different forms: pastiche,
eclecticism, the nostalgia film, photorealism and so on. Metamodern cultural products and thought, on the
other hand, recognize the existence of hope amid socio-political crises that precipitate despair. Notice the
recent counter-fascist, anti-racism protests that spontaneously arose in many cities in the UK in the face of
right-wing violence, post the murder of the three young girls at a Taylor Swift-inspired dance class. For a week
since I participated in this interview, Banksy has populated London with a string of unusual animal pictures
including pelicans, monkeys, elephants, and a large cat. According to the artist, the latest series of graffiti has
been designed to cheer up the public during a period when many of the news headlines have been bleak, and
light has been harder to spot than shade. (Vanessa Thorpe Meaning of new Banksy series revealed as latest
London artwork emerges’ The Guardian 10th August 2024.) According to the same article, Banksy also funds
a rescue boat that has been working to help endangered asylum seekers reach safety. The MV Louise Michel
has picked up 85 survivors in the last couple of days, taking them safely to Pozallo, Sicily. Some have
described metamodernism as the reconciliation of opposites into a harmonious whole but Vermeulen and
van der Akker vehemently oppose this view. Instead, they posit that metamodernism is the simultaneous
inhabitation of irreconcilable opposites where no attempt is made to integrate them.
My art is a ‘structure of feelings’ in which irreconcilable opposites co-exist and cannot be integrated into one
harmonious whole. Thus the feeling created by ‘Stop the Boats?! 2’ is one the marvels at Man’s inhumanity to
Man or to put it in more politically correct terms, Human Beings’ inhumanity to other Human Beings. At the
very same time, ‘My Favourite Things 1’ are images of hope lightness, and love. I inhabit both these
‘structures of feelings’. My feelings are structured by socio-political happenings ‘out there’ as portrayed by
news items that overflow into my paintings and also by the familiar objects within my home that portray hope
love and safety. In my paintings, I also hope to create feelings within the viewer of both despair on occasion
and hope on other occasions. These images are not reconcilable, nor will I attempt to reconcile them. They
exist within me as two bodies of work, within the same artist.

Stop the Boats 1

Acrylics on Board,
51x65x2cm, 2024

Stop the Boats ?! 2

Oils on Board,
120x100x3cm, 2024

29
How does your British-Indian nationality influence your perspective and approach to both your socio-
political and still-life paintings?
I became British 20 years ago. Up till then I was fiercely proud to be Indian having lived and worked in India
for a time. Thus, I straddle two cultures and reap the cultural riches of both. In my painting, ‘Unsung Heroines’
I critique the impenetrable class structure and impossible poverty traps that many domestic workers in India
find themselves living within. In ‘Modi What Have You done?’ I question the wisdom of Prime Minister Modi’s
unthinking imposition of Lockdown upon the Indian population, many of whom were unable to sustain
themselves without regular income in the big metropolitan cities and therefore had to travel back to their
villages by foot.
In my drawings, my use of bamboo pens and ink is informed by the Madhubani paintings from Bihar, India?
which used to adorn my bedroom walls when I was a child. The thin black line to determine form is also
present in the Scvias of Hildegard Von Bingen, a Christian mystic of the 12th century. Many of my fruit, flower
and still life paintings use the black outline.

My Favourite Things 1
Oil and acrylic on canvas,
61x61cm, 2024

30
You mentioned finding therapeutic benefits in painting still lifes. Can you discuss how this practice helps
you achieve a sense of peace and mindfulness?
While doing my MA in Painting, my habit was to wake up at 6 am and begin the day using my Sharpies and a
limited palette of red and black upon white. Sometimes, I would draw things that I saw in my bedroom. At
other times, I would attend to my internal world and express feelings of anxiety, despair, stress. This was
highly therapeutic and throughout the day I would be thinking about what I would put down on paper the next
morning. I produced over 200 6 am paintings. The process of sitting in one’s bed , bent over a sketchbook
was a meditative process. It brought me peace and stillness.
My still lifes are therapeutic because they require me to turn my psychological eyes outward, outside of my
own anxieties and fears and attend to details of form and light. This produces deep peace and self-
forgetfulness and flow. They are also therapeutic because the vibrant colours I use in my still lifes have been
influenced by the vibrant colours I used to see in the Indian landscape.
How have Chris Gollon and Howard Hodgkins influenced your artistic style and approach to creating still
lifes?
I was introduced to Chris Gollon a few years before he died and had the privilege of talking with him and
watching him paint in his studio. Since he died, I have repeatedly watched him on you-tube painting still lifes
and women and have deliberately tried to incorporate some of his techniques into my skill set.
I became aware of Howard Hodgkin when the British Council Invited him to design the façade of its building
in the centre of New Delhi. The design caused some consternation across the city, and I began delving into
his art. I am fascinated by his use of dots and began to experiment with how to produce them. This is what I
now do. I use a potato which I have carved such that it can be dipped in paint. Needless to say, the
antecedent of all of this dot -painting is the post-impressionist paintings of George Seurat and Bridgit Riley
who produced different colour sensations in the eye by juxtaposing different colours on the canvas. Of
course, Yayoi Kusama’s work gives me permission.

My Tureens 1 My Favourite Things 4

Oil on unstretched canvas, Oil on unstretched canvas,
40x40cm, 2011 43x40cm, 2014

31
In your recent still life, "My Favourite Things 1," you experimented with mixing oils and acrylics in layers.
What was your goal with this technique, and how do you expect the painting to change over time?
My goal was to flout the current tradition of never mixing oil and acrylic paint to see what effect it has. Of
course, many artists use oils over a background of acrylics but acrylics over oils? And oils mixed with water
instead of oil? And drawing inks over oils? I hope thereby to produce effects that are impermanent, imperfect
and incomplete. It is impossible to predict what will happen in this kind of durational art. Time will tell.
How do you balance the intense themes of your socio-political works with the lighter, more hopeful
themes of your still lifes?
The socio-political paintings require me to spend a lot of emotional energy uncovering the stories of suffering
people and then painting these narratives. Last year I heard one of my viewers say of Friday Evening , ‘I love
the painting but I couldn’t live with that on my walls’. So I have tried to learn from JMW Turner who painted
horrific themes within beautiful landscapes. See for example Slaver Ships by Turner and Stop the Boats ?!1
and 2 by me. My still lifes are the painterly equivalent of comic relief in Shakespeare who peppers his
narrative with a humorous scene or two. The still lifes also require a different, more peaceful sort of
emotional energy from me as I paint. As a psychologist, I wrote a book in 2017 called Becoming Resilient:
Cognitive Behaviour Therapy to Transform Your Life (Harper Collins) in which I describe the psychological
processes required to bounce back after tragedy or difficult life events. My still lifes are my route to regaining
resilience after an intense period of immersion in socio-political tragedy.
Can you discuss the challenges and rewards of addressing socio-political issues through art, particularly
in pieces like "Stop the Boats 1 and 2"?!
Stop the Boats?!2 sold at a recent exhibition because at first it is a beautiful seascape, until one sees the
over-turned boats and the people drowning. Thus, the Turneresque qualities of combining terror and beauty
in a single piece work better than perhaps the sole portrayal of terror.
How do you hope viewers will respond to the contrasting themes in your body of work?
I wish I knew. The exhibition that Collect Art has launched and curated is the first of its kind in recent time,
concentrating solely on Still Life. My Still Lifes use techniques that lie beyond the purview of traditional
classical painting and thus have a contemporary feel to them. I take hope from the work of Picasso, Grayson
Perry and others like them who did not confine themselves to one style or one theme but tried their hand at
many different mediums and methods of expression.

What are your thoughts on the role of contemporary art?

Traditionally, socio-political issues have been the purview of
photographers and graphic illustrators for magazines such as
Newsweek and The Economist and cartoonists who capture
and caricature the faults of foibles of politicians or political
situations. I would like painters to claim more space in raising
awareness about socio-political issues. It is an unparalleled
opportunity to document history for millennia to come, where
digital art or newsprint might be lost to view.

My Favourite Things 3 - Acrylic on paper, 38x36cm, 2023

32
 JUICE CUI

Juice is a relentless innovator in the realm of avant-garde artistry, a performance virtuoso hailing from an enclave of
isolation. Her creative oeuvre traverses the dimensions of artistic expression, commencing with two-dimensional classical
paintings and illustrations, then advancing boldly into the realm of three-dimensional contemporary short films and
sculptures, and ultimately ascending into the fourth dimension, characterized by spatial sound design and digital media
manipulation.

A Series of Blue

Acrylic on canvas,
60x80cm, 2023

33
Can you describe what initially inspired you to explore varied forms of expression?
I embarked on my artistic journey at the tender age of 4, dedicating a significant portion of my life to painting
and illustration. In my formative years, I was captivated by picture books, zines, and the world of radio
dramas. I was among the pioneers to participate in live broadcasts of children's books as a voiceover artist
on LiZhi FM. My initial aspiration was to create engaging audio-enhanced children's picture books until the
rise of E-books and teasers altered the landscape. Much like many artists, one of my most cherished works is
Van Gogh's "The Starry Night." The fusion of his iconic quote with the painting in an album left an indelible
mark on me: "I put my heart and soul into my work, and I have lost my mind in the process.”
How does your background in an enclave of isolation influence your avant-garde artistry?
Since I usually create in quiet environments, such as closed spaces or forests, I find it easier to think
independently and critically about how to connect myself with the world. I have a strong passion for
producing contemporary dance work or theatre work, and I believe that choosing empty outdoor spaces
allows for greater exploration of body movements.
How do you balance classical techniques with cutting-edge digital media in your creations?
In my documentary films, I often include animations created with TouchDesigner to enhance their appeal. I
sometimes input my films into Touch Designer to generate some innovative effects. In my sound art
installations, I frequently combine classical compositions with electronic elements.
Can you discuss the transition from 2D art forms to 3D contemporary short films and sculptures?
This dates back to 2020 when I was working on my 2D painting series "Rebirth." There was an opportunity to
showcase this work in an exhibition space, and I drew inspiration from artists like Christian Boltanski and
Yoshitaka Amano. Given that the space was larger than my illustrations, I quickly envisioned transforming the
series into a 3D installation. It was a challenging decision to hang large fabrics and experiment with
projection mapping for the first time. Ultimately, I turned this series into a performance art short video to
commemorate the experience.
How do you define the fourth dimension in your work?
At the core of my artistic ethos lies a profound emphasis on the fusion of sounds of acoustic instruments
and dance improvisation, seamlessly integrated within the avant-garde framework of contemporary audio-
visual communication. One of my key projects, “Transmission of Information,” is an audio-visual exploration
of how information is conveyed and transformed across seven human senses - hearing, smell, taste,
vestibular sense, sight, touch, and proprioception - and their interconnection with societal structures. This
project comprises seven sound installations, seven televisions, each depicting a dancer associated with a
specific sense, and a 20-minute octophonic composition centered on acoustic improvisation.
Interactive Experience x Dance Film + Sound Art
Transmission of information, 2023,

34
In what ways does your performance art interact with and enhance your visual and digital creations?
Performance art brings a sense of immediacy and liveness, deepening audience interaction. Puppetry, for
example, enriches my visual and digital creations by infusing them with a tangible, narrative-driven
dimension. It allows me to animate the themes and characters from my visual and digital work, turning static
images or digital designs into living, breathing entities that tell a story.
Your artistic approach is described as relentless innovation. Can you share an example of a project where
you pushed the boundaries of conventional art forms?
Drifting (2024) is a sound art installation, featuring works focused on cultural identity and perception, mail art,
and relational aesthetics. It utilizes analog technology, employing cassette recorders to capture
soundscapes, and invites participants to contribute by writing on postcards. This interaction prompts a
reevaluation of the convenience, variance, and evolution of recording technology. The installation also
incorporates techniques such as lampworking and glass fusing, sculptural mosaic creation, casting, riso
printing, thermography, and the organization of a wind-up toy workshop, showcasing its craftsmanship and
inherent fragility.
Included in the installation is a 46-minute
ambisonic sound collage that combines field
recordings from seven cities—Shanghai, New
York, London, Paris, Belgrade, Barcelona, and
Copenhagen—with interviews that capture
the unique auditory essence of each location
on cassette tapes. Also featured are Printed
Riso postcards showcasing photographs
taken by volunteers during the recording
journey in these cities. 'Talking Ear', an
audible sculpture, encourages the audience
to send a postcard, while an interactive mailbox securely holds these postcards, which are set to be delivered
in 2026. The materials used in these creations include eggshells, plaster, glass, and 3D-printed materials.
Additionally, a kinetic sculpture, made from an old bicycle, a hammer, and a glass foot, reacts to participant
interaction.

35 Drifting, 2024, Sound Art installation

When a participant interacts with the pedal the hammer collides with the glass foot. Over time, as the foot is
struck, the glass will break, conveying that within the passage of space and time, the message sent by
postcard will arrive disconnected from its initial presence.
How do you conceptualize and integrate spatial sound design into your artwork, and what impact do you
aim for it to have on your audience?
Agnieszka Roginska and Paul Geluso stated: “Immersive sound produced over loudspeakers or headphones
has the capacity to deliver a seamless illusion of alternative reality and change the way we relate to and in
sound. It can revolutionize how we interact with, listen to, and live with music. It can redefine how we
entertain, how we communicate, and how we collaborate. It opens creative possibility never imagined before,
and it has the potential to improve the quality of life.” I think most of the time multichannel work aligns
closely with my theatrical work. The spatialized audio format enhances the immersion, providing a greater
sense of space, and an enhanced dynamic range, and allowing for tailored customization and flexible seating
arrangements for the audience. It also enriches the narrative and thematic elements by guiding the
audience's focus and evoking specific moods or responses.
Can you elaborate on the themes and messages you aim to convey through your avant-garde artistry?
Diversification and involution. I aim for my work to be compelling and, thus, embrace collecting a multitude of
samples. I consistently review and reflect upon my work from a third-party perspective. My penchant for
involution translates into daily multitasking—making the most of my abilities and time. I'm mindful not to
squander precious moments, and this approach inevitably influences my artwork, resulting in layers, chaos,
spontaneity, a lack of order, vibrancy, and intensity.
What role does digital media manipulation play in your overall artistic vision, and how do you see this
evolving in your future projects?
In my present work, digital manipulation allows me to play with textures, colors, experimental electronics, and
movements in precise yet infinitely varied ways. It enables me to layer several pieces and blend them into
intricate compositions that change dynamically in response to the viewer's engagement or the place they are
in.
Looking ahead, I see digital media manipulation becoming even more significant and effective in my future
endeavors. As technology advances, I expect to discover new tools and platforms that provide greater
interactivity, real-time processing, and even more seamless connections between the digital and physical
worlds. I want to create artworks that are more than just static pieces, but living, developing beings that adapt
to their surroundings and audiences. This may entail a greater integration of AI, augmented reality, or other
future technologies, allowing my work to cross traditional borders and engage audiences in more imaginative
and relevant ways.
And I firmly believe in the power of my voice: "I always believe: I have a voice. In the future, someone can hear
you." The freedom of creation has been a continual pursuit throughout my life.

36
AIDENMAY

AidenMay is a creative collective with lead artist Carl Aiden Brown and partner & business associate Kirsty May Brown.
As the lead artist Carl Aiden Brown has created art from a very early age and continued throughout his life. Carl’s passion
has grown with a profound interest in design, photography, and an anthropological approach to surrealism, portrait, and
landscape art. Carl takes his inspiration from the Victorian, vintage, and Gothic eras, with influences from the 17th
Century Dutch Masters. Carl has a keen focus on dimension, contrast, and juxtaposition, aiming to create art that is
accessible and contains multitudes of interpretive narratives. Invoking emotion and commentary with every creative
work.
His collaborative partner Kirsty May Brown, a writer and creator, brings her influences into the art, offering keen insight
and creative support, to produce original and authentic art, aimed to inspire thought and contemplation on every piece.
Carl is self-taught in modern disciplines but is also classically trained, studying under L.S. Gandini from Chertsey in
Surrey. Carl is proficient in many traditional mediums including pencil, watercolor, acrylics, and oil painting, and recently
developed digital art.
Despite the 40+ years of studying and creating art, Carl considers himself an emerging artist, aiming now to make art his
full-time career.

‘’As an artist, my goal is to create works that resonate deeply with viewers, inviting them into a world
of emotion and contemplation. With each piece, I strive to craft a visual journey that brings joy and
sparks a sense of exploration, revealing new facets with every viewing.
My art is a fusion of classical techniques and modern sensibilities, drawing inspiration from
Victorian aesthetics, Gothic motifs, and the timeless mastery of 17th-century Dutch painters.
Through my work, I aim to bridge the gap between past and present, creating pieces that are both
familiar and refreshingly novel.
I believe in the power of art to inspire and provide a sanctuary for reflection. By focusing on
dimension, contrast, and juxtaposition, I create multilayered narratives within each piece. These
narratives are open to interpretation, allowing viewers to find personal meaning and connection.
In collaboration with my partner, Kirsty, I strive to produce authentic and original art that challenges
perceptions and invites dialogue. Our collective, AidenMay, is dedicated to creating accessible yet
profound works that hold space for viewers to reflect, enjoy, and find their own stories within the
canvas.
My journey as an artist is ongoing, and with each piece, I aim to grow, explore, and push the
boundaries of my creativity. It is my sincere hope that my art not only decorates walls but also
enriches lives, offering moments of joy, contemplation, and inspiration to all who experience it.’’

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 Echoes of Childhood - Victorian inspired Still Life Fine Art Print
Digital Art, 10x8 up to 40x30, 2024

This evocative still life transports viewers to a realm of childhood nostalgia. This piece serves as a portal to the past, stirring emotions of comfort, joy, and the bittersweet passage of
time. "Echoes of Childhood" captures the universal experience of childhood, but when remembered by the individual it could be rich or opulent, or one of small flaws or broken toys. A
grand fireplace bathes the scene in warm light, illuminating a collection of vintage toys that whisper tales of innocence and wonder. A proud rocking horse scattered wooden blocks, and
a whimsical jack-in-the-box populate the scene, alongside a charming clown and mechanical toys that embody childlike curiosity. Meticulous detail enriches every element, from the
ornate rocking chair cradling a delicate China Doll to the intricately carved toy box. The interplay of light and shadow creates a cosy intimacy, inviting viewers to explore the myriad
small details hidden throughout.
Carl, you have a profound interest in surrealism, portrait, and landscape art with influences from the
Victorian, vintage, and Gothic eras. How do these historical influences shape your creative process and
the themes in your artwork?
These historical influences have always fascinated me, in terms of their aesthetics and creativity, but also the
inherent obsession with the boundary between life and death. For me, it speaks to an inner drive to push
boundaries within the perceived framework of conformity to societal expectations in a way that challenges
both perception and acceptance of self and others.
You mention that your art aims to be accessible and contains multitudes of interpretive narratives. Can
you elaborate on how you balance creating art that is both open to interpretation and deeply personal?
For me when I start to formulate an art piece, I try to convey the deeply personal emotion that I am
associating with when creating the images, but in such a way that the overall composition creates a space
for the observer to enter and interpret within their own experiences. This I try to do so the viewer can connect
with the artwork in a more personal way.
Kirsty, as a writer and creator, how do you contribute your influences and insights into the collaborative
process with Carl to produce original and authentic art?
Carl refers to me as a magpie, as I am obsessed with bright and interesting concepts, whether they be
articles, exhibitions, philosophical works, or modern tech. I encourage Carl to experience more in the external
and socially focused sphere. I bookend my contribution with evaluative insights towards the end, with what is
missing or slightly askew, so Carl can take that perspective and run with it to elevate and finish the piece.
Carl, you are proficient in many traditional mediums and have recently developed digital art. How do you
integrate these different mediums into your work, and what challenges and opportunities do you find in
combining traditional and digital techniques?
Having discovered through working with Kirsty the emerging digital tools available, I can use the technology
to support the creation of the imagery and composition. However, I fully utilize traditional learning and
techniques within this process such as the lighting, the contrasts, and technical aspects of ratio, depth,
perception, and interpretation. The main challenge in digital is being able to compensate for the missing
effects, brush strokes, and texture that can be achieved with pencils, oils, watercolors, and so forth.
Despite your extensive experience and 40+ years of studying and creating art, you consider yourself an
emerging artist. Can you share your perspective on this self-identification and how it influences your
current artistic journey and goals?
As I am autistic it has always been difficult for me to bring depth and emotional expression to my work. But
through working with Kirsty, who is a somatic bodyworker, she has helped me bring that expressive element
to my work. Through the exploration of the intersection of past trauma and being open to the embodied
emotions, I have internalized, because of my lived experiences. In this way, I feel I am still an emerging artist.
Your work takes an anthropological approach to surrealism. Can you discuss how your interest in
anthropology informs your artistic exploration and the narratives you aim to convey through your pieces?
Anthropology and surrealism are concepts that I had an interest in, but they did not form part of my creative
process until I met Kirsty. A turning point for me in art was when Kirsty May took me to the immersive Dali
exhibition experience in London last year. I also have Kirsty May to thank for supercharging and deepening
my core understanding of feminism and emotional sensitivity which has led me to create works of art

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focusing on the stories and emotions of women and the human soul contained in imagery and symbolism.
The space between the soul and the sublime is so wide and infinite yet the entrance is so slim; it is by using
anthropological tools and references as the structure that we can draw out that surrealist expression into the
physical world for our viewers so that they might build their bridge into the sublime and go on a journey within
their selves.
What role do emotion and commentary play in your creative works, and how do you hope viewers will
engage with and reflect on the themes presented in your art?
I am not much interested in telling people what to think or how to feel about any given subject matter. I am
much more interested in creating art that encourages the viewer to engage with the art in a way that brings
out their inner dialogue and reflection with regards to their life rather than focusing on my life and my
intentions. By taking the art back from the artist, and creating a space or image for the person to engage with
– a piece by AidenMay becomes their wall, their art, and a part of their story. Commentary is important but
the commentary is our therapy – a way for us to express our opinions and interrogate conditioning in a
subconscious and incredibly fulfilling and playful way that is nourishing and healing to the viewer as much as
to the artist.
The Alchemist's Pursuit: Secrets of the Black Rose - Gothic Fine Art Print, Digital Art, 8x10 up to 32x48, 2024

40
Your art is described as a fusion of classical techniques and modern sensibilities. How do you balance
these two elements in your creative process to create pieces that are both familiar and refreshingly
novel?
I like using classical structures, contrasts, and techniques to produce art that is observable and recognizable
to the viewer. But always I try to bring a modern interpretation to the art, to support the engagement of the
viewer in a way that, as described above, creates inner dialogue and emotional connection from within their
own lives and experiences.
Drawing inspiration from Victorian aesthetics, Gothic motifs, and 17th-century Dutch painters, how do
these influences specifically manifest in your artwork? Can you give an example of a piece that
particularly embodies these inspirations?
I feel that the piece Reflections of Antiquity is a good example of these influences. The Victorian aesthetic
creates the impression of opulence, a feature of the time, but the lighting, contrast, and form of the 17th-
Century Dutch painters bring in the emotive aspect, that creates interest and intrigue. The gothic motifs, e.g.
the decaying food, reflect the introspection on life, death, the meaning and reflection of material gains of the
physical life, intersecting with the search for meaning and purpose as well as the fallibility of the human
experience.
You mention that your goal is to create works that resonate deeply with viewers and invite them into a
world of emotion and contemplation. How do you achieve this emotional resonance and depth in your
pieces?
As detailed in questions 6 & 7 above, I try to convey the internalized emotional sensitivity I feel, but in a way
that the overall image creates a space for the viewer's internal contemplation and dialogue which resonates
with their life experiences. I want the viewer to feel the focus, love, and energy of the artwork, through the
combination of differing styles and layering of lights, darks, and color contrasts, which achieves an emotional
response or resonance with the viewer.
Your focus on dimension, contrast, and juxtaposition aims to create multilayered narratives within each
piece. Can you discuss a particular artwork where these elements play a crucial role and how viewers
have responded to it?
I think the Reflections of Antiquity is where these elements played a crucial role. Firstly, the overall image
provides a background narrative letting the viewer imagine who it was who lived in this life. The rotting fruit
and indications of decay in the book, cake, and napkin show the passage of time, in that all material things
will eventually fade, whilst also hinting at the decadence of waste. The mirror reflections of the scene present
the idea of inception and reflection; of how with each permutation, each reflection the image diminishes and
fades further into memory, until only abstract memories remain, challenging the value of decadence, as a
concept. This for me offers the idea of the inherent juxtaposition of perception and observation.
In collaboration with your partner Kirsty, what is the creative dynamic like? How do you integrate her
insights and contributions into your work to produce authentic and original art?
Our creative dynamic is built on honesty and kindness, with absolute trust that opens a huge amount of
freedom and space to explore creativity, in a safe and supportive container. We also complement each other,
in that Kirsty has a rich history of culture and exposure to art which brings a unique perspective to the work. I
can take her insights to support building on the imagery and perspectives of any piece, constantly

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challenging each other’s perception that sparks something truly wonderful that heightens the intensity of the
piece. Kirsty May will also duplicate the piece I am working on add some things in, and change some
positions, which takes it to another level of ordered, brilliant chaos infusing into the piece that enables me to
see what is missing or needs to go further. In this way we are combining our own unique perspectives and
intuitive minds, to bring ideas and concepts together that offer richer and deeper content for the viewer.
You aim to create accessible yet profound works that hold space for viewers to reflect, enjoy, and find
their own stories. Can you share any feedback or experiences from viewers who have connected deeply
with your art?
I have been told that the art is refreshing, and novel, and some of the most interesting submissions that
exhibitions have received. I have also been told the artwork is visually arresting, enabling the viewer to see
something different each time you look at the pieces and that together they tell a story. I am often told how
unique and technically engaging the pieces are, but my focus is on the private view that happens within the
viewer themselves, the emotion that transcends thoughts or language. I aim to create a space for
interpretation on a hyper-individualized scale, an interpretation that may even change for the individual as
their lives and experiences shape them. I aim to create work that can grow with a person by being neither too
direct nor closed in concept but also containing recognizable emotional callbacks and anchor points.
Your journey as an artist is ongoing, and you strive to grow and push the boundaries of your creativity. What
new directions or themes are you currently exploring, and how do you see your art evolving in the future?
Currently, I am focused on developing the neo-classical style and aesthetic of still life, to enable a rich
storytelling aspect, as well as creating deeply reflective pieces. I think this style speaks to this, as a
recognisable format, but with a modern twist to bring the pieces to life. But I aim to take the learning from this
to produce more landscape/seascape artwork so expanding the repertoire but with ever greater intensity and
depth of imagery. I try to move and work across many differing themes and styles however I feel this
provides a constant challenge and provides differing inspirations, that help evolve the artwork, whilst still
working to improve and strengthen the conceptual and perceptive elements.
The name of your collective, AidenMay, suggests a collaborative approach. How does working within a
collective influence your artistic practice and the types of projects you undertake?
As detailed in question 5 above, Kirsty brings a constant challenge and support element to the work which
enables me to push boundaries and evolve in new directions that maybe I wouldn’t have achieved if I was
working alone. This is also the same for the type of projects I undertake, as when we sit and discuss the art
or any aspect of the art, within that discussion new ideas emerge, but also when I am struggling with a
thought or process Kirsty helps explore that struggle in a way that sparks new ways of approaching it. I feel
working within a collective, helps maintain momentum and prevents slipping into repetitive patterns that for
me can make the artwork stale and diminishing.
You believe in the power of art to inspire and provide a sanctuary for reflection. How do you see the role
of art in society today, especially in challenging times, and what impact do you hope your work will have
on your audience?
It feels like in these challenging times where so much is ‘up for grabs’ – gender identity, climate change,
political swings, and the threats to democracy around the world – these systems and ideas that have been
set in stone for so long are experiencing this cyclone effect in community systems. We can see tribal

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 exclusivity and mainstream inclusivity on the same issues happening simultaneously. For me, art is the only
place where this makes sense. We need art more than ever. We need individuals and small collectives to
work in tandem with the community and their private inner selves to create art that inspires and records and
provides new evolutionary paths to tread. Kirsty May often says that, in a sense, challenging times create
corpses or pioneers. For us, access to art, moments to breathe and lose yourself and reorder your thought
process and rediscover hope – to make matter what is indescribable, to birth a form of subconscious magic,
in viewing or making art, is what can make a lasting difference.
You aim for your art to not only decorate walls but also enrich lives. Can you share a story or an instance
where your artwork had a significant impact on someone’s life or provided them with a moment of joy,
contemplation, or inspiration?
I remember a time when I took on a private commission for someone who had been looking for a particular
art piece for over 2 years. They wanted something to complement the space the artwork was intended for,
but also something that spoke to their taste and offered introspection and interest, so the artwork would
remain fresh to them no matter how long they kept it. This was a real challenge, but working within a
collaborative approach with the client, through discussion and a sampling of ideas, the final piece achieved
this. Bringing great joy, satisfaction, and pleasure to that person who now owns a truly unique personalized
piece of art. Being able to interpret a concept, a sense or a feeling in art is the greatest sense of achievement
for me, but having it resonate with the viewer to bring contemplation, inspiration, or joy, is for me the ultimate
desired outcome.
Reflections of Antiquity: A Neo-Classical Still Life Fine Art Print
Digital Art, 8x10 up to 30x40, 2024

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XIANGFEI YAN &
RANYI YANG
Xiangfei Yan, born in 1997 in northern China, is a contemporary artist and designer currently based in London. She
received her MA degree in the Jewellery & Metal program at the Royal College of Art (RCA) in London and BA degree in
jewellery design from China University of Geosciences in Beijing, China. Commencing her artistic journey in 2010, she
likes diverse materials and mediums. The female perspective emerges as a prominent narrative thread, weaving through
her creations. At the heart of her art lies a defiance against the established aesthetic hegemony, challenging cultural
norms and interpretations.
Ranyi Yang graduated from Mix Media of the Royal College of Art. She is good at using different materials to mobilize the
sense of touch, using color as the main communication language, and connecting his artistic concept with the audience.

Pillow Talk

Embroidery, silk thread, glass

Various sizes, from 5.1 to 8 inches, 2023

Daytime serves as a world of consciousness, while nighttime belongs to the unconscious one, taking the
symbolism of dreams as a tool to communicate. The body is the carrier for connecting and conversing with
the world. However, whenever engaged in conversations with myself in the dream, I would turn into an
uncontrollable, random, and bizarre collection.
The feelings within dreams differ from the perspective of a conscious self; they are more real than reality,
conveying a raw sense of self. Females tend to be obsessed with interior decorations and household
products more easily than other identity groups. In most situations of my dreams, I would find myself
indoors, surrounded by household items and clothing. The theme of relationships is metaphorically pictured
more frequently in my dreams. Before going to bed, I always take off my silk stockings and embroidered
dresses during the day, let my hair loose, and then put on an eye mask. These items appear in my dreams in a
way that is beyond just normal objects but become some soft and absurd subjects.
Dreams, as the inner world relative to reality, exist in a realm where language and logic cannot fully persist—a
domain of the Real. Dreams negate the rational, the strategic, and the discursive. We draw from the materials
and garments touched by women before and after sleep to embody this absurd emotion. Emotion is the
outpouring of the harmonized state between the subject and their world, forming a specific atmosphere.
Always, we dwell in an emotion without even realizing it, and the significance things offer us varies within
different emotional states. These elements, repudiated by the symbolic realm, always resurface dramatically
in the real scenes. Through a meticulous six-month documentation of dreams, we concretely express these
unconscious emotions with softness.
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How did your upbringing in northern China shape your artistic journey and influence the themes you
explore in your work?
Northern China has a profound and ancient cultural and historical tradition, deeply ingrained with patriarchal
culture. The agrarian culture in the north is more conservative and traditional, exemplified by the typical
gender division of "men plough, women weave." Women's needs and self-expression were often overlooked
due to their inability to generate significant economic value like men. Traditional women were confined to
purely domestic lives, yet they also engaged in creative activities within the home, such as paper-cutting,
embroidery, and other crafts. Feminist theory emphasizes that women's creativity and artistic expression are
often confined to the domestic sphere, a limitation that is both cultural and institutional. Through these
domestic creations, women express themselves in a covert yet powerful manner. This background has led
me to primarily use fabrics and soft knitting materials in my work, reflecting women's creativity within the
domestic environment and challenging traditional gender role assignments.
What motivated you to pursue your MA degree in the Jewellery & Metal program at the Royal College of
Art, and how has this experience impacted your artistic practice?
Before attending RCA, I studied jewellery design and appraisal, becoming an FGA member. In my commercial
jewellery career, 80% of my clients were women. When customising jewellery for them, I would hear their
stories, which were very delicate and completely different from the mainstream male narrative. Unlike men,
who often focus on the economic value of jewellery, these women valued the aesthetics of the pieces. This
work experience had a significant impact on my artistic practice. After joining RCA, I began researching
gender and decoration, creating contemporary art. Feminist theory points out that women's aesthetic
experiences and values are often ignored by mainstream culture, yet these experiences and values are crucial
resources for artistic creation. Studying at RCA allowed me to explore these themes deeply in an academic
setting and express them through contemporary art.
Can you elaborate on how the female perspective plays a role in your creations and the narratives you
aim to convey through this lens?
The female perspective in my work is subjective and opposes being objectified. In the male gaze, including
various literary and artistic works, stockings are often portrayed as a semi-concealed sexual attraction
contrary to bare legs. From a young age, I observed my female relatives sewing and knitting, and girls liked to
gather and share their dreams. This was a natural, non-gendered expression. I remove stockings from their
objectified, worn state and sew them into household items, expressing absurdity and weaving a female
dreamscape. Through this method, I aim to reveal women's creativity in everyday life and challenge the male-
dominated aesthetics and narratives. As feminist artist Lucy Lippard has said, women's everyday lives and
experiences are themselves a form of art. I hope to convey the inner strength and complex emotional world
of women through this perspective.
Your work challenges established aesthetic norms and cultural interpretations. Can you provide
examples of how you do this in your art?
Shakespeare said, "A dream itself is but a shadow." In my research into samples of women's dreams and
men's dreams, I found differences. Women's dreams included more characters and colours and were often
set indoors. This is very different from the male gaze on women's dreams. So, I used stockings, which have a
very contrasting concept of everyday and bedtime, and captured the act of women taking off their stockings

45
before bed. I used various styles of stockings to create fragmented works. Through these works, I aim to
challenge gender stereotypes and cultural norms in traditional aesthetics. As feminist theorist Judith Butler
suggests, gender and identity are constructed through repeated performances and social norms. My work
deconstructs these norms to showcase the diversity and fluidity of gender and identity.
What is your process for selecting and integrating diverse materials and mediums into your creations?
My inspiration comes from surrealism, which relies entirely on intuition and the subconscious to dissolve the
conflict between dreams and reality. These materials include organza, glass, silk, stockings, and unique
embroidery. The embroidery patterns are derived from flowers appearing in dreams, influenced by Georgia
Totto O'Keeffe's creations. I flatten the three-dimensional, twisted, unreal flowers and let them bloom on
various coffee cups, embodying delicate power, tenderness, and sensuality. Surrealism emphasises revealing
the power of the subconscious through irrational means, which resonates with the practice of feminist artists
who often use everyday materials and non-traditional art forms to express women's experiences and
emotions. My creative process combines this intuitive and subconscious exploration with modern materials
and techniques, creating a new visual language.
How do you balance the technical aspects of jewellery design with the conceptual elements of
contemporary art in your work?
Jewellery includes metal art, and I once learned from craftsmen how to hammer pure silver into a cup, bowl,
and spoon. During the forging process, most of my peers were men. This industry sometimes overlooks and
undermines female workers. I combine metal craft with industries dominated by women, such as ceramics
and knitting, to dissolve the economic and class attributes represented by precious metal vessels beyond
their craftsmanship. Jewellery is very small and delicate, so its techniques are also very meticulous. However,
I create large-scale art pieces, enlarging small, delicate, and valuable jewellery pieces, substituting materials,
and deconstructing them. Through this approach, I hope to break the boundaries between traditional craft
and contemporary art, as advocated by feminist artist Miriam Schapiro, giving new meaning and value to
traditional women's handicrafts.
How do you hope viewers will interpret and connect with the defiance and challenge of cultural norms
present in your art?
I hope viewers can observe my design language for materials and design, including photography. In one of
my photographs, I designed a soft-toned scene where the protagonist's face is not shown. She sits by the
wall on a safe wooden floor, with only her legs in stockings and stacked stockings on her knees as utensils.
The visual focus of this work is not on any specific body part of the woman, representing a peaceful
resistance. Feminist art emphasises redefining and reimagining the female body to challenge and subvert
traditional gender concepts and aesthetic norms. My work aims to convey a hidden yet firm force of
resistance, prompting viewers to rethink the roles and status of women in culture and society.
What future projects or themes are you excited to explore, and how do you envision your art evolving in
the coming years?
In the future, I will continue to explore the relationship between feminism, gender, and decoration theory. I
love discovering the subtle exploitation and gender biases in life and society, so my themes will continue to
narrate from a female identity, expressing similar topics across different cultures. Since the dawn of
capitalism, many mechanistic theorists, including Bacon and Descartes, have guided nature/human society

46
with purely dualistic and reductionist perspectives. Our current society is the same. My work opposes
essentialism and dualism, critiquing the cognitive and organizational systems of society from the perspective
of objectified and exploited women, plants, and natural resources. Inspired by feminist theorist Donna
Haraway's concept of "species companionship," I hope to explore more equal and mutual relationships
between humans and nature through my art, challenging anthropocentric worldviews.

What inspired you to specialize in mixed media, and how has your education at the Royal College of Art
influenced your artistic practice?
Mixed media, like an artist navigating diverse materials, provides me with a unique creative language. Before
pursuing my graduate studies, my understanding of fabrics was superficial and shallow. However, under the
influence of the Royal College of Art, my perception of materials has deepened profoundly. The surface is not
just a tactile shell but conceals richer meanings beneath. When I gaze at it, each color seems to tell a story;
when I touch it, I feel the pulse and life of the material; when I listen closely, the sounds are like quiet
whispers; and the scent and even the temperature sensed by my nose infuse the work with a vibrant quality.
This quality serves as an emotional bridge to connect with the audience. In many discussions with fellow
artists, I often ponder a profound question: Can your work resonate with the audience's soul? This quality is
the intertwining of emotion, memory, and sensation, serving as the wellspring of my creative inspiration. Each
piece is an opportunity for dialogue with the world, embodying my deep understanding and passion for life.
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Can you describe your process for selecting and combining different materials to create tactile
experiences in your artwork?
Materials transcend mere surface texture, embodying a rich tapestry of cultural significance, tactile
experiences, emotional depth, and even abstract concepts. They can be rigid or pliable, elastic or sharp, damp
or evolving, interactive or static. Each material operates like a unique lexeme, possessing its own intrinsic
qualities and narratives, guiding me through the creative process. Just as language articulates complex
thoughts and emotions, materials also "speak" in their own distinct dialect, representing a specialized form of
communication. Thus, the selection of materials for me is not merely a technical decision but a profound
engagement with associative and emotional projections, forming a critical aspect of the artistic endeavor.
How do you use color as a primary communication language in your work, and what messages or
emotions do you aim to convey through your color choices?
In my work, color is the dancer of the soul, with each hue carrying the deep emotions and thoughts that
reside within me. I am passionate about layering multiple colors on the canvas, even to the point of excess,
as this is how I express a sense of ambiguity. Just as a person can be lost in chaos, with words spoken in
whispers, breaths clouded, and emotions shifting like tides, my use of color captures this complexity and
fluidity. When I create, I seek a state between clarity and reverie. This semi-excited state allows me to freely
navigate the ocean of colors, fully unleashing the emotions buried deep within. As I select colors, I strive to
maintain an atmosphere that is ambiguous, sensual, and emotionally charged. Each piece is not just a choice
of color but a tangible manifestation of my emotions, a true reflection of my inner world.
In what ways do you engage the sense of touch in your art, and why is this sensory interaction important
to you and your audience?
In my art, I engage the sense of touch through materials like silk organza, which appears delicate but is
actually rigid and non-elastic, requiring careful manipulation. This tactile contradiction adds complexity to the
experience, inviting viewers to imagine its texture. This sensory interaction is vital as it deepens the
connection with the audience. By evoking touch, I prompt reflection on deeper meanings—such as the often-
overlooked suffering of silkworms in silk production, similar to society's unnoticed constraints on women. In
*Pillow Talk*, the texture of organza symbolizes visible and hidden struggles, amplifying the emotional
resonance of the piece and making the experience more immersive and profound.
How do you approach connecting your artistic concepts with your audience, and what kind of responses
do you hope to elicit from viewers?
In my creative process, I often immerse myself in the role of a woman in society, particularly in the context of
her work. Thus, my inspiration stems from the pressures women face in modern society and the
psychological states that may arise from these pressures. I aim to infuse my work with a distinct
temperament, allowing it to engage in a deep emotional dialogue with the audience, thereby evoking a
broader societal resonance, rather than being solely focused on women. In my artistic narrative, "she"
embodies multiple identities—she could be a mother, a daughter, a colleague, or herself. My hope is to spark
an open discussion from various perspectives, encouraging more people to reflect on and explore these
social phenomena.
Can you share a specific piece where you feel you successfully mobilized the sense of touch and used

50
color to communicate your artistic vision?
I am a visual artist who explores gender issues through my work, often drawing inspiration from my personal
experiences to express the struggles and repression women face in society. In "Weave Water Series," I use
waterproof silicone and varying shades of blue to create the visual effect of being submerged in the deep
sea, symbolizing the tension between expression and constraint that women experience. My work
emphasizes the symbolic significance of materials, with the transparent and non-breathable silicone
reflecting the repressed state of women. Through my art, I aim to challenge viewers' perceptions of gender
and give voice to women in silence.
What challenges do you face when working with mixed media, and how do you overcome them to
achieve your desired artistic outcomes?
I have not yet encountered what might be termed "difficulties." In fact, the mixed media field is relatively open,
embracing both traditional craftsmanship and high-tech innovations like touch-sensitive fabrics. However,
personally, I don't let this term constrain me, nor do I define myself strictly as a mixed-media artist. On my
journey to becoming an artist of significant accomplishment, persistence is the most challenging aspect.
Each project has its expressive limits, and the true difficulty and greatness lie in continually updating one's
artistic theories and maintaining a constant output.

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JONATHAN CROFT

Jonathan Croft studied Illustration at the University of Brighton from 1995-1998. He works in various mediums including
drawing, painting, and photography. He has a passion for image-making and allowing his art to speak for him, and to the
viewer. Jonathan has an interest in the forms of architecture and depicting life in the city.

Window 1
Exploring the temporary stillness of closed spaces at night. Brighton&Hove 2024

What drew you to study Illustration at the University of Brighton, and how has your education influenced
your artistic style?
I was always drawn to creativity. It felt like a comfortable place to be and therefore my natural path. I studied
a foundation art course in Brighton, England and within that, I specialized in Illustration. My degree in
Communication Design at Brighton University brought me into contact with many like-minded creatives and
the competitive nature of my group pushed me to improve my image-making.

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You work in various mediums including drawing, painting, and photography. How do you decide which
medium to use for a particular piece?
I am fairly relaxed in my choice of medium. I love to draw and it always feels so personal so it’s easy to lean
into my idiosyncratic style. Photography I feel is more challenging to have a voice of your own but I approach
it with the same care to create original images.
Can you elaborate on your passion for image-making and how you allow your art to communicate with
viewers?
My first audience is myself. I create images that please me. If anyone else finds value in them, that’s honestly
a bonus. I hope they speak to people but I don’t chase acknowledgment or praise. Art is deeply personal to
me and I value its ability to change my mood. It’s a double-edged sword though. If something isn’t working it
can bring me down!
What fascinates you about the forms of architecture, and how do you incorporate architectural elements
into your artwork?
Architecture inspires me. Balancing the mathematical requirements of form to make a building work, with the
artistic vision to create something of visual worth, I respect. I love to explore the forms and details of
architecture, focusing on composition to make something of my own with what the building gives me.

Window 2
Exploring the temporary stillness of closed spaces at night. Brighton&Hove 2024

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How do you approach depicting life in the city through your art?
Currently, I am observing my city of Brighton & Hove at night. It has a vibrancy in the day but still so many
stories to tell as people disappear from the streets. The quiet moments of closed businesses show the
moments of pause. The random stillness of the day ended and carried through the night. Objects left give a
glimpse of the day past and the one to come. These quiet moments without the pressure of people allow me
to slow down my photography and consider more carefully the elements in the composition to tell a story. Or
to create an image that allows the viewer to fill it with their own. Themes of isolation, loneliness, and an
element of voyeurism are present in my photography.
Can you describe your creative process when starting a new piece? Do you begin with a specific idea or
allow the work to evolve organically?
I’m usually pretty loose in terms of working methods. I’m happy to experiment and see where my work goes. I
often find an image rather than set out to create it and I find this very satisfying. Photography is a brilliant
medium in this way. It takes me down roads I might not have explored, talking to people I may never have
met, and is very rewarding. I love happy accidents that I can then use again in future pieces.
How does working in different mediums influence your artistic expression?
I approach different mediums with the same passion to create. Although the outcomes are very different they
still come from my deep desire to leave a lasting image to tell some part of my story. A painting or drawing is
more time-consuming than a photograph but I’m usually considering many of the same things.

Window 3 - Exploring the temporary stillness of closed spaces at night. Brighton&Hove 2024

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Who are some of the artists or influences that have shaped your work and artistic vision?
I love the New York Street photography of David Bradford. He depicted, through his photography, his busy
working life as a New York taxi driver. His monochromatic images show a specific perspective on his world
that captures moments of many stories. I also love the powerful black-and-white architectural drawing of
Hugh Ferris. Other influences are Edward Hopper and Garry Winogrand.
How do you balance capturing the essence of architecture and urban life while maintaining a personal,
expressive style in your artwork?
This is an interesting question. I tend to do this by focusing on details and allowing light and reflections to
add flavor to the image. Whatever I’m observing is a starting point to create my image. I endeavor to create
unique and original work.
What do you hope viewers take away from your work, particularly about your depiction of city life and
architectural forms?
I hope that my work has depth. That might make the viewer see the world differently for a time. It’s so hard to
capture someone’s attention nowadays. So much comes at us visually that it’s hard to ask someone to
pause. If I can do that, even briefly, then I’m grateful.

Window 4
Exploring the temporary stillness of closed spaces at night. Brighton&Hove 2024

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notes:
STILL LIFE | SPECIAL EDITION | VOL 51 | AUGUST 2024 | TBILISI, GEORGIA