COLLECT

ART
THE
SURREAL
WORLD
Special Edition

VOL 60

December, 2024
on the cover ‘Running away from home’ by Bart Vargas
 Introduction
In a world where the mundane often overshadows the magical, where routine and reality
anchor us, art has always served as a portal to the extraordinary. It provides a means to step
beyond the tangible, to explore the uncharted territories of our subconscious and collective
imagination. Welcome to the special edition of Artistry Unbound, dedicated to "The Surreal
World."
Surrealism, born from the chaos of the early 20th century, remains one of the most enduring
and provocative movements in art. It emerged as a rebellion against convention, a
deliberate unraveling of rationality, and an embrace of dreams, absurdities, and the
uncanny. It is a realm where juxtaposition reigns, where time melts, and where reality
dissolves into fantasy. Yet, surrealism is not confined to its historical roots; its spirit is alive
and evolving in the works of contemporary artists who reinterpret its ethos for our complex,
modern era.
This edition invites you on a journey through the labyrinthine corridors of the surreal. Within
these pages, you will encounter international artists whose creations challenge the
boundaries of perception. They hail from diverse cultural and artistic traditions, yet they
share a common thread: an unyielding desire to delve into the depths of imagination and
extract visions that disrupt, provoke, and inspire.
Each featured artist brings a unique perspective to the theme, blending personal
experiences, cultural narratives, and global influences. Their works are not mere escapes
from reality; they are profound commentaries on existence, identity, and the unseen forces
that shape our world. From fantastical landscapes to dreamlike portraits, from installations
that defy gravity to sculptures that distort form and function, these artists compel us to
reconsider what we accept as real.
Accompanying their mesmerizing artworks are intimate biographies and artist statements
that provide insight into their creative processes. In their own words, they share the
philosophies and inspirations that drive their practice. Through personalized interviews, we
delve even deeper, uncovering the stories behind their surreal visions, their challenges, and
their aspirations.
This edition also reflects on the broader implications of surrealism today. In an era defined
by rapid technological advances and heightened global interconnectedness, the surreal
becomes increasingly relevant. Virtual realities, artificial intelligence, and digital media are
reshaping how we perceive and interact with the world, blurring the lines between the real
and the imaginary. Our featured artists navigate this dynamic landscape, demonstrating
how surrealism adapts and thrives in the digital age.
We hope this collection ignites your curiosity and awakens your sense of wonder. As you
explore these pages, allow yourself to drift into the surreal—to question, to dream, and to
embrace the unfamiliar. Let this edition of Artistry Unbound be your gateway to a world
where the impossible becomes possible, where art transcends boundaries, and where the
imagination knows no limits.
The surreal is not just an art form; it is a lens through which we can reimagine our existence.
It is an invitation to step beyond the confines of what is and to dream of what could be.
Welcome to "The Surreal World."

03
 Content:
ADAM STRANGE 05
AMBRE IPERTI VUKMIROVIC 10

AMY JACKSON 14
BART VARGAS 18

BRANDON J. BERNARD 22
CHUAN JIANG 27

DESPINA MERKAKI 31
EMILY GREENWOOD 35

FLAMINIA BONCIANI 39
JIAXIN ZHANG 43

JUSTIN JAMES 46
KEITH POINTING 50

LESLIE STREIT & ROBIN MCCAIN 54

LEWIS ANDREWS 60

LILLY FOSTER-EARDLEY 64
LISS FLANAGAN 70

LUKE STONE 73
MITHULA PRIYADARSHINI ANANTHARAMAKRISHNAN 76

MYRIAM TILSON 80
PHILIP MCCUMSKEY 85

POLA PIESTRZENIEWICZ 88
RUBICA VON STRENG 91

THEO OVERGAAUW 94
XUESHENG MA 97

YOUYU WU 102

04
ADAM
STRANGE

Adam Strange is a Canadian artist whose

work will shock and delight you! Adam’s
artistic influence is the Dada/Surrealist spirit
and it’s methods. Adam works with computer
software and montage at the intersection
between twentieth century approaches to
analogue painting, collage and film, with
twenty-first century digital tools and resources
to create contemporary artefacts. Adam’s
method includes recontextualizing found
photographs and digital assets, sutured with
the juxtaposition of internal realities, chance
and accident, to reveal global expressions
and sensibilities. Adam creates his art for your
pleasure or desolation, seeking the essentia,
reflecting the under-current, offering respite
from the illogics of the outside world, all to
tickle your fancy in the disturbed.

Memorial Bench
Digital Art
14'’x5.6'’, 2024

05
‘’Dada and Surrealist artists are the pioneers in a long line of movements/artists cutting up, destroying, and
assembling images in response to significant times like wars, oppression, and uprisings. All of these
movements were responses to their cultural and political environments. They sought to break down or
destroy established systems, whether technological, cultural, or political, or to criticize politicians or
philosophies. Other artists, while many held radical political ideologies, turned inward to seek freedom in
the unconscious from those same systems, revelling in the shock and awe of the disturbing images
manifesting from the mind. Both are movements of anarchistic action, opening new ways of thinking and
seeing. This approach to life and art is immemorial and perpetual, and includes us all. The content of art
may reflect the contemporary, but the context may be the same – tearing down oppressive systems and
providing space for new ideas and realities to exist. ‘’

Sold Down the River

Digital Art, 4'’x10'’, 2024

06
Your work draws heavily from the Dada and Surrealist spirit. What initially attracted you to these
movements, and how do you see their relevance in today’s cultural and political landscape?
In keeping with the spirit, anything I say I may or may not believe in after the moment I say it. These artists are pioneers
in a long line of movements/artists cutting up, destroying and assembling images in response to significant times like
wars, oppressions and uprisings. All of these movements were responses to their cultural environment and times. They
sought to breakdown or destroy established systems, whether technological, cultural or political, or to criticize
politicians or philosophies. Other artists, while many held radical political ideologies, turned inward to seek freedom in
the unconscious from those same systems. Both are movements of anarchistic action, opening new ways of thinking
and seeing. This approach to life and art are immemorial and perpetual, and includes us all. The content of art may
reflect the contemporary, but the context is the same - tearing down oppressive systems to provide space for new
ideas and realities. This reference also serves the purpose of context as an entry point to my work for those who need
it. However, the word surreal, is now in the general lexicon of everyone who needs a cheap word to describe
something they were surprised by, but is consistently applied to moments of actual banality. The word has been
stripped of any etymological meaning through generations of misuse. This in turn has led people to view the surreal as
simply an aesthetic style instead of a revolutionary mode of creative activity.
Recontextualization plays a key role in your art. How do you choose the found photographs and digital assets
you work with? Is there a particular narrative or emotional resonance you look for?
Recontextualizing content, regardless of discipline or medium, is how all cultural evolution happens. We build new
monuments on top of the ones we destroy, we observe the universe through new technology and the systems that
govern that universe get rewritten, we play old songs at a different speed and spurn a whole new musical genre for a
generation. When we cut up an image, we do it for different means, but the process of destroying images, removing
the content or context from an image is the first step to controlling the meaning of images where ever they may exist.
Slicing and suturing images is how people can reclaim the control over their visual environment and narratives of
images in the public sphere. The photographic image has connotations we associate with recorded history, reality and
truth. So, like artists before me, I subvert those collective associations by blurring the lines between truth and illusion.
This effect is similar to semantic satiation - we might call it “visual satiation.” It appears photographic on many levels,
but it’s not a photograph. It's imaginative, but it’s not surreal. This process results in the viewer confronting the very
mechanism that is the source of their anxiety in determining what they are looking at. If in the end, the image strips all
connotations or associations, and the viewer is left in a space of neither realism or illusion, meaning or absurdity, then
my work might have the possibility of changing perceptions. Royalty-free photographs can represent a repository of
global viewpoints, locations, and moments in time, or the mediocrity of the world through censored images, or as a
collection of simulated realities no longer existing, any of which an artist can harvest the aesthetic or emotional
content and use it as ammunition for their own work. Like all collage artists, I engage in iconoclasm as a means to
destroy the meaning of existing content, then incorporate those disparate fragments into a new context, thereby
creating new meanings and ideas. During the creative process, I may plow through hundreds of photos out of the
millions available, with or without intent, sometimes allowing the emotional response to direct the selection. Like
finding weeds in a farmer’s crop, images are selected for consideration. Relationships between the selected photos
can also randomly occur, changing the course of the picture into an unknown direction. All these results can be used
in a variety of ways, such as, leading to further refinement of the original idea, or allowing the picture to evolve from
the new relationships between the harvested photos and my intentional selections.

07
Do you feel that art has an obligation to challenge systems and provoke thought? What role do you think an
artist plays in today’s world of political and social upheaval?
I do think artists should create art for social change. This may not always be the intent, but none of us can sit by and
watch the world burn without a comment. Those artists that make “art for art’s sake” or for the simple aesthetic
enjoyment of the viewer, have little to say about themselves or the world and may engage with the art industry
intentionally through the lens of commerce. This activity only perpetuates the social problems caused by capitalism. I’m
interested in disrupting this viewpoint, or exasperating the malaise in the viewer. We could call this “direct action” in
that the artist’s motive directs the process, the content, and the viewer’s reaction to be dis-eased in the same way
social structures can create dis-ease in a society. Everyone on earth is now corrupted with micro-plastics and cancer-
causing chemicals in our bodies, and we either recognize this and oppose it, or simply absorb it as a normal process.
This could be an analogy for all cultural interaction.

08 Dream - Digital Art, 12'’x13'’, 2024

Albumenxray 870 - Digital Art, 11'’x8.5'’, 2022
AMBRE IPERTI
VUKMIROVIC
‘’I’m young French artist currently based in London, whose interdisciplinary practice spans a diverse range of
mediums, including painting, sculpture, photography, installation, film, and performance. I study at
Goldsmiths, University of London, where I study Fine Art. Exploring the boundaries between different artistic
forms, often blending them to create immersive and thought-provoking experiences. As a young artist, my
practice revolves around exploring dreams and feminism, delving into the subconscious to uncover the
narratives that shape our identities. My work draws from personal experiences and broader societal
themes, aiming to illuminate the complexities of female identity and empowerment.’’

Space cowboy
Acrylic, clay,
50x40cm, 2024

Space Cowboy, we encounter a lone

figure a modern-day cowboy with a
cosmic twist standing in a desert
landscape beneath swirling skies. His
attire and tattoos suggest rebellion,
individuality, and a search for identity
beyond conventional boundaries. The
spiraling sky and vibrant flower hint at his
inner journey, a quest that blends both
earthly and otherworldly elements. This
cowboy isn’t just wandering the desert;
he’s seeking meaning in vast, uncharted
spaces of both the land and the mind.

10
Your work spans multiple mediums, from painting to performance. How do you decide which medium best
conveys a particular concept or emotion in your work?
The concept always dictates the medium. If I need to convey introspection or stillness, I turn to painting, while
performance or installation allows me to create immersive, time-based experiences. I often experiment with sketches
or material studies and let the idea guide me toward its best form.
Dreams play a central role in your practice. How do you approach translating the subconscious and dream-
like experiences into tangible artistic forms?
I focus on capturing fragments of symbols, textures or colors from dreams that linger in my mind. Using layered visuals
and surreal imagery, I recreate the nature of the subconscious while retaining its emotional power. The result is
recognizable yet unsettling.
Feminism and the exploration of female identity are key themes in your work. How do personal experiences
and societal observations come together to shape your narrative?
I draw from my personal experiences as a woman while observing broader societal themes like gender expectations
or empowerment. My work explores the tension between vulnerability and strength, blending the personal with the
universal through symbols like fabric, masks, or the body.
How has studying at Goldsmiths, known for its progressive approach to art, influenced your practice or
expanded the way you think about your creative process?
Goldsmiths taught me to embrace experimentation and let the process guide me. Being part of such a diverse and
interdisciplinary environment pushed me to break boundaries, explore new mediums, and confidently merge personal
themes with societal questions.
Dream - Digital Art, 12'’x13'’, 2024 Dream - Digital Art, 12'’x13'’, 2024

11
Your art often blends different mediums to create immersive experiences. Can you describe a project where
combining forms—like film and installation—led to an unexpected or powerful result?
One of my recent projects, Bobby’s Room, is an immersive installation that brings my dream world to life. The space is
entered through a small arch and features portraits of Bobby, a giant strawberry, a dream dictionary, oversized
flowers, and walls draped in pink and red fabrics, with a fake grass floor. By combining painting, sculpture, and spatial
design, the installation creates a nostalgic, blanket-fort-like environment that encourages visitors to reconnect with
their inner childhood. The unexpected result was how deeply people engaged with the space, often staying longer
than expected to reflect and feel a sense of comfort and escape, the sun’s rays was reflecting through the pink
fabrics filling the room with a fantastic atmosphere.
Your focus on the subconscious suggests a deeply introspective approach. How do you balance personal
introspection with creating work that resonates universally?
I start with personal experiences but incorporate symbols or archetypes like animals, the sea, or masks that carry
broader meanings. This allows viewers to project their own interpretations onto the work, connecting their experiences
to the emotions I explore.

In exploring feminism, what specific

aspects of female identity or
empowerment do you find yourself
most drawn to? Are there recurring
symbols or motifs in your work?
I’m drawn to themes of liberation,
transformation, and duality within female
identity. Recurring symbols like fabric,
rabbits, or fragmented bodies often
represent constraint, freedom, and the
complexity of femininity.
As a young French artist based in
London, how does living and working in
a multicultural environment shape your
perspective and creative process?
Living in London exposes me to diverse
ideas, cultures, and artistic practices,
which constantly challenge and expand
my perspective. This multicultural
environment allows me to experiment
freely, blending narratives and mediums to
explore identity and shared human
experiences.
Mystical sea
Acrylic on canvas, 40x30cm, 2023
Mystical Sea depicts a woman on the shore, surrounded by
rabbits, wearing a rabbit mask. She exists in a dreamlike
world, caught between reality and fantasy.

12
Your interdisciplinary approach challenges the boundaries between artistic forms. Do you see this fluidity as
essential to your exploration of complex themes like dreams and identity?
Yes, the fluidity between mediums reflects the nature of dreams and identity, which are ever-changing and layered.
Combining forms like painting, film, and installation allows me to create immersive, multi-dimensional works that
capture the complexity of these themes.
What role do you think art can play in empowering women and challenging societal norms? How do you hope
viewers respond to or engage with these themes in your work?
Art can empower women by reclaiming narratives, challenging stereotypes, and providing spaces for reflection. I hope
my work encourages viewers to question societal norms and engage with themes of identity, freedom, and
transformation, sparking both personal and collective conversations.

Acrylic, Quartz, 50x50cm, 2023

Shell

13
 AMY JACKSON

Trapped - Pen, ink & digital, A3, 2024

14
Amy is a neurodivergent Welsh freelance artist and designer based in South Wales, Swansea. Specializing
in a pointillism or dotwork style, her illustrations explore social and environmental themes with a twist. From
logos to large murals, her surreal designs have been featured in films and magazines, including her NHS
Portrait Series. She strives to create a sense of comfort and warmth in her illustrations, echoing the past
and Welsh culture.
She faced challenges in school, suffering from various anxiety disorders, including selective mutism. As her
skills developed, she discovered that she could communicate through art when words failed her. Art
became her voice.
Being neurodivergent, she draws inspiration from a range of sources, from the Middle Ages to fleeting
memes of the internet, creating strange, sometimes surreal illustrations. She enjoys exploring important
topics, interpreting them, and presenting the messages in ways that are easier to consume or interesting to
dissect, often with a twist of humor or a tongue-in-cheek approach.

How has your experience as a neurodivergent artist shaped your

creative process and the themes you explore in your work?
Having been recently diagnosed within the past few months, it’s taken
some time to process what it means and what changes that might
come with a formal diagnosis. Being neurodivergent influences my
work in a number of ways, from being able to hyperfocus for hours on
end to getting inspired from seemingly random topics. There are some
downsides as well, as I get burnt out very easily and it’s difficult to
choose which project to focus on as I tend to have too many ideas at
one time.
What drew you to the pointillism or dotwork style, and how does
it allow you to communicate your artistic vision?
After stumbling upon the style on Instagram while studying my A
Levels, I started to research the technique and the history behind it,
from Georges Seurat and Paul Signac to stick and poke prison
tattoos. I slowly began developing my own style, mixing surrealism
with geometric designs. I also love the repetitiveness as I find it very
soothing.
How has Welsh culture and your personal connection to it
influenced your artistic style and subject matter?
I’m always inspired by my surroundings, in particular my hometown as
there is so much rich history, myths and legends to explore. The
people themselves are so welcoming and friendly and there’s always
a sense of togetherness that’s very comforting to me.

A Plastic Ocean - Pen, ink & digital, A3, 2024

15
Your illustrations often tackle social and environmental themes with a surreal twist. How do you balance
humor and seriousness in addressing these topics?
I tend to begin my design process with either a topic or an object that I want to draw, from that I’ll build on the idea by
researching books, google and even social media. An example of this is my ‘Out for Revenge’ illustration; I knew I
wanted to draw something that was simple and illustrative and saw a news story on TV about the Orca’s that were
attacking super yachts and the idea was born. If there’s a topic that I want to explore further, I try to set the idea aside
and develop a more in-depth concept for a later date. I love exploring important topics, trying to interpret them and
package the message in a way that is easier to consume or interesting to dissect, often with a twist of humour. This
can be seen in various illustrations, such as Tears of the Patriarchy to Girl Dinner illustration.
Can you share the story behind your NHS Portrait Series and what it meant to you as an artist?
During our first lockdown in Wales in 2020, I created the series to shine a light on the arduous work our keyworkers
have done and will continue to do.
My NHS Portrait Series was exhibited over 7 times, including a year long solo show at Singleton Hospitalwhere I was
born. The first portrait in the series was of Charlotte, nominated by a colleague. Charlotte is a Critical Care ODP,
working in Northampton General Hospital. The second in the series features the late DavidLaws, a Respiratory and
Intensive Care registrar in London. Each portrait is hand drawn in a dotwork style, taking over 50 hours per portrait to
complete.
The Crow - Pen, ink & digital, A3, 2024 Girl Dinner - Pen, ink & digital, A3, 2024

16
You’ve mentioned using art as your voice due to selective mutism and anxiety disorders. How has this
influenced the way you approach storytelling in your illustrations?
The drawing style itself is soothing, almost meditative and works as a sort of art therapy for me. As my skills have
grown, it’s helped grow my confidence and be more outspoken in what I believe in, despite the social anxiety and
mutism. My art has opened doors professionally and personally; I’ve found friends that have the same interests and
values, even had in depth conversations at exhibitions and pop ups about some of these issues, which usually would
be a little difficult as I’m autistic.
Your inspirations range from historical art to modern internet memes. How do you blend these contrasting
influences into cohesive and meaningful designs?
Often, I will research classic paintings, literature and films in my spare time or dig deep into myths and legends and
will have a flicker of an idea which I keep in the back of my mind – I will often be watching daytime tv or doing
something equally as mundane and be inspired to build on those ideas.
What is the process like for creating large-scale works such as murals compared to smaller projects like
logos or illustrations?
It depends on the amount of detail the client is after or the project itself; if it’s a mural, I tend to create the design
digitally and heighten the contrast of shadows and light so it will be more readable on a larger scale at a quick
glance. To begin each illustration, I start off with a few rough sketches and build on those ideas with the client until
the design is finalised.

Your work has been featured in films and

magazines. How has this recognition
impacted your career and approach to
future projects?
It’s been such an honour to be recognised by
such a variety of brands and companies and I
can’t wait to see where my work takes me next.
I’d love to focus more on editorial work as I feel
that my work lends itself to those topics well.
Looking ahead, are there specific themes or
styles you are eager to explore further in
your art?
I’m always excited to explore themes of
feminism in my work, even more so with the
recent political events in the US and around the
world. I do have a project in mind that I’m
hoping to start in the new year, which will
develop into a larger series, in more ways than
one.

Tears of Patriarchy
Pen, ink & digital,
A3, 2024

17
 BART VARGAS This is my second rodeo - Hand-cut paper collage, 51x41cm, 2024

18
Bart Vargas is a Visual Artist, Educator, and Advocate from Bellevue, Nebraska, USA. He received his BFA
from the University of Nebraska at Omaha, and his MFA at the University of Minnesota-Twin Cities. He has
exhibited nationally and internationally, and his work can be found in many collections throughout the
World. His works have been featured in many publications including Sculpture Magazine, New American
Paintings, and HGTV Magazine. Vargas lives in Omaha, Nebraska. Vargas serves as a Professor and Chair
of Visual Arts/Graphic Arts Program at Iowa Western Community College in Council Bluffs, Iowa, as well as
on several local boards of non-profit organizations.

‘’Deep down, most people secretly like a cliché.

My collages are about a lot of things, but mostly they are about having fun.
I make these images from magazines, posters, and used books from my community and travels. I use these pre-existing
sources to create playful, approachable and thought-provoking images that address issues of identity, value, and
experience on an individual, national, and global level. I focus on the past five decades to document, critique, and
make fun with/of the era of civilization we are all living through.‘’
We are not the same - Hand-cut paper collage, 51x41cm, 2024

19
What led you to choose collage as your primary medium, and how do you see it as a tool for exploring
identity and culture?
Aspects of salvage, appropriation, and repetition run through all of my multi-disciplinary practice. Collage is only one
of my mediums. Images from magazines, books, and print media say a lot about what we value and who we are. I
amalgamate these images to push those ideas further.
You mention that your collages are about "having fun." How does humor or playfulness enhance the impact
of your work?
Many of my works explore serious issues that are often hard to discuss. Politics, climate change, discrimination,
religion, etc. I use humor, bright colors and playfulness to catch the viewers’ attention. Then once I have them for a
moment, then they might realize there is something deeper to an image or object. I want them to think again.
Why do you focus on materials like magazines, posters, and used books from your community and travels,
and how do these sources shape your narratives?
I use what I have access to. They say a lot about place and time. These materials act as artifacts and evidence of the
dawn of the Anthropocene, the early 21st century.
What draws you to critique and document the past five decades of civilization, and how do you balance
commentary with accessibility in your work?
I’m 51. I have been consuming images and utilizing objects for five decades. I use these things to speak about time
and experience. They are of this time, so I consider them already accessible, no matter the commentary I focus
through them.

Don’t press your luck - Hand-cut paper collage, 36x28cm, 2024 Borderline personality disorder - Hand-cut paper collage, 61x51cm, 2024

20
How do you navigate the tension between creating art that is playful and approachable while addressing
complex issues on national and global scales?
I don't know exactly how to describe that. Perhaps, Intuition. The best way would be to say that I use my sense of
humor to tone the things I want to say through images. If it makes me laugh, while saying what I want to say, I go for it.
What role does nostalgia play in your collages, and how do you think audiences respond to the familiar
elements in your work?
I think nostalgia plays a big role in my collages, both in the making and consuming of the images. Using preexisting
recognizable images is a strategy to connect with my audience, as well as a way to maintain connections to my
remembered past.
How has your experience as an educator and advocate influenced your perspective on art and its ability to
drive conversations about societal issues?
I teach that at its essence, Art is a form of human communication. We speak through the written word, as well as our
literal voices, yet as Artists we also speak through images and objects. I primarily teach the first two years of Art
foundations. This has given me a great deal of experience focusing on and using the Elements of Art and the
Principles of Design.
How do you approach the process of finding and combining imagery for your collages? Are there recurring
themes or motifs you are drawn to?
I collect a lot of materials. Buying used books, asking my community to donate used magazines, and picking up
random media along the way. I cherry pick images from these that I’m drawn to and carefully cut them out. I stockpile
these pieces for weeks, sometimes months. Then, when I feel like it, I start mixing and matching them. Keeping what
works and throwing the rest back in the pile to look at later.

How do you reconcile the use of clichés in your art

with the desire to create thought-provoking and
original works?
What is there to reconcile? Clichés are truths. Just ones
that have become predictable and are known without
saying. I think everyone secretly likes clichés, whether they
admit it or not. I like the challenge of finding my voice in
preexisting images.
What do you hope viewers take away from the
juxtaposition of humor and critique in your collages?
Every artist’s goal is to connect to their audience. If they
love your work, you’ve succeeded. If they hate your work,
you’ve succeeded. If they don’t feel anything at all, maybe
you failed. I hope people laugh or smile when they see my
work, but if they choose to spend more time with it than
just looking at the surface, I want to make them think.

Zeus
Hand-cut paper collage,
41x30.5cm, 2024

21
BRANDON J.
BERNARD
Brandon J. Bernard are an experimental filmmaker and academic currently pursuing a PhD on ‘Chance in
Filmmaking’ at the University of Plymouth. In their work, they are far more interested in the process of
creation rather than the final piece itself.
They employ ‘chance methods’ to aid their creative process—such as prompts, restrictions, and arbitrary
rules—using these techniques as opportunities to enhance creativity, think ‘out of the box,’ and make new
discoveries.
Serendipity and ‘the Butterfly Effect’ are areas of keen interest for them. They diligently take notes on each
part of their process and are consistently amazed by the unexpected paths their work takes. Watching
mundane events snowball into fascinating ones never ceases to inspire them.

After Images/ Film, 2024

Created at the club ‘Images’ in Plymouth, this film goes over a night out with friends. It uses
long exposure photography to recreate the feeling of a buzz from intoxication and the
spotty memory associated with it.

22
Disseminate/ Film, 2024
The film Disseminate is about the exploration of chance, collaboration, and the nature of artistic influence. Inspired by the concept of the 'Exquisite
Corpse' game, it began as a collaborative filmmaking project, where different directors would continue each other's work without knowing the full
narrative. Though the project faced challenges and only two filmmakers submitted their parts, it sparked the creation of Disseminate. Thematically,
Disseminate delves into how an artist's previous creations influence their current work, both consciously and subconsciously. It also reflects on the idea
that once a film is released, its impact and meaning are shaped by the audience and can evolve beyond the filmmaker's intentions. The film uses
experimental techniques, such as chromakey effects and the layering of past films, to symbolize these themes of influence and transmission.

Circles/ Film, 2024

I filmed every circle I could find in Plymouth, and allowed my wife to choose the music. This meant that visuals and energy of the film were restricted,
with my agency being how the circles were filmed, where I travelled to encounter them, and editing decisions. After making this, I still notice circles
everywhere.

23
Your work places a strong emphasis on process over the final piece. What is it about the act of creation that
captivates you more than the outcome itself?
The act of creation interests me deeply because it’s inherently human, often rooted in play, discovery, and
imperfection. I see my art as a process of learning—putting parts of myself into something without always knowing the
outcome or where it will lead. This openness allows for chance, experimentation, and personal growth, which I find far
more meaningful. Also, as an academic I cannot help but focus on the meta-aspects of how creation takes place.
You employ ‘chance methods’ like prompts, restrictions, and arbitrary rules in your filmmaking. Can you
share a specific instance where these methods led to a surprising or significant creative breakthrough?
While I don’t often experience singular ‘eureka’ moments, my process thrives on unexpected connections. For instance,
while exploring Jean Tinguely’s Métamatics through a nouveau réalisme rabbit hole, I stumbled upon a Kikkerland
wind-up toy in a charity shop a week later. These two chance encounters overlapped and inspired Tinguely Feeling. It’s
less about chasing breakthroughs and more about staying open to influence, allowing ideas to leap across domains
and transform the work in surprising ways."
The concepts of serendipity and the Butterfly Effect are central to your work. How do you incorporate these
ideas into your filmmaking process, and what fascinates you about them?
What fascinates me about serendipity is that some of the world’s most amazing discoveries are all around us, but that
it takes the right person to have the right experience for it to be revealed. It’s not about being amazing, but about
listening to the world. What I try to do with my films is create the conditions for those unexpected moments to occur.
As an academic pursuing a PhD on ‘Chance in Filmmaking,’ how does research inform or challenge your
creative practice? Are there insights you’ve gained that have shifted your approach to filmmaking?
I feel lucky to be doing what I genuinely want to do. The PhD serves mainly as a push to explore chance and
filmmaking more broadly, preventing me from getting too comfortable. If anything, it keeps me focused on the task at
hand.
You describe mundane events snowballing into interesting ones as a source of amazement. How do you
capture or highlight the beauty of these everyday moments within your films?
The main thing is to record as much of your life as you can. By this, I mean photos, notes, journal entries, etc. Make sure
you date and even timestamp them. Our memories are not the best, so being able to clearly say, weeks later, that X
happened, then Y, followed by Z, allows you to appreciate the journey. Putting all of these moments in a spider
diagram and allowing the web to spread is how a lot of my films are planned.
Why do you believe limitations can be a source of innovation rather than constraint?
Limitations force you to think outside the box. Humans can be unintentionally lazy; when we find a solution, we often
jump straight to it, repeating the same actions with minimal room for learning or innovation. Having arbitrary rules
encourages lateral thinking, helping us make connections further across the brain rather than relying on the closest or
most familiar solutions.
In documenting each step of your process, what patterns or recurring themes have emerged in the
unexpected paths your work has taken?
So far, a recurring theme has been how similar my thoughts and ideas are to those of artists who came before me.
The Dadaists, Fluxists, and nouveau réalistes all feel like the kind of people I’d love to hang out with. I’ll write a note
and later come across something that makes me think, ‘That’s exactly what I’m saying!’ It feels great to find my
‘people,’ even if most of them are dead.

24
Experimental filmmaking often challenges traditional storytelling methods. How do you balance the role of
chance with intentional decision-making in creating a coherent—or intentionally fragmented—narrative?
There is always a balance that needs to take place, otherwise you are just creating noise. Though, I feel that narrative
is not something that needs to exist in film. It reminds me of Gunning’s essay ‘Cinema of Attraction’, where he talks
about how films are a knock-off of theatre, and how they really don’t need to be. I feel that we should embrace all the
possibilities which film has to offer.
How does the unpredictability of your creative process influence your understanding of authorship and
control in filmmaking?
I feel like my films belong to a moment in time. I would not be able to make any of them again in the same way. I am a
different person, and the world is different too. If I tried, it would be disingenuous. The sparks of inspiration belong to
another me, which has already morphed beyond comprehension.
What advice would you give to other artists or filmmakers who want to explore ‘chance’ as a method of
creative experimentation? Where would you suggest they start?
I would say set a timer—maybe 20 minutes—and just give it a chance ;) Starting is often the hardest part. Playing with
chance can be rewarding, not just in terms of productivity, but also from a therapeutic standpoint. Free writing,
association games, and forced limitations are all easy to try and require little preparation. If you keep doing it, it will
become a habit. I really hope you enjoy it.

Broodiest Flunkey/ Film, 2024

The story was created after reading the work ‘The Reason I Jump’ by Naoki Higashida. It is about a child in Japan with
autism, and how they communicate with the world. I related a lot to the book, especially when thinking back to when I was
a kid. This made me feel less harshly about my own experiences. I wanted to make something where seeing yourself in a
book means you are nicer to yourself. The film uses chance as the narrative is formed by words that can be made out of
the anagram ‘Broodiest Flunkey’. This constraint means I had to be creative with the plot.

25
 Gacha’nce/ Film, 2024
This was filmed in April when I was in Japan for my honeymoon. The piece goes into the overwhelming weight that can go onto your mind when you
realise how many choices are around you, and how many people are making them. Gacha machines are an iconic part of Japanese culture, and are
based on chance, so I thought this merging of themes worked well. It also has themes of consumerism and the passage of time.

Tinfoil Candy/ Film, 2024

This film is another exploration of chance. I was on my first day at a new studio (KARST, Plymouth), so I had no resources to work with. Upon going to an
Aldi to brainstorm, I picked up some candy and tinfoil. The candy was an element of chance since I did not know what colours would come out of the
bag, such as its sequence. The tinfoil was a cheap way to cover the walls. However, via playing with the tinfoil, I learnt that it bends lights in interesting
ways when crumpled. Miyamoto’s works of ‘tsukanoma no haikyo’ or ‘temporary ruins’ inspired this too, with how destruction creates something new.

26
CHUAN
JIANG
Chuan is an animation director and visual artist born in southern China, now based in the UK. Holding a
Master’s in Film Curation from the University of Glasgow and a BFA from the University of Southern
California, her work spans animation, mixed media, and digital art. Her projects often explore themes of
identity, cultural representation, and societal transformation through a blend of traditional and modern
techniques.

‘’My work delves into the strange and dreamlike, merging reality with the surreal to explore identity, cultural belonging,
and the inner self. Through a mix of traditional and digital techniques, I create ethereal, layered worlds that oscillate
between moments of clarity and ambiguity. My figures float between states of being, caught in the tension of
personal transformation and the passage of time. With each piece, I invite viewers to step into a space where
boundaries dissolve, where the lines between memory, fantasy, and reality are no longer fixed.’’

27 Hidden Heaven - Colored pencil, crayon and chalk on canvas, 30x40cm, 2024
Your work often blurs the boundaries between reality and the surreal. How do you approach balancing these
elements to communicate themes of identity and transformation?
Blurring reality and the surreal mirrors how I often experience life—somewhere between clarity and ambiguity,
especially as someone navigating cultural dislocation. I let my intuition guide me, allowing the surreal to serve as a
metaphor for inner landscapes, while reality provides the emotional anchor. This approach feels natural, like
reconciling who I was with who I am becoming.
How has your personal journey from southern China to the UK influenced the narratives and imagery in your
work?
Moving to the UK slowed my pace of life in a way I hadn’t anticipated. In southern China, I was shaped by a culture
that constantly pushed forward, where the rhythm of life felt relentless. In the UK, I’ve found more moments to reflect
and introspect, this shift has allowed me to explore quieter, more contemplative themes, focusing on the nuances of
identity and memory that might have been overlooked in the rush of my earlier environment.
Your art features figures in states of transition. What draws you to themes of personal transformation and
the passage of time?
I’m deeply drawn to themes of time and personal transformation because they resonate with my relationship to
memory. I’ve always loved looking at old photographs—they evoke different feelings every time I revisit them. Time
feels like an extraordinary force, shaping who we are. I’ve experienced moments of intense pain where it felt like a
part of me ceased to exist, leaving space for someone new to emerge. Yet, when I reflect, I feel as though all the past
versions of myself still stand together on the same timeline, building the person I am today. This layered connection
with time is something I strive to capture in my work.
Can you share more about your creative process
for blending traditional and digital techniques?
It’s like a conversation between the past and future. I
start with tactile methods like hand-drawing or
printmaking—grounding myself in something physical
and imperfect. Then I layer digital techniques, like
adding noise or atmospheric lighting, and drawing on
the surface, to expand those textures into something
otherworldly. The mix is intentional—it mirrors how
memories feel: part vivid, part blurry, always layered.
What role does cultural representation play in
your art, and how do you navigate?
Cultural representation is deeply personal for me, but
I approach it like a dialogue. Instead of presenting a
fixed image of where I come from, I focus on universal
feelings—warmth, hope, connection…—that anyone
can relate to. My hope is that through these shared
emotions, viewers can find their own entry point into
my cultural stories.

Split - Soft pastel and oil pastelon canvas, 50x40cm, 2024

28
Sunny Day - Digital work on film paper and acrylic sheet, 29x42cm, 2024

Community - Digital work on film paper and acrylic sheet, 21x29cm, 2024
How does your background in Film Curation shape your perspective on animation and visual storytelling?
Film curation trained me to think critically about how stories are presented and consumed. It’s not just about visuals
but about how they resonate emotionally and intellectually. This informs my animation process—each frame isn’t just a
picture but part of a larger narrative that speaks to cultural or personal truths.
The layered worlds in your pieces invite viewers to explore ambiguity. What do you hope people experience
or feel when they engage with these dreamlike spaces?
I want people to feel like they’ve entered a space where their own memories or questions surface, like walking into a
dream that feels oddly familiar. Ambiguity isn’t about confusion for me—it’s about offering a space for interpretation,
where viewers can bring their own stories to the work.
Memory, fantasy, and reality often intersect in your art. How do you decide where one begins and another
ends within a piece?
I don’t think they ever truly separate. In my work, they flow together naturally, like a conversation between what we
remember, what we imagine, and what’s in front of us. I decide their interplay based on the emotion I’m trying to
convey—whether it’s clarity, nostalgia, or something unsettling.
What are some specific traditional and modern influences that have shaped your aesthetic and artistic
philosophy?
I’m fascinated by the emotional impact of bold, striking colors, which often serve as the foundation of my aesthetic. I
also draw a lot of inspiration from Masaaki Yuasa’s work—his fearless use of distortion, surrealism, and vibrant palettes
deeply resonates with me. These influences shape my artistic philosophy, where traditional techniques merge with a
modern, playful embrace of spontaneity and visual energy.
How do you see your role as both
an artist and animation director
evolving in a rapidly transforming
visual arts landscape?
I see my role as an interpreter of
shifting worlds, whether through new
technologies or timeless narratives. As
the visual arts evolve, I aim to explore
how emerging tools can expand
emotional and visual boundaries while
staying rooted in timeless, human
experiences. This duality allows me to
embrace constant reinvention,
adapting to new possibilities while
holding onto the authenticity that
connects deeply with audiences.

Sweet Dream
Digital work on film paper and acrylic sheet,
21x21cm, 2024

30
DESPINA
MERKAKI
Despina Markaki is a 28-year-old artist who explores experimental animation through photography and
digital media. She finds joy in blending and experimenting with various mediums to create work that is both
original and authentic. Through her creative vision, she invites others to delve into the uncharted territories
of their innermost thoughts and fears. Born and raised in Greece, she moved to London four years ago to
pursue her passion for studying the art of animation.

Danse/ 2024
A series of surreal photographs and videos that I composited into a music video. The song I've used is a
from a greek composer named Hydrama. This music video describes a woman’s love for dancing, which
becomes her solace and torment, mirroring a toxic relationship. Once her happiness, it now consumes
her, trapping her in a futile pursuit of joy.

Floating/ 2024
This photograph showcases a mannequin hand bathed in vibrant rainbow lights against a dark background. The glowing colors softly wrap around
the hand, creating a warm and inviting contrast between light and shadow, sparking curiosity and wonder.

31
What first inspired your passion for experimental animation, and how has your practice evolved since
moving to London?
Growing up, I loved drawing, but I never got proper training in it. I got into things like collages and photography, which
felt natural to me. Then I moved to London, where mixing different mediums and creating strange but unique art was
not just accepted, but encouraged. It inspired me to push my creativity to the next level.
How do photography and digital media contribute to the authenticity and originality you aim to achieve in
your work?
I believe the best way to create something unique is by blending pieces of reality that might seem random at first but
end up making poetic sense. Photography and digital media are such great tools for making that happen.
“Danse” explores the duality of solace and torment. How did you approach capturing these emotions
visually in your photographs and videos?
When my friend Sammy and I first shot this footage, we didn’t have a clear plan—we just knew the vibrant light felt
perfect for telling a bold, intense story. When you’re working with only a few elements, it’s surprisingly easy to craft a
narrative that swings between solace and torment.
Can you tell us more about your collaboration with Hydrama and how their music influenced the mood and
narrative of “Danse”.
After Sammy and I captured the footage, I knew I wanted to pair it with a song that really hit an emotional chord.
Around that time, my friend Hydrama released his track 'Danse,' and it instantly felt like the perfect fit. The bold visuals
suddenly clicked, taking on a meaning that aligned beautifully with the song’s story.

32 Danse - Photograph, 2024

The theme of a toxic relationship is central to “Danse”. What drew you to this subject?
As humans, we often find ourselves in toxic relationships—not just with others, but with ourselves or even our hobbies. I
like to use my personal experiences as a starting point, but I always try to shift the focus toward more universal
themes. Sticking too closely to my own story can make me too wrapped up in it and risk missing the bigger picture of
what the artwork is trying to say.
How does your cultural background and upbringing in Greece shape your artistic vision and process?
Growing up surrounded by the bright blue of the Aegean Sea and the silvery green of olive trees, I was constantly
immersed in the vibrant colors of nature. The grain of the wood, the rhythm of the waves, and the intricate patterns of
the rock formations fascinated me endlessly. I often find myself drawn back to those images and textures, either trying
to recreate them or capture the same sense of vibrancy they always gave me.
What is it about blending different mediums that excites you, and how do you decide which ones to use?
When I have a vision in my head, it’s rarely something I can achieve with just one medium. I’m drawn to creating
dream-like images, so I often find myself layering, compositing, and distorting my work to give it a more surreal feel.
In “Danse” the relationship between dance and emotion plays a key role. What inspired you to use dance as
a metaphor for human struggles?
Hydrama was the one who used dance as a metaphor for human struggles, which is what inspired me to pair my
footage with his music. Dance is so multifaceted and layered that it carries a certain density within itself (hence the
word 'danse'). While it can beautifully convey grace and joy, it can also serve as a powerful expression of delirium and
obsession.
What challenges do you face when working at the intersection of photography, digital media, and animation,
and how do you overcome them?
The hardest part is trusting the process and sticking with it until things come together. There’s always a point where I’m
convinced it’s not working and start second-guessing every decision I’ve made. Funny enough, that’s usually when I’m
just a few steps away from finishing the project.
Looking ahead, how do you envision pushing the boundaries of your experimental animation practice?
There’s so much I’m excited to explore. I want to create live installations where people can interact with my art in real
time, bringing it to life in a whole new way. I’m also eager to dive into hand-drawn animation, combining it with the
bold colors and textures that inspire me. These are the paths I’m ready to follow as I push my creativity further and
grow as an artist.
Fight - Photograph, 2024 Love - Photograph, 2024

33
Memory/ Photograph, 2024
You try to remember yourself, you used to be happy, but the memory is faded. It's upside-down, blurry and that smile in the supposedly
happy memory, now seems to be making fun of you.

Not Love/ Photograph, 2024

The connection you once found inside this confusing vibrant world is now turning against you. You turn away, but you're still trapped.
EMILY
GREENWOOD
‘’My aim is to produce visually stimulating silkscreen prints that intrigue the viewer and hopefully enable them to
establish a narrative for themselves. Although I do have my own reasons behind each work and know what it means
for me, I do not wish to give an obvious explanation for the work as I created it to remain ambiguous. I created the
works as a series, and with the intention of them being viewed as a sequence, although they can also be interpreted
as individual images. My work explores the notion of dreams and hallucinations, or scenarios that could represent
either of these. This stems from a fascination I have with listening to people’s interpretations and recollections of their
own dreams, and the bizarre inner workings of our subconscious. When we dream we have no control over what our
minds choose to show us, and I like to play with this vulnerability. As my work has changed and developed, I have built
upon a ‘character’ as a way of creating a protagonist which appears in nearly all the works, sometimes multiple times
in the same print. This evokes ideas surrounding doppelgangers, identity and ambiguity. I often work with vintage
photographs/retro imagery, taking images from theatre, cinema and the domestic setting, acting as a reference to
memory and the past. I take inspiration from a variety of artists, mainly photographers of the surrealist tradition such as
Francesca Woodman, the film work of David Lynch and Louis Bunuel, and the collage juxtapositions of Sigmar Polke.
All of these artists work with narratives and play on ‘dream stories.’’’

35 Smoke & Mirrors - Silkscreen print, 56.5x75.4cm, 2014

What is it about the bizarre and uncontrolled nature of dreams that fascinates you as an artist?
I always had very vivid dreams as a child, and like to play with the vulnerability and lack of control we have when we
dream. I find dreams fascinating and love to hear about other people’s.
You mention creating a recurring ‘character’ as a protagonist in your work. How did this character emerge,
and what role do they play in evoking themes like identity, doppelgangers, and ambiguity?
My character is actually myself, usually dressed in costume which a lot of people don’t realise when they look at my
work. I often duplicate myself in each image, which is what evokes the doppelganger/alter ego. I like to play with
identity in this way, which also adds to the dream-like quality of the prints.
Your series is designed to be viewed as a sequence, yet each print can stand alone. How does this duality
impact the way you approach storytelling and composition in your art?
I think because there is no narrative as such to the work and I don’t dictate the meaning of each piece, they can be
viewed individually or as a series, which was the case when I produced them. That said I think the story telling comes
through as the series begins with a ‘journey’ into the TV, we then see the character inside the TV and dancing on a
stage, but the series ends with the characters back in the living room watching the TV.

You often use vintage photographs and retro imagery as references. What draws you to these particular
visual sources, and how do they help connect your work to memory and the past?
Some people dream in colour, others in black and white. I think black & white instantly gives a vintage feel and I
deliberately chose old cinemas/1950s style furniture to add to this. This evokes themes of nostalgia, which can also link
in with memory/the past.

36 Smoke & Mirrors - Silkscreen print, 56.5x75.4cm, 2014

You’ve cited surrealist photographers like Francesca Woodman, filmmakers like David Lynch and Luis
Buñuel, and artists like Sigmar Polke as inspirations. How have their techniques and themes influenced your
artistic process?
Like myself, Francesca Woodman also uses herself in her photography and I think they have a very dream-like quality to
them. David Lynch’s work has that surreal quality that makes you question reality. I also like the texture that Sigmar
Polke’s printmaking has, and feel for me, using silkscreen creates another layer and almost that ‘faded’ quality that a
near forgotten dream may have.
Ambiguity plays a significant role in your work, as you choose not to provide obvious explanations. Why is it
important for you to leave space for viewers to establish their own narratives?
For me, art is all about what the viewer takes away from it and how it makes people feel. I love hearing what other
people take from the work. I like to leave it open to interpretation so that it can maybe evoke certain memories or help
people reminisce.

Smoke & Mirrors - Silkscreen print, 56.5x75.4cm, 2014

Dreams are deeply personal yet universally experienced. How do you approach creating imagery that feels
intimate and personal, while still resonating with a broader audience?
For me just having myself in each work makes it personal. A lot of the images used were taken in my own home and
even though I do use other images, I like to think people can perhaps use their imaginations when they look at my
prints and establish their own narrative.

37
Your silkscreen prints have a distinct, visually
stimulating quality. What is it about this medium that

Silkscreen print, 56.5x75.4cm, 2014

lends itself so well to the themes of dreams,

Smoke & Mirrors

hallucinations, and the subconscious?
Initially it was suggested I keep the series as photographs,
but I chose silkscreen because this traditional medium
adds a quality and depth to the images that I think makes
them more visually stimulating than a photograph. I also
love the process of creating silkscreens.

The use of collage and visual juxtapositions plays on surrealist traditions. How do you decide which
elements or images to combine to evoke the dreamlike or hallucinatory quality you’re after?
Good question! I use whatever images stand out to me at the time. Usually it’s a setting that could be unnerving in
some way, like an abandoned building, a stage or a presence in the image that is anonymous.
You reference theatre, cinema, and the domestic setting in your work. How do these environments help
create the sense of narrative, nostalgia, or unease that you aim to convey?
I think this idea came from people telling me their dreams are often like sitting in a cinema, watching something play
out. I like to create questions with each piece – who’s that? Where are they? How did they get there? This all creates
the sense of unease.

38 Smoke & Mirrors - Silkscreen print, 56.5x75.4cm, 2014

 FLAMINIA BONCIANI

Born in the vibrant city of Rome but raised across multiple continents, Flaminia Bonciani’s eclectic journey
has uniquely shaped her career. She initially pursued a business degree in the bustling metropolis of New
York, but soon found her passion leading her into the world of acting. This adventurous path even afforded
her a small role in the Oscar-winning film “La Grande Bellezza,” which further ignited her creative spirit.
However, Flaminia discovered that her true calling lay in the realm of art, prompting her to receive her
Bachelor of Arts with Honours at the esteemed Rome University of Fine Arts (RUFA). Since then, she has
enthusiastically participated in a variety of exhibitions across Italy, Switzerland, and England, gaining
recognition and being featured in several prominent magazines along the way. After years of dedicated
research and experimentation, she innovated the first oil-based spray paint in the world, a groundbreaking
achievement that she now utilizes in her artistic practice to create unique visual effects through her
carefully personalized blends of color. Recently, she completed her Master’s degree in Fine Arts at the
celebrated City and Guilds of London Art School, where she showcased four striking works in her final
exhibition, receiving an overwhelmingly positive response from the audience and solidifying her standing as
a talented and innovative artist.
Dancing in the spotlight
Yuu is Creamy Mami
Oil on canvas, 150x150 cm, 2024
Oil on canvas, 150x150 cm, 2024

39
‘’the world as a continuous tale needing to be told. Just like a shaman, my paintings shape the story of my inner
universe as it reveals itself, in a unique act of generosity towards humanity. Art functions in the imaginary register, quite
like a shaman does. When art and I, the creator, are aligned, we shape the void of the Thing and generate the miracle
of form. We transcend together the limits of time and space and meet the unspeakable, becoming one in infinite
oscillations in and out of human psyche. Via my act of painting, art grants me access to the Real straight through the
imaginary, and lets me encounter the Transcendent Other, who hugs me while I swim in incandescent waters. As I
stand outside and transcend myself, art becomes my shaman and my medicine man; inside its magical portal I can
heal myself and travel to other dimensions, wrapped in unconceivable ecstasy. The spray-can in my hands turns into a
magic wand, through which I can metaphorically access the Transcendent Other; I can swirl the spray-can, enter a
new dimension and explore what’s inside. While the Eleusinian Mysteries had real magic, I have my paint magic.’’

There must be angel wings hiding in her heart

Oil on canvas, 150x150 cm, 2024

40
How has your multicultural upbringing influenced your artistic voice and practice?
I think my multicultural upbringing shaped my artistic voice mostly by making me an open-minded and free individual in
everything I do. My spiritual and intellectual freedom is my strength and the main ground that leads me to always
experiment and trust my instinct without ever being afraid of the consequences. Also, I would say, the abstract
expressionist artists I saw while growing up in America are still very much present in my art.
What inspired you to shift from acting and business to fully committing to a career in fine art?
Well, while business was a quite forced choice on my family’s side, acting was my way of breaking the rules and trying
to find my place in this world. Now I know I was actually trying to get closer to my true calling which is to be a
contemporary artist
Your role in La Grande Bellezza is a unique intersection of film and art. Did that experience influence your
approach to storytelling through visual mediums?
I think being on the set of La Grande Bellezza,
There must be angeland
wings breathing that kind of magic atmosphere definitely influenced my
hiding in her heart
approach to storytelling through Oil
visual mediums.
on canvas, I’m2024
150x150 cm, always looking for a surreal and magic experience in my works
and the idea is to concentrate some kind of fantastic cinematic story in just one painting. The many years I spent
traveling to Los Angeles to study acting and the years I’ve experimented with directing short movies definitively have a
deep subconscious impact on my whole artistic production.
What motivated you to develop oil-based spray paint, and how has it shaped your creative process?
A few years ago, I was looking for a technique that would give me a soft, muffled effect on the canvas, but that would
not make me give up oil, as to me it’s crucial how oil reflects light and how it lets me create unique colors that are a
very important factor in my practice. After various attempts, I realized I could only achieve the effect I wanted by using
a spray can with oil inside, so there I was with my invention!
How do audiences in different countries perceive your work differently?
It’s very interesting to see cultural differences in approaching my art: while in Italy the audience is often more focused
on the emotion they can feel from my paintings, in other countries people pay more attention to the technique, to the
different layers they can see through the canvas, and are generally more curious on how I have actually achieved that
final result.
Fluttering - Oil on canvas, 150x150 cm, 2024

When you’re alone singing, we sometimes see your saddened heart

Oil on canvas, 150x150 cm, 2024

41
Your work often features personalized blends of color. Could you share more about your approach to color
theory and how it reflects your artistic philosophy?
I studied color theory for a long time, concentrating on Joseph Albers’ “Interaction of color”, a book that forever
changed my approach to color. My main intent is to use color in its emotional trait, and not its scientific one.
Interestingly enough, although the final result is quite colorful, in my works I often play around with the color grey, using
it as a base from which other colors are built and observing how they shape-shift next to it.
During your Master’s program at the City and Guilds of London Art School, you created four pieces that
garnered significant attention. Could you walk us through the creative journey behind one of these works?
my Master’s program at City and Guilds has been one of the best experiences of my life. As the tutors were pushing
me throughout the whole year to dig into my psyche and find out the most personal reasons to why I paint, I decided
to explore my childhood, concentrating on a Japanese cartoon I would always watch as a little girl in Italy, called
“Creamy Mami, magical angel”. That, and a deep research on the ancient Mysteries of Eleusis, a ceremony in ancient
Greece, led me to the works I exhibited in the final show.
Your art appears to balance traditional methods with innovation, such as the use of oil-based spray paint.
How do you reconcile the past and future of art in your practice?
I think my spray-paint element creates a parallel with street-art. As Basquiat was trying to get its rebellious message
across through SAMO and its graffiti, I am equally trying to break through my past and my subconsciousness with my
spray-paint; to me it’s like a magic wand which lets me explore a transcendental reality, while still paying my respect
to the great masters with the use of oil paint.
What role do experimentation and research play in your artistic evolution, particularly as someone who has
pushed technical boundaries in your medium?
research is the main fuel to my practice. I wouldn’t have reached this kind of evolution if I didn’t constantly study the
topics I am attracted to, like ancient Greek
ceremonies, psychoactive molecules, vintage
sci-fi, cult movies, and authors like Albert
Hofmann, Terence McKenna, Slavoj Zizek,
Byung-Chul-Han and Jacques Lacan.
Looking ahead, what are your aspirations
for your art, and are there any specific
projects or themes you’re excited to
explore next?
I would like to start a new series of paintings
based on another cartoon I used to watch as
a child. It’s about a child goddess and her
adventures on the Olympus. I’m also very
excited to start a new collaborations with a
gallery. Looking forward to what the new year
will bring to me and my art.

Your shining star eyes amaze me

Oil on canvas, 150x150 cm, 2024

42
 JIAXIN ZHANG

Jiaxin Zhang graduated from London Film School, deeply immersed in experimental film and focusing on
exploring the boundaries of cinema as a medium through the lens of Chinese Daoist philosophy. The
projects I participated in have been selected for the Rhode Island International Film Festival, Shanghai
International Film Festival, and Experimental Forum, etc.

Your work explores the boundaries of cinema through the lens of Daoist philosophy. How does this
philosophical framework influence your storytelling and visual language?
Daoist philosophy lacks a unified form and extreme binary opposition; everything is in constant transformation. This
aligns perfectly with my interest in unconventional narrative methods. In terms of visual language, I focused on
externalizing the inner states of my characters.
What inspired you to delve into experimental film as your primary medium, and how does it help you convey
your ideas more effectively than traditional formats?
During school, I find myself easily distracted by purely narrative-driven films, whereas experimental films feel like a
meditative space where I can find comfort—everything is diffuse, like a mist, rather than linear. So, I immersed myself in
it naturally and tried to find the mist that match my colour.
Your film Pupa draws inspiration from Zhuangzi's dream of being a butterfly. How did you translate this
profound philosophical metaphor into a cinematic experience?
I believe that to evoke something grand, one must start with something delicate and fragile. While conceptualizing this
film, I employed many expressionist techniques, using the butterfly as a metaphor for a girl’s existential crisis and tying
it to the dreamlike awakening and sense of void at the film’s conclusion.

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Daoist philosophy often emphasizes harmony and the natural flow of life. How do these themes manifest in
the narrative and structure of your films?
In my film, I try to evoke a sense of an irretrievable childhood or past life through unnatural elements in natural
environments, such as giant chess pieces on a grassy field or velvet curtains by the seaside. Additionally, I use playful
editing and sound design to create an unpredictable flow in the film’s rhythm.

Having participated in prestigious festivals like the Rhode Island International Film Festival and the
Experimental Forum, how do you navigate the balance between experimental concepts and audience
accessibility?
I believe that in the early stages of creation, it’s essential to maximize one’s strengths, as this can also engage the
audience to actively try to understand you. Creating something that is universally acceptable, straightforward, but
lacks individuality, on the other hand, risks becoming unrecognizable and forgettable.

What specific elements of Chinese Daoist philosophy do you find most compelling to explore in your films?
It’s the truth that we cannot distinguish between illusion and reality.
In the film, they cannot differentiate between each other and themselves. Yet, both the self that turns into a butterfly
to escape and the self that wakes up on the sofa ultimately come to realize the same truth: there’s no one outside.

Can you describe your creative process when developing an experimental film? How do you balance
technical innovation with philosophical exploration?
I believe that the medium constitutes the content itself. When conceptualizing experimental films, I collect materials
that move me and attempt to find an organic connection. Additionally, I’m interested in mixed-media installations
because different textures evoke different emotions, which aligns perfectly with philosophical exploration.

How has your education at the London Film School shaped your approach to filmmaking, particularly in
combining Western cinematic techniques with Eastern philosophical ideas?
While studying exceptional Western films, I still found elements within them that resonated with me. And by
broadening the scope of learning, one can discover commonalities across different disciplines—a principle similar to
the notion of “unity in diversity” or the idea in Eastern philosophy of “the ultimate simplicity of the Dao.”

How do you adapt your themes to resonate with such diverse audiences?
I believe this applies to everything: while conveying universal values or emotions, it is essential to first find one’s own
voice. Making choices inherently means giving something up—trying to have it all ultimately results in having nothing at
all.

What future themes or stories inspired by Daoist philosophy do you hope to explore in your upcoming
projects, and how might they push the boundaries of cinema further?
I’m intrigued by Zhuangzi’s concept of “emptiness awaiting things,” which suggests that one should‘nt rely on the ears
to listen but instead use a tranquil and open mind to perceive. I aspire to create films that, in terms of visual
expression, come closer to the essence of music, as music and film are the most similar art forms.

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 Pupa
Video, 2013

A story about little sister lives with her brother. Little sister misunderstands her brother's games with guests as
proof that he is being treated like a muse. She yearns to break free from his protection and become as
beautiful as he is. Unbeknownst to her, her brother is just a butterfly in captivity. At last, the desire of become
someone else is a crumpled mass of paper.

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JUSTIN JAMES
‘’I am a self-taught artist and psychic medium, and my art is deeply inspired by the spiritual and meditative
worlds. Through my paintings, I try to bring to life the powerful visions and spiritual images I experience,
offering a glimpse into the unseen world as I perceive it. As a medium this allows me to connect with the
spiritual realm, channelling its energy and messages into my artwork. My focus is on capturing the emotions
and energy of each vision — whether they are calm and peaceful, stormy and intense, joyful, or sombre.
Each painting reflects what I sense and feel, creating a unique connection between the physical and
spiritual worlds. My hope is that my work encourages viewers to engage on a deeply personal level,
connecting not just with the art but with the emotions it represents. My journey hasn’t been easy. I’ve faced
lifelong struggles with mental health, which have profoundly shaped who I am and how I express myself. By
the time I turned 49, I had already overcome a brain injury and a stroke — both of which brought immense
challenges but also deepened my perspective on life. Despite these difficulties, I’ve found strength in my art
and my connection to the spiritual world, using them as tools for healing and growth. Through my art and
mediumship, I hope to show that even in the face of great challenges, it’s possible to create beauty and
meaning. My paintings are not just expressions of my spiritual journey but also symbols of hope, strength,
and the power to overcome life’s obstacles.’’

Your art is deeply connected to the spiritual and meditative worlds. Can you describe what the process of
channeling these visions into paintings feels like for you?
When I create my paintings, it feels like I'm tapping into a peaceful, quiet space within myself where I can sense and
see things beyond the physical world. It's almost like daydreaming but instead of random thoughts, I'm guided by
emotions, images and energy that are coming from a deeper, spiritual place. As I paint, it feels as though these
impressions flow through me and guide my hand, allowing me to turn what I sense into something real that others can
see and feel too.
As both a psychic medium and an artist, how do you balance the roles of being a vessel and a creator?
To me, both roles are one and the same, they are both such an integrated part of my being, they blend together
naturally. When I connect to the Spirit world, the impressions I receive blend seamlessly with my own emotions and
creativity, making each piece of work both guided and deeply personal. This process allows me to drop my barriers
and be fully myself, something I would normally struggle massively with, as I lack in confidence as a person. By
combining the two together, it's a space where I feel completely connected, authentic and inspired, without the need
to be overly critical which I would be was I not blending the two.
How do you hope viewers will connect with your art on an emotional or personal level?
When I paint, I hope that others with similar experiences can connect with my work and feel less alone. I try to keep my
paintings with a single or minimal focal points to try and convey my message in a simple yet impactful way. The
themes I explore more often than not mirror my current feelings. This I hope makes each piece more personal, genuine
and easily relatable to the viewer.

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 Those Below
Acrylic, 55x45cm, 2024

How we are so fast to judge those around us and look down on them.
You mention capturing the emotions and energy of each vision, from calm to intense. How do you decide on
colors, shapes, or techniques to reflect these energies in your work?
When I set up my space to work, I choose colours that feel right to me in the moment without thinking too much, it's all
based on what I'm drawn to. As I paint, each vision leads the way, calm feelings mean I will use softer colours and
smooth flowing shapes, while strong emotions push me towards brighter colours and bold, striking textures. I trust my
instincts and let the emotions and energy guide every choice, so each piece shows both the spiritual vision and how I
personally feel it. My goal is to capture the heart of the vision in a way that feels real, and helps others feel it too.
How have your lifelong struggles with mental health, as well as overcoming a brain injury and stroke,
influenced your artistic style and the themes you explore in your paintings?
Having faced the various challenges that I have, I feel this has allowed me to have a deeper understanding of my own
emotions, and to express them through my art more easily. Because of this, there is more emotion attached to my art,
which in a weird way allows me to be more relaxed. I don't feel that I particularly have a set style, however I think this
enables me to be more expressive, painting with feeling, instead of painting with thought, as I tend to flit between
themes and style depending on my mood.
What does the act of painting mean to you in terms of healing and growth?
Art allows me to escape this world and any issues I have in day to day life seem to dissolve when I'm working. When I
was unwell, I lost my confidence so it was my go to thing where I could be alone with my thoughts, and forget about
what was going on for me physically. A poignant time for me was being selected for my first exhibit. I had
experienced such a low time both physically and mentally, and my confidence was at rock bottom. To have that
external validation from someone independent that my work was worthy of being shown lifted me out of the difficult
and challenging time that I was experiencing.
How has your understanding of the spiritual realm evolved over time, and how has this evolution shaped?
Every psychic medium's journey is unique and we are constantly learning and developing. I believe as an artist, it is also
very similar. The visions and messages that I share through my art haven't necessarily evolved over time, they simply
differ in each piece depending on the person that I'm connected with or the message that they feel needs to be
conveyed.
Many people might not be familiar with the experience of spiritual visions. How would you describe these
moments to someone new to the concept, and what role does art play in making them tangible?
Describing this is tricky, I wouldn't say it's completely a trance like state but it's close. It's still you painting but there's no
stopping to think, it's like being guided to paint and trusting that implicitly. One thing I do notice that is always the
same every time is that my temperature rises. My work is very important to me as it's conveying a message spiritually to
someone who may not be susceptible to receiving a message from the Spirit world.
Are there particular symbols or recurring images in your work?
I frequently paint solo figures as focal points of my paintings and I believe this conveys the solitude that is felt when
experiencing challenges with your mental health. But I always try and keep these figures very simple, so as not to
detract away from the message. Many people say that they can see figures, faces and images within my paintings
that at the time of creating them there was no conscious intention or decision to include.
Looking ahead, how do you envision your art and spiritual practice evolving?
I just hope that my art reaches people that may not normally cross paths with a psychic medium. I keep an open mind
and each time I sit to do a painting, it could be anything from a landscape to an abstract. I enjoy the fact that I don't
know what I'm going to be painting next, but I believe that there is a message to us all in each and every one of them.

48
 Friendship Would any of us survive?
Acrylic, 45x55cm, 2024 Acrylic, 45x55cm, 2024
A group of friends on another planet just relaxing Would the human race survive a nuclear war?
If so would it be a life worth living?
KEITH POINTING
Keith Pointing uses surrealism and humour to satirise the human condition, environmental justice and
societal issues. He works primarily in oil paints and he uses motifs and layers of iconography from the
natural, the classical world and visual memory. In each work, he experiments using the language of form,
colour, shape, space, and volume. These works explore the dichotomies of childhood and adulthood, the
conscious and unconscious, and the seen and unseen in various emphasis and combinations.

Dodo’s Dream of Revenge

Oil on linen,
50x60cm, 2023

50
Surrealism and humor are integral to your work. How
do you strike a balance between satire and deeper
social commentary when addressing themes like the
human condition and environmental justice?
Surrealism has long used humour, from Magritte to Ernst
and Picasso, to engage viewers and provoke thought. In
my work, humour acts as an entry point—inviting
engagement while framing deeper themes like the
human condition and environmental justice. It allows me
to explore these ideas without being overly didactic,
leaving room for interpretation.
How do you decide which symbols to incorporate,
Grand Encounter
and what role does storytelling play in your process?
Oil on linen, 30x40cm, 2022
Sometimes I begin with a clear idea, often based on a In a vivid dream-like landscape, a large butterfly, symbolising rebirth and resurrection, has
landed on the roof of a luminous tower. Its oversized eye looks in terror as a colossal crow is
sketch, while other times the symbols evolve organically about to attack. This work continues an interest in the Golden Age Dutch still life and its
as the painting develops. Storytelling plays a key role, underlying meanings and symbolism. Tulips and towers stand to attention in front of the viewer,
as if in a frieze or on parade. The towers and organic matter are slowly and awkwardly
guiding the imagery and allowing the motifs to interact morphing into each other.

and transform as the work develops. I let the work take as

long as it needs to reach completion. You explore dichotomies—childhood and adulthood,
Absconder - Oil on linen, 50x40cm, 2023
the conscious and unconscious, the seen and
unseen. What fascinates you about these contrasts,
and how do they shape the narrative of your work?
The contrasts between childhood and adulthood, the
conscious and unconscious, and the seen and unseen
reflect the complexities of human experience. We dream
throughout our lives, yet science still cannot fully explain
why—a mystery I find ripe for exploration. Picasso’s quote,
'Every child is an artist. The problem is how to remain an
artist once we grow up,’ resonates, as my work seeks to
navigate this liminal space where imagination endures.
Oil painting is a traditional medium, yet your themes
are bold and contemporary. What draws you to oil
paints, and how do you use the medium to
experiment with form, color, and space?
Oil paint’s flexibility allows for layering and revisions,
making it ideal for exploring complex ideas. I’m drawn to
its rich tradition but enjoy subverting conventions to
experiment with form, colour, and space. By pushing the
medium in unexpected ways, I aim to surprise both myself
and the viewer.

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Humor is often overlooked in fine art. Why do you Down the Plughole
Oil on canvas, 45x61.5cm, 2024
think humor is such a powerful tool in addressing
serious societal and environmental issues?
Humour is often overlooked in fine art, yet it has been a
powerful force in radical movements, from Duchamp’s
witty Fountain to Magritte’s iconic works. Humour
engages and disarms, allowing audiences to approach
serious societal and environmental issues with fresh
perspectives. As Oscar Wilde said, 'Life is too important to
be taken seriously'—a philosophy I embrace in my art.
Your work has been exhibited alongside iconic
artists like Peter Doig and Scottie Wilson. How has
sharing space with these artists influenced or
inspired your creative perspective?
It’s incredibly flattering to have my work exhibited Down Town
Oil on canvas, 60x75cm, 2020
alongside artists I admire, like Peter Doig and Scottie
Wilson. While I don’t feel directly influenced by them,
creativity often operates on a subconscious level—who
knows what ideas might percolate and surface over time.

The Middle - Oil on canvas board, 50.8x40.5cm, 2024

Hounded
Oil on canvas, 46x62cm, 2023

52
In your recent exhibitions, from London to Venice, how has showcasing your work in different cultural and
geographical contexts shaped your understanding of audience interpretation and reception?
Exhibiting in diverse contexts like London and Venice has highlighted how cultural and geographical settings influence
audience interpretation. The Venice Biennale, with its wide range of artists, is especially eye-opening. I remember
attending when Sarah Lucas represented British art, showcasing her bold humor and visual puns—a reminder of the
power of art to resonate across boundaries.
Surrealism often blurs the line between reality and the imaginary. How do you approach creating works that
resonate with viewers emotionally while remaining visually unconventional?
I carefully consider which elements to include in the pictorial mise-en-scène, ensuring they work together aesthetically
and emotionally. I often decide on the title afterward and write a brief self-analysis to clarify my intentions for myself
and others. Since viewers typically spend only 10–30 seconds with a piece, I aim to use tools like deadpan humour to
create an immediate yet layered impact.
You’ve participated in exhibitions curated by notable artists like David Harrison and Amy Jackson. How has
collaborating with other creatives impacted your own practice or pushed you in new directions?
David Harrison saw some of my work and
asked if would like to submit two
paintings for an exhibition he was
organising. I have yet to meet Amy
Jackson. It is encouraging to be
recognised by such notable artists.
Looking ahead to your participation in
the Venice Biennale, what themes or
messages are you hoping to convey
with your work?
I took part in an offshoot of the Biennale
which ran for two months and ended
early November 2024. Conceptual artist,
Amy Jackson, asked on an open call for
submissions and she liked my work Dodo’s
Dream of Revenge which satirises our
relationship with the environment.

Between Worlds
Oil on linen, 50x40cm, 2023
A man, curled in a foetal position, descends like Icarus toward a
jagged shard of ice. His body, suspended in a cosmic expanse,
mirrors the shape of the spiral galaxy that surrounds him, with moon-
like orbs floating in the void, tracing the arc of his fall. The ground
below him is strewn with arrows, remnants of a battle, their sharp tips
a silent testament to past conflict. On either side of the ice shard
stand two flowers—symbols of contrasting forces. On the left, a white
lily, embodying purity, renewal, and rebirth; on the right, an
unnaturally coloured pansy, a symbol of love, its long stem reaching
upward and its face turned directly toward the viewer. Together,
these elements weave a narrative of vulnerability, transformation, and
the tension between cosmic fate and earthly emotions.

53
LESLIE STREIT
&
ROBIN MCCAIN
Leslie Streit and Robin McCain became producing partners in the 1990s when they opened the Nouveau
Theater an experimental performance space inside a working cannery. They created original works which
synthesized art, dance, film, music, audience and community involvement. Most notably Vlad Draculea in
the Year 2000 which toured to the Edinburgh Festival and then became one the very first serial dramas to
appear on the World Wide Web. Turning to film production, Streit's 2005 God Wears My Underwear, a
documentary-narrative hybrid, tied the 1940s Jewish Holocaust to the 1950s genocide in Tibet. It was
screened at several international festivals and was awarded Best Film at the DNA Film Festival in Toronto.
Additional honors include Selected Artist at the Hong Kong Arts Biennial 2002, a 2009 Webby and several
screenplay awards. Streit was twice awarded the Producer's Mark (p.g.a.) for her documentary films.
Documentary feature Elly and Henry (2017) is distributed by Espresso Media International and currently
streams on Amazon. In 2021 Streit directed and coproduced an experimental short, 95 Days, about climate
change that received many international awards. 2022 feature documentary An American Ballet Story
appeared at festivals in the US, Europe and Asia. It is distributed by Random Media, has won multiple
awards and now appears on Internet platforms including Amazon Prime and Tubi . During 2022-2023
Streit and co-producer Robin McCain created a trilogy of experimental shorts entitled When I Become A
Ghost. These films premiered at Pastine Projects in San Francisco in February 2024, at the CICA Museum
exhibition "Form 2024" in October 2024, and at the International Media Festival in Wales in November
2024.

Nosferatu and The Dreamer/ Video 2024

The legendary vampire Nosferatu returns in 21st century style to haunt a woman in her dreams.

Nosferatu and The Dreamer is a very short experimental video that is designed to stand alone or join 4 other short
works still in progress. These films will eventually form an anthology that takes place in an imaginary Vampire nightclub
in San Francisco in 2025 where dreams and visions are for sale. Vampires and dreams have been themes I've
explored (with producing partner Robin McCain) in several formats over many years - live performance/theater,
dance, web series, short horror films and mixed reality. In this particular rendition Nosferatu is a would-be scary
character who ends up being totally ignored by his prey. He is a figure who evokes humor and even affection as well
as being creepy and distasteful. We hope viewers enjoy watching this little film as much as we enjoyed making it.

54
Images from the video
Images from the video
The Nouveau Theater was a groundbreaking space, blending art, dance, film, and audience participation.
What inspired the creation of such an experimental venue inside a working cannery?
It was the early ‘90s and a wonderful time for artists full of opportunity and experimentation. I was teaching dance at
several community colleges and was invited to become part of a group of artists that were already renting space in
the cannery. My students followed me there and we began putting on mixed media shows. Using her experience with
corporate presentations, Robin came to make the space we rented look like a little theater with lights, projections and
scenery. Other artists in the community came to help and there were public grants for funding from many sources.
Your early work “Vlad Draculea in the Year 2000” was not only performed at the Edinburgh Festival but also
became one of the first serial dramas on the World Wide Web. How did you approach using emerging
technologies to tell stories during that era?
I was a conceptual artist and Robin was a Silicon Valley whiz kid. When we closed up the theater at the cannery in the
mid ‘90s (funding had run out) we asked where do we go from here. The emerging World Wide Web was the logical
choice for us and our set of skills. We successfully adapted the story from performance genre to the new digital
medium. The show was presented in chapters over a period of nearly one year. VD2001.com can still be seen on the
Internet.
Your 2005 film “God Wears My Underwear” connects two seemingly distant events—the Holocaust and the
genocide in Tibet. What was your creative process in weaving these narratives together?
Robin had mentioned to me that she had a past life experience as a Tibetan Monk who had visited Berlin in the early
1930s. I had been having nightmares about Nazis chasing me ever since I was a very young child. The film became a
stream of conciousness experience in which history came alive for us, the actors, and later the audience. We made
the film on a miniscule budget using pretty much what we had locally available and whatever special visual effects
that the era and our budget allowed us. We also had great music from Lebanese composer Tony Khalife which
brought it all together.
Experimental work often pushes boundaries of form and genre. How do you strike a balance between
engaging audiences and challenging their expectations with your hybrid formats?
The audience has always been an important participant in our work whether they are actually sitting on the stage
along with the actors, walking though an installation or following our pieces in development on social media. Pop
culture characters and themes and current societal issues that people can relate to are always part of our picture no
matter how experimental we get.
The character of Nosferatu in “Nosferatu and The Dreamer” takes on a humorous and affectionate tone
while still being eerie. What led you to reimagine this iconic figure in such an unconventional way?
We originally had hired an actor to play the part but he backed out 2 days before filming was to begin. So we
replaced him with this little digital character and the humor occurred from there – the way he looked, the way he
moved and especially the way he tried to be menacing but was completely ignored. The piece certainly speaks to the
confidence and courage of the woman dreamer who does not allow him to get under her skin.
Your films and performances often explore themes of dreams, visions, and the subconscious. What
fascinates you about these concepts, and how do they serve as a foundation for your storytelling?
Who is to say what’s real life and what are dreams and visions? There is the material world and the world of the mind.
As humans we are fortunate to be able to go back and forth between these worlds. I actually have met people who
claim to be vampires or alien walk ins or to be able to control reality by stopping time. It is fascinating to me and
maybe a bit of escapism. I like to tell stories with these ideas. It’s just my thing.

57
You and Robin McCain have worked together for decades across theater, film, and mixed media. What
makes this partnership so enduring, and how do your creative visions complement each other?
It isn’t always easy but it usually ends well. We have very opposite views of life and our learned skills are very different.
We could not function as experimental filmmakers without each other. She can take my crazy ideas and design
something to make them work. Or when she is stuck on something technical I come through with some ordinary idea
that can be done in the kitchen with food coloring and bypass all of the technical mumbo jumbo.
In your upcoming anthology, set in a vampire nightclub where dreams are for sale, you merge fantasy with
social critique. What commentary or reflections are you hoping to evoke through this setting?
Filming that final scene in the vampire nightclub was one of the most fun days ever. There was no rehearsal - the
actors were a former professional dancer, a Shakespearian actor and a Beekeeper who loves to improvise. Two of
them were complete strangers but we made sure there was a lot of food available and everyone was relaxed. They
ate, danced, got smeared with fake blood and had a great time. They were friends when the filming was over. The
dance sequences and the video look wonderful – better than we had hoped for. Sometimes things just work.
Your work spans a variety of themes—from historical tragedies in “God Wears My Underwear” to climate
change in “95 Days”. How do you decide which issues to address, and what role does storytelling play in
raising awareness?
Every project has its moment. “God Wears My Underwear” was our first feature and a very personal project. The idea
for “95 Days” occurred during the height of the Pandemic in August 2020. There was an unprecedented day when the
sun never came out due to smoke from forest and brush fires across Northern California. We decided to make a little 5
minute film about the precarious state of the environment. It was a story that resonated that year due to drought and
climate change in many areas of the world.
Your documentary “An American Ballet Story” celebrates a specific chapter in dance history. What drew you
to this project, and how did you approach blending archival material with contemporary narratives?
The Harkness Ballet was a lost part of dance history that needed to be told. During countless interviews we found that
nobody knew the whole story or why the company had disappeared when it had been so prominent. For us the film
centered on women in leadership roles, the renaissance of arts in 1970s New York City and what really happened way
back then to the Harkness Ballet. We had to dig down deep to find the root of the actual story which was kind of a
mystery. It took a long time and many rewrites to tell the story we wanted to tell the way we wanted to tell it.
Experimental shorts like “When I Become A Ghost” push the boundaries of traditional film. How do you use
form, structure, and visuals to engage viewers with abstract or ephemeral concepts?
“When I Become a Ghost” was a project Robin and I wanted to make for a very long time. It was originally designed to
be an entirely immersive experience for an audience which explored the boundaries between film and live theater.
The work was influenced by surrealist artist Maya Deren and experiments exploring chance by John Cage and Marcel
Duchamp. The film was presented as 3 simultaneous chapters of a story projected on the four walls of a gallery all at
once. We then decided that wherever the film was shown the venue could choose an alternate installation and the
film would still work. This one project has enabled us to experiment with the very form and concept of cinema and its
capabilities.
How do you use humor as a storytelling tool, especially in darker or surreal narratives?
Our work has always been hard to pin down to any one genre. Humor helps people cope with the despair of reality
and especially of horror. In “Nosferatu and The Dreamer” the villain is cute and funny but the overall theme of the film
shows a monster stalking a woman (even if it’s in her dreams). We may laugh and feel better but the message is there.

58
You’ve received international recognition for your work, including screenings at festivals in Hong Kong,
Wales, and Italy. How does showcasing your work globally shape the way you create and think about your
art?
We both often wonder where as experimental artists we will fit in. We have begun to cross over from creating more
traditional films such as documentaries shown at international festivals to film projects that can be viewed as
innovative art and welcomed into international galleries and museums.One idea I have for the future would be to
revisit the Holocaust as an experimental narrative and see what it means in today’s global world.
As a multi-disciplinary artist, how do you approach collaboration with others—whether it’s musicians,
dancers, or fellow filmmakers? How does collaboration elevate your creative process?
We are mostly a two woman team doing almost everything. Our sometimes collaborators (dancers, actors, musicians,
archivists, editors and others) tend to be the same people over and over again through the years. The people we
choose match us in experience and willingness to try new things which really does bring fresh points of view, amazing
insights and surprising moments to the finished project.
Looking ahead, what new challenges or themes do you hope to explore? Are there any emerging
technologies or artistic mediums you’re particularly excited to incorporate into future works?
Most emerging technologies seem to be ephemeral or in transition at present although there are tools we would love
to work with going forward like animation apps. Our current project is the first time we’ve tried working with mixed
realities and that will take a while to sink in and perfect. Our dream right now is to have a dedicated space to use as
a gallery, a theater, a cinema, or a film studio that can be transformed into anything we want it to be and to connect
with an audience that can be part of it all.

Image from the video

59
 LEWIS ANDREWS

Lewis Andrews moved to Leeds in 2016 to study a BA(Hons) in Fine Art at Leeds Arts University. After
graduating in 2019, Lewis continues to work in Leeds. In 2022, Lewis completed his Postgraduate Fine Arts
Degree also at Leeds Arts University, graduating with a Masters Degree in the Creative Arts. During his
Master’s Degree, Lewis’s practice became deeply focused on the methodology of translating information
and data from sources within science into artworks. Lewis has continued to work and build upon this
method in his work constructing a theory of working called ‘The Informative Encounter’.

Since 2019, Lewis has participated in 100+ exhibitions across the UK and internationally with many notable
achievements. Lewis held his first solo show '186,000mi/s' whilst studying at Leeds Arts University in 2018 at
Wharf Chambers, Leeds, UK. Lewis was one of the artists picked to participate in the Aon Community Art
Awards program 2019 running through 2021 with his oceanic sublime photography work displayed in Aon
Headquarters, London. In November 2020, Lewis was selected to participate in the Mayes Creative
Watching the Sun: Virtual Residency alongside other artists with an interest in astronomy and ancient
astrology. Lewis participated in two more virtual arts-science residences with Mayes Creative. work from
the residency was included in a publication that now resides within the Royal Astronomy Society Archive.
Lewis joined Mayes Creative once again for their January 2024 residency in the Cot Valley, Cornwall, UK.
Lewis has formed strong relations with the Brazilian art organisation Artlymix and the Georgian-based
gallery Collect Art. As of present, Lewis has featured in 16+ exhibitions with Artlymix in Sao Paulo, Brazil and
12+ of Collect Art's publications & Digital exhibitions as of July 2024 to name a few of his achievements.

60
 Series of ‘Nuclei’

Taking an interest in the structure and behaviour of atomic elements and particles, rather than transporting
the viewer into the outer cosmos as seen in previous drawings, the ‘Nuclei’ drawings zoom in on the
components of everyday matter. A plural for nucleus, ‘Nuclei’ attempts to open windows through these
visual responses to data. The drawings attempt to capture and interpret atoms within their different forms,
such as a standalone atom or bonding with another element.

‘Nuclei’ is also linked to the ideas of the cellular nucleus through the use of the carbon element in the
drawings. Carbon acts as a backbone for the life of our planet due to the ease with which it can bond with
other elements and make more complex particles. The same atoms present within the drawings connect to
life forms in all their varieties across our planet.

61
‘Nuclei I - Indian Ink on Watercolour Paper, 29.7x21cm, 2021.
Nuclei IV Nuclei V Nuclei VII

Indian Ink on Watercolour Paper, 29.7x21cm, 2021

Nuclei X Nuclei XII Nuclei XX

 LILY FOSTER-EARDLEY

Lilly Foster-Eardley's art practice delves into exploring and interpreting the intricacies of the natural world
through the creation of sculpture and immersive installation. Whether fabricating felted and sewn animals,
wooden bins or clay banana skins these static artworks are also brought to life through stylised animation
shorts. Foster-Eardley’s depiction of unique characterisation and storytelling draws parallels between the
natural world and our 21st-century civilisation, like our adaptation to the lives we now lead, animals have
followed - just as civilisation has become obsessed with the fast food industry and confectionary, animals
have followed suit routing through our rubbish and feasting on their own burger and fries. Foster-Eardley
emphasises the adaptation of wild creatures and this peculiar and humorous imitation within the context of
urbanisation. Through her multi-disciplinary practice, she explores an alternate reality where animals take
on more human-like characteristics, adjusting their behaviour and their natural habitats to survive the
dynamic environment dominated by humans.

644 City Rats - Mixed media sculpture, 30x30cm, 2024

 Bin Juice Hotel
Film still, 2024

Bin Juice Hotel Sep 2022 - May 2023 "The Bin Juice Hotel" is a sculpture
accompanied by a short stop motion animation film that explores the
narrative of anthropomorphic rodents and various creatures seeking
refuge within a garbage bin. The narrative unfolds to reveal diverse
creatures adapting to the human environment, eventually mirroring human
behaviour. This storytelling approach places the animal kingdom at the
forefront, showcasing their presence and influence within the human
world.
Your work often explores the adaptation of animals to urban environments and human behaviors. What
inspired you to focus on this theme, and why do you find it significant in today’s world?
This theme of animals in urban environments comes from a love of animals and how today’s society and mass
consumption has an impact on them, Furthermore I particularly focus on pests and animals we tend to dislike or see as
disruptive to our society, within this I look into an alternative reality where animals behave like humans or adapt to our
society in order to survive our ever-changing environment where humans dominate. In today’s world where
urbanisation is ever growing, I feel it important to highlight the impact it has on wildlife and animals and to draw
attention to it, and to also remind the audience that we are not the only one inhabiting this world and to consider how
we impact animals. My inspiration also comes from film and tv such as Wes Anderson fantastic Mr fox and a book
called Wild City: Encounters with Urban Wildlife by Florence Wilkinson.
Your practice spans sculpture, installation, and animation. How do these different mediums complement
each other, and what draws you to such a multi-disciplinary approach?
I like my work to expand in different ways from the way it is presented to the mediums I use, I feel having my work as
sculpture and installation outside the animations also adds to the deeper connection of the story telling aiding the
interpretation of the work in many ways. It also comes from how the magic of filmmaking is hid from the audience and
you don’t get to see the props and sets and the making, and how I fell in love with watching and visiting studio tours
and seeing the behind-the-scenes element and how it brings much more of an immersive feel and connection to the
films. through this I want to bring that magic and connection I feel to the audience when the see my work. I also see
my characters and props as artworks within themselves and presenting both within the same space or separate is all
part of my practice and presenting my work in different ways.
Humor and peculiarity play a key role in your work, particularly in the way animals mimic human habits. How
do you strike the balance between humor, critique, and storytelling in your pieces?
Within my work storytelling plays a key role and doing that through humour is a way to get the message across in a
way that draws in the audience into the work in a way that the messages are not obvious and are subversive , I feel
this is important that my work isn’t obviously telling the audience about the urbanisation of wild animals but upon
seeing the work they think about wildlife more and the creatures that live within our society. Interpreting heavy topics
in a way that audiences can familiarise and connect with helps to also bring out what I am portraying as the
unconventional also playing with incongruity helps highlight how nature and animals are different to us. Furthermore,
trying to make them human is funny but also highlights that they are wild animals, and we need to adapt our
behaviours in order to keep nature and animals in our society.
In your sculptures—whether sewn animals, wooden bins, or clay banana skins—you emphasize materiality.
How do you choose the materials you work with, and what role do they play in shaping the narrative of your
art?
Materiality is also a key factor within my practice and my love of making. Within my practice it’s important to me that
the artworks are handmade and have that feel to it, being inspired by old fashioned style of movie making where sets
and props are handmade and my love for stop motion animation all play a role in the aesthetic of the work. Curating
my own universe within the artwork sits in is a joy to do and hand making and using all different materials helps bring
my visions to life and without having that material aspect I feel would take away the aesthetic and joy I feel it brings to
my practice.
Your animations bring static artworks to life, creating an immersive experience. How does storytelling evolve
when you move from physical sculpture to animation?

66
Bringing the sculptures to life through animation, brings out the messages more of what I am telling the audience I also
feel it helps connect more with the sculptures as they become living thing. Within my practice I love to challenge the
way we see the works as some pieces don’t have animations with them and are just static works however through
installation and the way they are placed the have so much movement and story telling with them. However, the stop
motion animations I feel bring the storytelling to the forefront and add a deeper connection to the characters and
engage the audience in the story so much deeper. It also for me combines the things I love such as film and movies
and art and art in gallery’s and bring the two together feels so magic to me.
The natural world and urbanization are often seen as opposites, yet your work brings them into dialogue. Do
you view this relationship as conflict, harmony, or something in between?
I feel as our environment is rapidly changing and urbanisation is ever-present. I feel it important to highlight them both
and to think about how our natural world such as habitats and animals are adapting to our changing landscape. I feel
bringing the animals to a forefront and not having a human presence within the work highlight how nature is just a
part of our world as much as we are.
Your artworks depict animals adapting to human-made environments, such as feasting on fast food
leftovers. What message do you hope to convey about humanity's impact on nature?
Within my work I feel I highlight our consumerist society and how we distance ourselves from the natural world. I hope
my work seeks to highlight the animals that are part of our society and how we can have an understand and
appreciate them more when it comes to our need for mass consumption and urbanisation.

67 Pige-Jim and Pige-John - Mixed media sculpture, 20x40cm, 2024

How do you go about characterizing the animals in your work? What role do personality and
anthropomorphism play in helping viewers connect to your art?
I feel characterizing the animals helps us as an audience connect more with the work and helps tell a story and bring
the sculpture to life. Within the work I characterise them by connecting them with a food or and object or an action
that make us human and add familiarity too them but also highlights key areas of mass consumption, such as the
Hungary Racoon who eats burgers is about our need for fast food. I feel like it also highlights our own behaviours in a
comedic way, as people relate to the racoon and his love for burgers but also the personality I bring when making
them.
The immersive installations you create encourage viewers to step into alternate realities. What experience
or emotional response do you hope audiences take away when engaging with your installations?
I hope when audiences see my work even if it’s a small sculpture to an installation it feels the artwork is telling a story
and not only bringing them joy but also thinking about what the pieces are conveying, but even if its just joy or relating
to the work I appreciate as I want my work to be accessible and for people to take what they want or interprett.
How do you see your practice evolving?
In the feature I see my work evolving in different ways and telling all sorts of story’s and highlighting all types of
messages and how my characters tell them and bring them to life. Within this current time I am working on a body of
work that is much personal to me and expanding in all different avenues of materiality and presenting my work and
how it engages the audience in messages I want to portray. Within my next body of work called The Creatures Who
Came for Tea is an installation featuring felt and sawn animals inspired by Beatrix Potter’s whimsical creatures,
gathered around a ceramic tea set. The work nods to my roots in Stoke-on-Trent in the UK, a city known for its pottery
industry, and explores themes of class, industrial heritage, and the divide between working-class and upper-class
experiences. The ceramic tea set in the installation symbolizes the contrast between the working-class origins of
pottery production and its association with the refined rituals of high tea. Through this juxtaposition, the piece reflects
my personal journey of growing up in the Midlands, moving south, and grappling with imposter syndrome in
environments that felt unfamiliar. Ultimately, the work addresses the tension between labor and privilege, offering a
commentary on class divides, the working-class experience, and the cultural legacy of the pottery industry.

68 Sticky Wasp - Mixed media sculpture, 6x20cm, 2024

LISS
FLANAGAN

Liss is a merseyside based

creative currently undergoing
a masters degree in Graphic
Design and illustration. She
has always had an interest in
animals and the whimsical,
and is currently creating works
exploring what creatures
could emerge in a post-
apocolyptic world, belonging
to a larger project she has
titled 'superbloom'.

69 Superbloom s1 - Ink and fineliner, A5, 2024

Your work explores post-apocalyptic creatures within the "Superbloom" project. What inspired you to
imagine a world where new creatures emerge, and what does "superbloom" signify to you?
The concept for Superbloom originated from reading through Warren Neidich’s Glossary of Cognitive Activism. Within
the text under the definition for nature, it speaks about the boundaries between a species, a variant and a
monstrosity. This really stuck with me, spending a long time pondering over where things would belong within that
three-tiered category. Which in time, led to me researching radiation effected organisms, and the concept for
Superbloom was born.
How do you balance elements of the whimsical with darker, post-apocalyptic themes in your art? What
emotions or ideas are you hoping to evoke in your audience?
Superbloom is the first project I have embarked on that begins to explore some darker themes. The whimsical aspect
comes quite naturally to me, and I feel this is evident in a lot of my previous works. I think its common for media to
portray the apocalypse as a dark, depressing place. I hope Superbloom can allow people to change their perspective
on this, envisioning a post-apocalyptical world where creatures can thrive, and a whole new type of world can begin
to evolve.
Superbloom s2 - Ink and fineliner, A5, 2024 Superbloom s4 - Ink and fineliner, A5, 2024

70
Animals seem to play a significant role in your creative practice. Why are animals such a recurring focus in
your work, and how do you see them fitting into the post-apocalyptic world you're imagining?
I think I lean into animals and creatures a lot as I find them a really useful tool for storytelling and empathy generation.
I’ve recently been researching a lot into anthropomorphism, and the effects it can have to an audience versus human
representation. When it comes to a post-apocalyptic world, I feel that the main fear people have is that humans are
unlikely to exist within it. I think if we let go of that, we can begin to explore a world like the Jurassic period, and all the
potential new life forms that could be encapsulated within it.
As a graphic designer and illustrator, how do these two disciplines shape your creative process? How do you
approach storytelling in visual form?
Most creative projects I work on begin as concept ideas in a sketchbook. They are very unlikely to be recognisable as
art forms in this state. This helps me transfer these ideas into a state that tells the story I am aiming to tell, whether
that be traditional illustration, digital illustration, or even layout when working more on a design based project. I think
the main goal is to be able to get an idea or message across to someone who doesn’t need an extensive knowledge
of something to be able to appreciate it, which is where graphic design and illustration really comes in handy.
The creatures in "Superbloom" are both imaginative and speculative. Can you walk us through your process
for creating them? Do you take inspiration from existing animals, myths, or purely your imagination?
The creatures within Superbloom do start as a ‘normal’ animal. I wanted them to be recognisable on a base level as
an evolution of something an audience would be familiar with. My imagination plays a huge part in altering the
animals. The great thing about working on a period of history that hasn’t happened yet, is that there is no right or
wrong. I can truly let my imagination go wild with the possibilities.
Post-apocalyptic settings are often bleak, but the word "superbloom" implies growth and renewal. How do
you see hope, transformation, or resilience reflected in your work?
I learnt about the concept of a Superbloom from a friend of mine. It’s a phenomenon after an unusually large rainy
season, usually seen in places like California, where wildflower seeds are carried by winds and lay dormant in desert
soils, where they all germinate and blossom as soon as the rainy season is over. I like to imagine this as being able to
occur after a nuclear winter on a larger scale, creating quite a colourful and thriving world. Almost like visualising the
restoring of force after a storm.
Your art has a whimsical quality. How do you define "whimsy," and what role does it play in your exploration
of speculative futures?
I think I would define whimsy as playful and optimistic. Something that isn’t quite realistic, but you’d hope for it to be,
yet realistic enough for it to feel tangible and somewhat reachable. Theres a fine line between them where I feel that
‘whimsical’ sits. I think its been a really interesting journey to explore this within a post-apocalyptic future. Not
everything in the future has to be doom and gloom, despite what we might see on the news and on social media.
Sometimes the future can be bright and hopeful and fun, we just have to surround ourselves with the right kind of
media that explores that.
Are there particular mediums, tools, or techniques you prefer when bringing these creatures to life? How
does your choice of medium contribute to the overall tone of your work?
I experimented with trying to take these creatures into a digitally illustrated world, but felt like it just didn’t fit the same
vibe as when I had originally started inking them. Its hard to put a word to the difference it gives, but I think theres a
certain quality about them that gets lost when translating them over into a digital medium.

71
How has your Master’s degree in Graphic Design and Illustration influenced or expanded your artistic vision,
especially in a project like "Superbloom"?
My Masters degree is where I initially gained this idea, and its something I’d like to continue working on outside of my
studies. My Masters degree has allowed me to stop viewing my work as one-and-done solo pieces, and to start being
more upfront with the narratives I like my work to encapsulate, and take on longer and wider scoped projects, such as
Superbloom, which is only in its infant stages right now.
If you could describe the "Superbloom" world in three words, what would they be? What larger message or
commentary on the future of our planet do you hope your audience takes away?
Whimsical, Ethereal, and Hopeful. I’d like for people to take away a sense of curiosity and intrigue about the possible
future of this planet, and hopefully view it in a more positive light. The Apocalypse as we think we know it isn’t a
guarantee, and while none of us are in a rush to see the end of humankind, theres a fascination to what could
proceed us, and I hope I can instigate a conversation about it that can default from the usual misery we associate
with it.

Superbloom s3 - Ink and fineliner, A5, 2024 Superbloom s5 - Ink and fineliner, A5, 2024

72
 LUKE STONE

‘’I am a Liverpool based artist that specialises in breaking traditional elements of painting which Francisco
Goya was a huge inspiration. I also studied the form of unfinished artworks which helps me see a different
world of painting in between form and lines. I am a mixed media artist that experiments in painting,
sculpture and drawing. I am constantly trying to challenge myself to achieve a unique style. My influences
for my imagery go backwards like what intrigued me 10 or 20 years ago mainly film and cinema, I am
interested in bringing these influences from the past to the present and mixing them with modernity.
My artwork consists of found objects that are unwanted, especially old pieces of wood. Then I would create
my canvas or sculpture from scratch before canvas around the piece and painting scenery. My sculpture
pieces I class them as 3D canvas’ as I painting around the sculpture, in a cinematic style. However, my
photography I try to capture surrealism as I think their is a connection to deconstructing the norm of
traditional landscape or portraiture.’’

73 White House and Red House - Oil, Acrylic & wood, 2024
What drew you to breaking traditional elements of sculpture into a cohesive artistic expression?
painting, and how has Francisco Goya influenced I destroy before I mend the canvas so it becomes
this approach? unique to the human eye, I am obsessed with originality
I started my studies in breaking tradition through finding and I like to think of my artwork like their individual
out how high status the art world can be and how imaginative universe so each other has to be different
expensive it is for artists to create pieces of work. Goya from the rest.
influenced me with the idea of breaking tradition as he Can you elaborate on your process of working with
moved away from Royal paintings to create surreal found and unwanted objects, particularly old wood,
imaginative imagery, in the aquatints series Los and how they inspire your creative vision?
Caprichos, in the late 1700s. I mainly use secondhand material as it jokes around with
How does your exploration of unfinished artworks ideas of status which I have always been inspired by the
shape your creative process and understanding of Dada movement and being creative in a destruction
form and line in painting? rhythm, not following instructions but finding a
Capturing an unfinished is almost like finding another juxtaposition between both sides of order and chaos.
universe especially when it becomes finding
juxtaposition between the lines of perfection and Outside Mirror
abstract. . Silkscreen & Acrylic, 2023

You’ve described your sculptures as "3D canvases."

How do you approach blending painting and

Cinematic Robe
Silkscreen, Mixed media and Acrylic, 2024

74
Your work often draws on influences from film and cinema. How do you bring these past inspirations into
dialogue with modernity in your art?
Basically film is my influence when it comes to creating figuration, I constantly create stories and camera angles in my
mind wherever I go. My influence goes back to 90s cinematography and old films I grew up with, to modern day
influences which I try to blend together to create a film/story on a canvas/sculpture.
In what ways do your photography and its surrealist elements challenge traditional norms of landscape or
portraiture?
I try to capture photographs which are almost alien to the human eye but making you think what the photograph is,
that captures a mystery. I was influenced by the photography of Dora Maar, Man Ray and Saul Leiter. These influences
allow me to capture forms of photography which are not really appreciated like blurring, morphing and changing the
narrative completely.
How do you approach the challenge of creating a unique style while working across painting, sculpture, and
drawing?
There's a lot of analysing and thought process before I even touch the canvas to begin with, I cannot just paint a
picture it has to come deep inside my mind. Also I think it's knowing when to stop when I capture a small amount of
detail, that makes the piece stand out.
Can you tell us about the process of constructing your own canvases or sculptures?
To begin with I will have a goal in my mind but it
becomes its own form when I start to construct the
pieces together and the sculpture/canvas I
visualised in my mind completely changes which I
think is a good sign as it becomes authentic.
What role does experimentation play in your
practice?
I think character drawing and comic books have
given me a drive to create my artwork as the
figuration you see is all original characters I have
created beforehand. I am obsessed with the
theme of being underrated and understanding
why quieter people and underappreciated things
don’t get enough recognition.
Looking forward, are there particular
mediums, concepts, or influences you’re
excited to explore in future projects?
Anything really, I am open to a wide range of
mediums and influences, I really want to do more
studies in historical figures and events which drew
my eye. However, I will try to make them as
unrecognisable as possible when it comes to
painting them on canvas/sculpture.

75 Ultima Obra de Arte/ Photograph, 2024

 MITHULA PRIYADARSHINI
ANANTHARAMAKRISHNAN

Mithula is an artist who refuses to stay inside the lines. With a Bachelor’s in Visual Arts from Stella Maris
College, India, and a Master’s in Fine Arts from Leeds Arts University, UK, she has shaped a practice that
thrives on experimentation and rebellion. Constrained by limited materials during her undergraduate
studies, she pushed boundaries by founding a startup that transformed everyday objects into customized
art—from chalk carvings in glass bottles to radium-lit sculptures.
Her postgraduate work exploded with creativity, blending found objects with themes from Indian mythology
and Hindu culture. One of her standout pieces—a gold shoe left outside a gallery—challenged viewers to
reflect on materialism and mortality. Another, a coffin-shaped painting hung from the ceiling, gave
audiences the haunting experience of their own death.
Mithula’s experience extends beyond the studio. She has worked as an art director on movies and
commercials in India, where she brought her unique vision to life in collaborative projects. Aspiring to
become a full-time art director, she continues to hone her skills, merging her artistic sensibilities with
storytelling and design.
Deeply inspired by Salvador Dalí, Mithula infuses her art with metaphor, irony, and surreal layers. She is
drawn to the overlooked beauty of insects and reptiles, questioning who decides what’s beautiful and
what’s not. To Mithula, art isn’t just visual—it’s poetic. Her work invites viewers to see beyond the surface,
rethink their assumptions, and experience something unexpected.

‘’To me, art is rebellion. It’s poetry without words, a way to challenge what we think we know. I create across mediums
—found objects, carvings, paintings—because I believe every material has its story, and every story deserves to be told.
My work is inspired by Indian culture, Salvador Dalí, and the beauty in things we often ignore. I ask: Why do we glorify
butterflies and dismiss insects or reptiles? Who decides what’s beautiful? For me, beauty lies in the overlooked, the
strange, the forgotten.
I’ve extended this vision into film and commercials, working as an art director to bring my imagination to dynamic,
visual storytelling. Combining fine art and cinematic design, I aim to create immersive worlds that challenge and
inspire.
My art isn’t here to replicate reality—it’s here to reimagine it. It’s surreal, layered, and unapologetically curious.’’

76
 Checkmate - Digital Art, 29.7x21cm, 2024
Checkmate in more ways than one—where the queen always gets her way, on and off the board!
You describe art as “rebellion” and “poetry without words.” How does this philosophy guide your choice of
materials and themes across your diverse body of work?
I see art as rebellion and poetry without words. Why conform when I can provoke? I use materials that challenge
expectations and themes that blur the lines between myth, surrealism, and reality. Whether it’s gold shoes outside a
gallery or chessboards turned intimate, my work rebels against the ordinary, daring viewers to see beauty where they
least expect it.
Your standout works—such as the gold shoe reflecting materialism and the coffin-shaped painting—explore
themes of mortality and materialism. How do you hope viewers engage with these provocative pieces?
I want viewers to feel a little unsettled, a little amused, and maybe question their own lives—why do we cling to gold
when we leave barefoot? My works are mirrors with a twist, reflecting mortality and materialism, but with enough irony
to make you smile while you squirm.
Your practice thrives on experimentation, from chalk carvings to radium-lit sculptures. How did the
constraints of limited materials early in your career influence your approach to creativity and innovation?
Limited materials taught me that creativity thrives in restriction when the world handed me chalk, I carved universes
inside glass bottles. Constraints didn’t limit me; they dared me to innovate, proving that art isn’t about tools, it’s about
vision and rebellion.
Blending Indian mythology with found objects adds layers of cultural and personal significance to your art.
How do you approach balancing tradition with contemporary artistic rebellion?
I treat tradition like a dance partner, not a cage honoring its weight while spinning it into something bold and
unexpected. Found objects become my rebels, whispering mythology in contemporary tongues, proving that even the
ancient can disrupt the present.
You are inspired by Salvador Dalí’s surrealism and the
beauty of insects and reptiles. How do these influences
manifest in your work, and what draws you to subjects
that are often overlooked or dismissed?
I find beauty where others refuse to look at reptiles, insects, and
surrealism thrive in the overlooked and misunderstood. Like Dalí,
I twist reality, making the strange familiar and the familiar
strange, because true rebellion lies in finding poetry in what the
world dismisses as ugly or unworthy.
You’ve transitioned into the role of art director for films
and commercials. How does your background as a fine
artist inform your storytelling and visual design in these
collaborative projects?
As a fine artist obsessed with films and cinema, I bring a
painter's soul to the cinematic canvas, every frame becomes a
composition, every detail a metaphor. I rebel against the
ordinary, weaving surreal visuals and layered meanings into
storytelling, transforming sets into breathing art. Art direction
isn’t just design; it’s poetry and rebellion in motion.

78 EDEN.EXE - Digital Art, 29.7x21cm, 2024

Asking, “Who decides what’s beautiful?” How do You’ve worked across mediums—found objects,
you navigate this question in your art, and what paintings, and sculpture. How do you decide which
reactions have you received from audiences? medium to use for a particular concept or story?
I challenge beauty by asking, “Who decides what’s For me, the medium isn’t a choice but a rebellion. I don’t
beautiful?” I turn the overlooked-the insects, the raw, follow the rules of what *should* be used, I let the
the imperfect into the sublime, because why should concept dictate the form. Whether it’s found objects,
beauty follow rules? Audiences are often startled, but paint, or sculpture, each medium brings its own voice to
that’s the point; I want them to question their own the story, demanding a new way of seeing. A shoe
perceptions, just like I question mine when life gets speaks louder than a pristine canvas, and a piece of
tough. What would be left of our tragedies if an insect chalk inside a glass bottle tells a story of fragility and
were to present theirs? time far better than any oil painting ever could. Art is
Can you share a specific project where the about pushing boundaries, not staying within them.
material itself shaped or transformed narrative?
The gold shoe I placed outside the gallery door isn't just
an object; it’s a defiant statement on materialism and
mortality. It represents the absurdity of clinging to
wealth and status, as we leave behind everything:
shoes, riches, even the body at death’s door. This piece
isn’t just a shoe; it’s a symbol of our obsession with what
ultimately doesn’t matter, daring viewers to question
what they truly value before the inevitable end.

Your art aims to “reimagine reality” rather than

replicate it. How do you hope viewers feel or think
differently after experiencing your work, whether in
a gallery or through film?
I want viewers to leave my work questioning everything-
what they know, what they see, and what they believe
is real. I don't replicate reality; I distort it, rearranging it
into a world where every piece of art is an invitation to
think differently. The only difference between an art
gallery and a film set is the audience- same surreal
stories, different reactions. In a gallery or through film, I
want people to feel the discomfort of confronting their
own assumptions and to leave with a new, surreal
perspective- challenged, inspired, and perhaps even
unsettled. Reality is too neat, too polished, my work
shatters that illusion, urging people to embrace chaos
and imagination.

79
 MYRIAM
TILLSON
Myriam Tillson is a French artist
working and living in London, UK.
Myriam turned to a career as an
artist in 2018, after a number of
years in the film industry following a
qualification as a prosthetic make-
up artist. Having no formal
academic artistic training, she first
started exploring watercolour and
gouache, before turning to acrylic
as her primary medium. Her
surrealist and absurdist paintings
focus on the human form as a
metaphor for the mind, and draw on
her personal experience with grief,
loss and trauma. Her work is a vessel
for expressing and working through
the ubiquitous juxtaposition of
beauty and tragedy in life, and
learning to balance the complex
make-up of our experiences as
sensitive beings. Since becoming a
full-time artist, Myriam has had work
exhibited with WOWxWOW, Gallery
Beinart, Every Day Original and
Gallery Nucleus, and pieces
published in Infected by Art and Out
of Steps Books.

Parasite
Watercolor & Acrylic on paper,
57.5x31.2cm, 2020

80
How did your background in prosthetic makeup and the film industry influence your transition into a career
as a full-time artist?
My biggest and most consistent job while I was a make-up artist was Game of Thrones, but it was only a few months a
year, so I started doing odd jobs as an artist and setting up my online presence in between film jobs. It started working
well for me in 2017, which coincided with the last season of GOT, so when it ended, I decided to try being an artist for
a living instead of searching for my next film job. Prosthetics gave me the opportunity to learn a lot of techniques and
skills that have been very beneficial to my career as an artist, and gave me great insight into whether I would be suited
for such a job as full-time artist.
What drew you to surrealism and absurdism as a means of artistic expression?
I think something that had a big influence on my artistic direction is the sudden loss of my mother at age 9. The
intensity of the experience thrust me in the face of the fragility and precarious nature of life in a way that was
probably a little destabilising and almost existential for such a young child. I think a part of me has been attempting to
get to grips with how strange and absurd life is by creating art that echoes and encompasses all of that ever since.
Your work often uses the human form as a metaphor for the mind. How do you approach translating complex
emotions like grief, loss, and trauma into visual art?
While constructing my images takes a long time and is quite a meticulous process, the ideas themselves are more
immediate and raw. I will often have a concept come to me fairly out of the blue, either when I’m about to fall asleep,
or while on a walk or in the shower. I will then spend a long while refining it and will think through all the elements
thoroughly. However, I try hard not to overthink or over analyse a piece until it is completed. I don’t intentionally tackle
complex topics, but I find that what I create reflects what I feel I have been struggling with or going through. I don’t
believe art necessarily has to have meaning, but it is what I need from my work for now.

Heartwood Dandelion
Ink on paper, Acrylic on paper,
30x30cm, 2021 28.3x24.3xm, 2021

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Can you describe the evolution of your techniques, from watercolour and gouache to acrylic?
Watercolour was the first medium I encountered when I started painting as a child. My step-mother is a fantastic artist,
and she lent me her supplies and her knowledge and what she taught me still echoes in my head when I paint today.
When I started developing my practice more in depth in 2018, and delved into exploring my own voice in earnest, I
tried experimenting with more opaque mediums as a means to push myself, and gouache was the ideal contender. I
learned a lot doing so, but it did cement my love for painting translucently and I reverted back to watercolour after a
little while. I eventually settled on acrylic, (but I use it in a similar fashion to watercolour, very watered down and
translucently), as it lends itself better to larger formats, is more affordable, and I enjoy experimenting with layers that
cannot blend with each other.
How has your lack of formal academic training influenced your artistic journey and the development of your
unique style?
While I can’t know what kind of artist I would be now if I had studied art academically, I do think that my lack of formal
background has allowed me more freedom to find my personal voice. I think that when I was younger, I probably
lacked a fair amount of self-confidence, and there may have been a risk of me being too easily influenced by the
expectations and taste of my teachers and peers. It it possible I would have leaned into the styles that were most
successful and popular as a means to garner external validation. But that is just supposition. I also know that a lot of
the lessons I have learned on my own, I probably would have learned faster and better in a more structured context. I
think mentorship and kinship are also greatly important for healthy artistic development, and that I do feel the lack of
both in my practice now. There are pros and cons to both approaches and I do wonder how different I would be had I
followed another path!
The Hoard - Acrylic and pencil on paper, 29.5x20.5cm, 2023

Reef - Acrylic and pencil on paper, 44.7x33.2cm, 2020

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You mention exploring the juxtaposition of beauty and tragedy in life. How do you balance these themes
within a single piece?
I think that’s exactly where surrealism and absurdism thrive. They allow for the superimposition of elements and the
melding and mixing of symbols and objects in ways that are ideal to express complex, subtle, and seemingly
contradictory concepts. I do believe one of our deepest struggles as human beings is wrangling the dichotomous
nature of our reality and existence, and I find surrealism to be the perfect vector to create works that help express
what we struggle to externalise or verbalise.
Which of your exhibited works holds the most personal significance to you, and why?
For a long time, « Shelter » was my most personal piece, and it also seemed to resonate with a lot of people. But it
was relatively recently dethroned by « Stargazer ». Most of my work is very personal, especially bigger paintings, and
so in order for one to stand out, it usually means it not only resonates with its imagery, but was a step forward in my art
practice too. « Stargazer » was both and holds a special place in my heart right now.

Shelter - Acrylic on paper, 57.3x38cm, 2020

Stargazer - Graphite on paper, 29.3x20.8cm, 2024

How do you see your experiences as a "sensitive being" shaping the way you connect with audiences?
I think emotions are one of the realms of the human experience that is both among the most important and the most
misunderstood. Our sensitivity is a side of us we can often struggle to wrangle, but doing so is, in my opinion, one of
the keys to a more harmonious world. But understanding something that is affected by itself is a challenge, and I
would like to believe art is a crucial way to experience our emotions deeply. Art allows us to communicate with both
our own emotions and those of others in a manner that defies the sometimes constraining limits of language and the
over-intellectualisation of rationalisation.

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What has been the most rewarding aspect of having your work exhibited and published with outlets like
WOWxWOW, Gallery Beinart, and Every Day Original?
I live in the UK, and sadly, I haven’t found the gallery and more traditional art scene to be very welcoming to my style of
work over here. But while I struggle to find my place in the country I work in, I have found myself warmly welcomed
abroad, and online. Being able to have work exhibited alongside artists I have long admired, in galleries I have a lot of
respect for, has been very validating and encouraging, especially in the midst of the constant rejections an artist has
to suffer through when putting themselves out in the world.
As an artist who draws from deeply personal experiences, how do you find the process of sharing such
intimate pieces with the public?
There is this beautiful, tacitly understood thing about art, that lets it be this deeply personal and intimate thing for
many people at the same time. That allows for things to be expressed and shared that could otherwise be construed
as too raw if strangers were simply to confide them in each other. Because art is a way to communicate that leaves
room for both the creator and the viewer to see themselves in the same piece of work at the same time, it enables the
artist to dig deep into themselves and bare it all to the world in a manner that also allows for the viewers of the work
the space to see who they are reflected in it too. Sharing intimate art is opening a door to all to witness and be
witnessed simultaneously.
Wanning Nephila
Watercolor on paper, Acrylic and pencil on paper,
36x26cm, 2019 35.9x26cm, 2020

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PHILIP
MCCUMSKEY
Phil studied fine arts at Stellenbosch University, but worked as a writer, actor and theatre director for many
years before establishing his own video production company in Johannesburg. ‘Now that I'm older, I've re-
discovered art, particularly abstract art. Brushes, palette knives, spatulas, paint, canvas, paper – it’s as if I’ve
been reunited with old friends.' Phil's work has been exhibited at the Fronteer Gallery in Sheffield and his
painting Red Radiance was part of The Artist Lounge’s 50 Shades of Red Exhibition.His work has been
exhibited at Sheffield's Fronteer Gallery, The Badger in the Wall Gallery in Yorkshire, and the Fox Yard
Studio in Suffolk. His artwork titled, Connected, was long listed for the D31 Gallery prize.
Levitation
Acrylic & collage on canvas, 60x70cm, 2024

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Can you describe your artistic journey? How did you first discover your passion for painting?
I didn't paint for years and then, at an art festival in 2019, I suddenly had the urge to paint again. Now I paint almost
every day.
How would you define your painting style, and how has it evolved over time?
I'm still learning how to paint in the abstract. It's a lot more difficult than most people think.
What inspires your work the most? Are there specific themes or subjects you find yourself returning to?
Sometimes I'm inspired by a dream, other times I just start a painting with a rough idea of where I'm going.
Can you share your process for starting a new piece?
I usually have some idea of colours and shapes, and as I add and remove paint, the work develops and grows. If I don't
like the results, I grab my pot of Gesso and start again.
What role do color and texture play in your work, and how do you approach choosing your palette?
As far as colours go, I'm a trial and error guy. I have no problem wiping off paint when the paint colours don't work.
(Sometimes wiping has great results.) I love texture in my paintings and achieve this by using coffee grounds, tile
adhesive, tissue paper, hessian pieces, collage and more.
Window of the Soul - Acrylic on canvas, 60x70cm, 2024

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What materials and tools do you use most frequently, and why?
Some of the materials I use include palette knives, brushes, sponges, and mark-making tools.
How do you decide when a painting is finished? Do you find it challenging to step away from a piece?
Sometimes it's hard to let go of a painting and say, 'It's finished'. Most of the time, I know when it's done, however,
sometimes, months later, I find myself tweaking a painting because something about it bothers me.
Do you explore any emotional or conceptual ideas in your paintings, or is your work more focused on form
and aesthetics?
I'm more of a form and aesthetics painter, rather than one who is exploring emotions and conceptual ideas. Although I
believe my emotions and feelings while I'm working, must, in some way, influence my paintings.

How does your environment, whether physical or emotional,

influence your work?
My environment, physical or emotional, does not really play a
part in my work, but my imagination plays a big part.
Do you find that your painting style changes based on your
mood or personal experiences?
If my painting style changes based on my moods or personal
experiences, I've not been aware of it.

Theatre of Dreams - Acrylic & collage on canvas, 70x50cm, 2024

What is the role of storytelling in your work?

As an abstract work progress, I start to see some
kind of story developing. But it's my story and if the
viewer sees something completely different, that's
absolutely fine.
What do you hope viewers take away from
your paintings?
I want viewers to be drawn to my work by the
colours, unusual subject matter, or overall charm
and pleasing effect of the painting. The Traveller - Another World - Acrylic on canvas, 70x60cm, 2023

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POLA
PIESTRZENIEWICZ
‘’I am a graduate of the Wladyslaw Strzemiński Academy
of Fine Arts in Łódź and have garnered numerous
accolades throughout my artistic journey. In 2021, I was
awarded a prestigious scholarship from the Minister of
Culture and National Heritage. Notably, in 2020, I earned
second prize in the XXXVII edition of the Władysław
Strzemiński Fine Arts Competition.
Some highlights of my career include recognition by the
Lodz House of Culture with an esteemed prize, achieving
the II Distinction at the EMANATIONS 2020 Festival, and
receiving a distinction in the National Competition
INSPIRATIONS 2020, organized by the Foundation for
Contemporary Art PALETA. I have also participated in the
For and Against International Student Poster Competition
and the International Poster Biennale, held under the
auspices of UNESCO. In 2021, I secured the second prize
in the Hiki Fromer Empatia Competition.’’
Autumn Fields
Mixed media painting, 100x90cm, 2024

Red Fields October Fields

Mixed media painting, 90x90cm, 2024 Mixed media painting, 100x100cm, 2024

88
You’ve been recognized with prestigious awards and distinctions, such as the scholarship from the Minister
of Culture and National Heritage. How have these accolades influenced your artistic practice and career
trajectory?
Receiving the scholarship from the Minister of Culture and National Heritage boosted my confidence and confirmed
that my work is appreciated. It reassured me that I am on the right path artistically. This recognition also motivated me
to continue developing my artistic voice. It opened new opportunities and strengthened my belief in the value of my
art.

Winning second prize in the XXXVII Władysław Strzemiński Fine Arts Competition was a significant
milestone. Can you share more about the piece that earned this recognition and what it represents?
The piece that won the award was a series of abstract paintings accompanied by a sculpture that complemented
them. I focused on experimenting with textures and shades of white to create visually appealing abstract forms. It was
a challenge to harmonize the paintings with the sculpture. The series reflected my exploration of abstraction.

Your participation in international competitions like the For and Against International Student Poster
Competition and the UNESCO-affiliated International Poster Biennale highlights your global reach. How do
you approach creating art for such diverse and competitive platforms?
I am inspired by the opportunity to reach a broad audience and address universal themes in international projects. The
piece that qualified for the Biennale focused on animal rights and opposing cruelty. I often incorporate scanned
fragments of my paintings into poster designs, blending my painting and graphic practices. This interdisciplinarity adds
a unique touch to my work.

The themes of “Empathy” and “Inspiration” are central to some of your award-winning works. What role do
these themes play in your art, and how do you interpret them visually?
I expressed these themes through a poster design that aligned with the competition's topic. My goal was to create a
strong, graphic symbol that would attract attention and provoke thought. Empathy and inspiration are central to
creating art that engages the viewer. I strive to make my work impactful and emotionally resonant.

Receiving recognition from the Lodz House of Culture and participation in festivals like EMANATIONS
2020demonstrates a strong connection to both local and national art scenes. How does the artistic
community in Łódź influence your work?
The Łódź art scene, particularly the Władysław Strzemiński Academy of Fine Arts, greatly influenced my work. I am
inspired by the legacy of Strzemiński as a pioneer of avant-garde art and the work of professors I collaborated with.
The academy provided a space to experiment and develop my style. Łódź will always hold a special place in my
artistic journey.

Your career reflects a diverse range of competitions and mediums, from fine arts to poster design. How do
you navigate the balance between traditional and contemporary art forms?
I am fascinated by discovering new fields of art and blending traditional forms with modern techniques. I still feel a
hunger to explore and have many ideas that are maturing in my mind. I aim to create new series of works, such as last
year's "Pola" series and earlier black abstract gestures. This diversity fuels my creativity and drives my growth.

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Securing distinctions in competitions such as INSPIRATIONS 2020 shows a consistent drive for excellence.
How do you prepare for competitions, and what motivates you to continue entering them?
I choose competitions that align with themes and aesthetics relevant to my work. I ensure my submissions fit the topic
while bringing a personal touch. During preparation, I focus on perfecting details and offering a unique perspective.
Competitions serve as a way to grow and challenge myself artistically.

The art world is highly competitive, particularly in international spaces. What strategies do you use to ensure
your work stands out while staying true to your artistic vision?
My artistic sensitivity and diligence help me stand out on the global stage. I love evoking emotions through painting
and creating works that resonate with audiences. Even across different series, my works maintain coherence,
reflecting a part of my personality. This consistency builds my recognizable style.

What was your experience like at the Władysław Strzemiński Academy of Fine Arts, and how has your
academic training shaped the techniques and themes you explore in your art today?
The academy was a significant period of artistic growth and support for me, including scholarships. Professor Lesław
Miśkiewicz taught me precision in painting, which deeply influenced my attention to detail. Learning various
techniques and media allowed me to experiment and find my artistic language. The academy provided a strong
foundation for my future development.

With recognition from foundations, festivals, and UNESCO-sponsored events, where do you see your art
going next? Are there new mediums, themes, or goals you aim to explore in the coming years?
I want to focus on large-format abstraction and experiment with sculpture to complement my paintings. I am
fascinated by mixing techniques, using pigments, and exploring textures. In the future, I plan to create new series of
works that further my artistic exploration. My dream is to merge different media into cohesive, unique creations.
December Fields - Mixed media painting, 100x100cm, 2024 Fields by Night - Mixed media painting, 100x100cm, 2024

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 RUBICA VON
STRENG

Rubica von Streng graduated from Berlin’s University of Arts UdK as a masterclass student in 2018. Her
works, such as the paintings of the monumental “PortLand” cycle, have found a place in highly recognized
art collections in Germany and aborad. They often deal with the beauty of nature, biodiversity and the
future of civilization.
Abstract portrait and landscape painting enter an exciting liaison in her oeuvre. Her multilayered, oil
paintings on canvas and paper appear watercolor-like and radiate an unexpected lightness, however
heavy and complex the subjects. The artist achieves this balancing act by means of her self-developed so-
called arpeggio painting technique: wafer-thin layers of highly diluted oil paint are applied one after the
other, creating a powerful ensemble of overlapping color spaces and forms that interact with fragments of
varying shapes.
“Rubica von Streng’s works provide viewers with a continuous and moving visual experience,” says Kerstin
Bitar, chief art historian at Museum Rosengart Collection, Lucerne. “In an interplay with initially recognized
motifs, they will constantly discover new figures, plants and landscapes. It is a continual process. This
unfolding of very different visual elements in her pictures is extremely fascinating. Her PortLand works open
up many different perspectives – into the depths, into the distance, into the future.”

‘Stay Put With Happiness ‘& ‘Happiness Remains Included’

Entering the surrealistic sphere by leaving today’s aggressive realistic environment is easier said than done. But we
could make our minds a sanctuary of happiness. In a world that is increasingly loud and fast, why don't we cultivate a
slow and quiet presence inside ourselves aiding us to feel content with what is going on around us? These two
paintings from the series “Limits of PortLand” could open a pathway for this idea: bringing surreal opportunities of
emotional and physical wellbeing into our distraught reality.
Both paintings feature fluid, amorphous shapes that are not immediately recognizable as objects from the physical
world but rather from a surreal, yet possible actuality. Which, somehow, is an invitation to contemplate over the
following aphorism: “Happiness is in the hidden and only reveals itself when you are ready to receive it.” In other
words: happiness, although concealed, is always available, as long as you’re open for it. Surreal as it may sound – and
notwithstanding the complexities of the search – happiness awaits us all. It is the great benefactor in a universe of
chances, invisible but omnipresent.

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Stay Put With Happiness - Oil on canvas, 75x50cm, 2021
Happiness Remains Included - Oil on canvas, 75x50cm, 2021
THEO
OVERGAAUW
Theo Overgaauw is a contemporary artist whose works appear in private collections national and
international. Born in The Hague, the Netherlands, he studied at the Vrije Academie, the Hague and was
invited to attend a week-long workshop given by Jörg Immendorff at the Rijksademie in Amsterdam. Today
Theo lives and works in Sellingen, Groningen, the Netherlands.

Skull no bones - Mixed media, 75x60cm, 2024

Skull no bones 3 - Mixed media, 75x60cm, 2024

‘’My artistic practice is one of constant evolution and experimentation, shifting between ideas and techniques as I
seek to keep the process fresh and challenging. Beginning with figurative art during my early days at the academy, I
embarked on a transformative trajectory that includes periods of abstraction and a return to figurative painting. These
shifts occur deliberately and gradually, rekindling the artistic challenge and infusing fresh vitality into my creations.
Personal life experiences, including profound moments like the loss of a loved one or a transition from a vibrant urban
environment to a tranquil countryside, have been instrumental in shaping these transformative shifts. My artistic style
oscillates between the realms of abstraction and figuration, with alternating phases where one style takes
precedence over the other. Working primarily with acrylics and oil paints on linen, I embark on each piece with a blank
canvas and minimal premeditation. This approach empowers me to paint with a sense of unrestrained freedom,
sidestepping the potential constraints of meticulous preliminary studies. Such studies, while useful for some, could
potentially stifle my genuine joy of painting and the innate vitality that emerges within the artwork itself.’’

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Your work reflects a constant evolution between abstraction and figuration. What drives these shifts, and
how do you decide when to transition between the two styles?
Preferably I like to mix the two together. There are a limited number of works I can make in the same style and at a
certain moment the well dries up and then I know its time for a change. I don’t decide on going abstract or figurative.
The hand/arm and the brushes will tell me.
You emphasize experimentation and spontaneity in your process, starting with minimal premeditation. How
does this freedom influence the final outcome of your paintings?
It influences a lot. I could start with e.g. a painting in red and end up it being blue and the same qualifies for the
shapes/characters. It means I am allowing myself to make mistakes/changes and not be afraid of making them.
Personal experiences, like loss and relocating from an urban to a rural environment, have shaped your
artistic practice. How have these moments of transformation manifested in your art?
After the loss I stopped painting. After a few years when I picked up my brushes again I could not continue the work I
did before, which was much more figurative. I took me a year of experimenting before I found a way I could see
myself going forward. The transition from urban to rural was also of great influence. Not directly though, it took some
time for it to show the great outside vistas in my work. Although that work was very abstract.
You studied under notable influences like Jörg Immendorff. How did that workshop at the Rijksakademie
impact your perspective or techniques as an artist?
He showed me that you shouldn’t be afraid of changing what you are working on. He had a large canvas 3 x 4 meters
where we worked and he started working on it and was already further at the end of the second day than all of the
students with their painting. But the next day he came in and started covering what he had done with a totally
different concept and finished the work in three days.

All is well that ends swell - Mixed media, 115x100cm, 2024 All is well that ends swell 2 - Mixed media, 120x95cm, 2024

95
Working primarily with acrylics and oil on linen, what is it about these materials that allow you to express
yourself most fully? Are there unique challenges you face when working with them?
With acrylics you have to work fast because of the short drying time. You cannot hesitate but the upside is that if you
make a mistake or if you don’t like the result you can easily go over it again. Thats why I usually start with acrylics. Oils
are great, in the way I work at the moment, which is with relatively thick paint, I feel almost like a sculptor working with
colourful clay.
Your artistic journey has been one of deliberate transformation. How do you keep the creative process fresh
and challenging while maintaining a sense of continuity in your work?
When looking back at my work I doubt there is much continuity. At the end of a style period I usually react to it with
going the opposite way. It’s not a conscious decision it just happens. If I try forcing myself to some style of work it ends
up being not great, putting it mildly.
The tension between abstraction and figuration gives your work a dynamic energy. How do you strike a
balance between control and spontaneity when working on a piece?
Stepping back and looking at the work and seeing wether there is a balace or if there isn’t deciding what to do. That
usually takes seconds sometimes a little longer. I never think about it too long though. I kills the spontaneity.
Relocating to the countryside from an urban environment marked a major shift in your life. How has living in
Sellingen influenced the themes, mood, or palette of your recent work?
At the moment not so much, although living in the countryside give you a sense of freedom that I did not experience in
the big city. Having that freedom works it way through in the painting process. So in that way it influences me a lot.
How do you approach a blank canvas, and what guides your direction as the work unfolds?
I usually start with acrylics to form some sort of background and at the moment I know that a skull must be in the

painting. When you start with that the rest will follow
intuitively but nothing is sure of its form, place or colour.
You take one step and then the next and if it clashes
together and you feel step two is more important then
step one, you change step one. That is fun and keeps you
breathing. If somehow it doesn’t work out in the end then
there is always the garbage bin.
Your works reside in private collections both
nationally and internationally. How do you hope
collectors and viewers connect with your art, and
what emotions or thoughts do you aim to evoke?
What I have found out for myself is that I can look at work
of others and can connect with it or not. You have to
recognise something in the work that relates to you.
Some common ground. That can be an emotion or an
experience. I think it works this way for most that buy
work they appreciate. To me that’s the most important
aspect of a work of art.

Grey sky - Mixed media, 75x60cm, 2024

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 XUESHENG MA

Xuesheng Ma is a young artist currently based in London, UK. Born in Zhejiang, China, she later pursued her
studies in Japan and the UK. Her work merges the poetic visual language of photography with surreal
imagination. Through her work, Xuesheng Ma explores the dynamic relationship between nature and
humanity, while reflecting on themes such as time, space, and spirituality. Her work has been exhibited
internationally, in countries including the UK, Japan, France, the Netherlands, and Italy. She has received
several notable accolades, including the "30 Under 30 Female Artists Award" and the International
Marianne Brandt Prize.
Over the past decade, Xuesheng Ma has experienced multiple relocations across various countries, moving
twelve times during this period. This itinerant lifestyle has had a significant influence on her artistic practice,
with much of her adolescence characterized by a series of departures and new beginnings. These frequent
transitions have cultivated a distinctive emotional connection to historic and ageing architecture, which she
views as symbols of stillness and tranquility.
She is particularly drawn to the calm and serenity these spaces evoke, finding in them a profound sense of
security, as though returning to something eternal and unchanging. To Xuesheng Ma, these buildings
appear to transcend the passage of time, existing as "echoes" from parallel realms, offering a sense of
perpetual peace and stability.
In “Echo”, Xuesheng Ma transforms her emotional connection to architecture into a visual narrative. Using a
medium-format film camera, she captures ancient buildings across the UK, and through post-production
techniques, constructs surreal, dreamlike scenes within these historic spaces. Within these environments, she
imagines the presence of the builders who once constructed these structures, their former inhabitants,
future visitors, and unseen spirits. These imagined figures, Xuesheng Ma perceives, are "echoes" from
parallel dimensions, woven together to create fantastical realms that transcend the limits of reality.
Xuesheng Ma’s creative inspiration stems not only from her exploration of architecture but also from her
profound engagement with nature, religion, and philosophy. She is particularly drawn to animistic beliefs
prevalent in many Asian religions, notably the concept that all things possess a spirit. In Shintoism, there are
said to be eight million gods, with the sun goddess at the centre, embodying a reverence for the spiritual
energy inherent in nature. This belief has shaped her understanding that the flourishing of life is not human-
centred, but rather that nature itself is the true ruler of the Earth, imbued with boundless vitality. These ideas
continue to inform her practice, infusing her work with a sense of mystery and spirituality, often integrating
natural elements into her photographic compositions.

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Using a medium-format film camera, she captures ancient buildings across the UK. Through post-
production techniques, she transforms these spaces into surreal dreamscapes. This creative process
parallels the act of painting—architecture serves as a stage, she imagining and shaping the narratives that
unfold within these spaces. She is particularly drawn to the slow exposure process of film, which allows her
to capture the subtle interplay of time and light, infusing each image with both emotion and thought. The
result is a distinctive sense of time in her work, with each photograph telling a story that transcends the
boundaries of both space and time.
Xuesheng Ma's artistic practice has been notably shaped by several key figures, particularly the Japanese
artist Mariko Mori and the American painter Georgia O'Keeffe. In their works, time is often perceived as
suspended, and nature is depicted as triumphant, enduring eternally. This idea resonates deeply with
Xuesheng Ma’s own artistic vision. While many contemporary discourses on surreal futures focus on human-
centric themes—such as the rise of artificial intelligence or the emergence of cyberpunk-inspired cityscapes
—She presents a distinct perspective. She envisions the surreal space from a spiritual standpoint, proposing
that nature with boundless vitality.
In addition to her photographic practice, Xuesheng Ma expands her creative vision through literature, film,
and dream journaling. She often distances herself from the routines of daily life, intentionally creating
space for new ideas and inspiration to emerge. Xuesheng Ma investigates the relationship between nature
and humanity, exploring forms of existence that transcend the physical world. Her work aims to evoke more
than just a visual response; she seeks to stimulate profound reflections on time, space, and spirituality.

Series of ‘Echo’

Fine art photo print,

40'’x40'’, 2023-2024

Xuesheng Ma explores the surreal phenomenon

within manmade living spaces, conveying a
sense of poetic and visual language. A series of
abstract forms reference the supernatural and
animistic notions found in Japanese Shinto,
reminding us of a species' existence and its
passing. Through the fusion of dreamscapes
and interior decoration, she crafts an uncanny
blend of existence and perception.

Echo5

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How has your experience of relocating multiple times across countries influenced the themes and emotions
in your work?
Over the past decade, I have experienced multiple relocations across various countries, moving twelve times during
this period. This itinerant lifestyle has had a significant influence on my artistic practice, with much of my adolescence
characterized by a series of departures and new beginnings. These frequent transitions have cultivated a distinctive
emotional connection to historic and ageing architecture, which I view as symbols of stillness and tranquility. These
buildings seem to transcend the passage of time, existing as "echoes" from parallel realms, offering a sense of
perpetual peace and stability. This connection has inspired me to capture these spaces through the camera, and this
act of documentation marks the beginning of this body of work.
What draws you to ancient architecture as a subject, and how do you use it to explore concepts like time,
space, and spirituality?
After relocating to the UK, I immersed myself in exploring the local architectural heritage, gradually becoming
captivated by the history and atmosphere of Britain’s ancient structures. At the same time, my artistic practice has
been influenced by my cultural background, particularly the animistic philosophy in Asian traditions, which envisions all
things as possessing a spirit. This belief inspires a desire to weave this worldview into Western architectural forms,
creating a subtle yet meaningful fusion of Eastern and Western philosophies. This exploration also reflects my personal
journey from the East to the West.
Can you describe the process behind transforming historic spaces into surreal dreamscapes in your series
“Echo”?
I explore architectural sites through platforms such as Google and the National Trust, selecting locations with the
precision of a stage designer. Using film and slow exposure, I capture the essence of ancient spaces, reimagining
them as surreal, dreamlike realms. In post-production, I weave together reality and imagination, transforming these
spaces into stages where builders, past inhabitants, and unseen spirits exist.

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How do animistic beliefs, particularly from Shintoism, shape your understanding of the relationship between
humanity and nature in your art?
My inspiration stems not only from the exploration of architecture but also from my profound engagement with nature,
religion, and philosophy. I am particularly drawn to animistic beliefs prevalent in many Asian religions, notably the
concept that all things possess a spirit. In Shintoism, there are said to be eight million gods, with the sun goddess at
the center, embodying a reverence for the spiritual energy inherent in nature. This belief has shaped my understanding
that the flourishing of life is not human-centered, but rather that nature itself is the true ruler of the Earth, imbued with
boundless vitality.
What inspired you to use medium-format film cameras, and how does the slow exposure process contribute
to the unique sense of time in your photographs?
I choose to work with a medium-format film camera for its distinctive texture and the intentional rhythm it brings to my
creative process. The inherent limitations of film photography enable me to focus intently on the details of each frame.
Unlike the immediacy of digital photography, the medium-format camera allows me to truly experience the passage
of time as I shoot. This ritualistic approach becomes a form of reflection and reverence for both time and space.
You describe architecture as “echoes” from parallel realms. How do you approach capturing and
expressing these imagined dimensions in your work?
I often choose to photograph architectural spaces rich in historical significance—buildings that have withstood
centuries and witnessed the ebb and flow of countless lives and transformations. Their walls, floors, and window
frames are etched with the passage of time, each brick holding the echoes of forgotten stories. In these spaces, I view
architecture not merely as a physical structure but as a layering of time and human experience. The architecture
transcends its role as a relic of the past; it becomes a bridge linking the past, present, and future, inviting
contemplation of unseen dimensions and the mysteries they may conceal.

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How have artists like Mariko Mori and Georgia O’Keeffe influenced your artistic vision, particularly in how
you depict the eternal triumph of nature?
In their work, time is often suspended, and nature is depicted as both victorious and eternal. This idea resonates
deeply with me as I explore the enduring power and timelessness of nature in my own art. Mori’s spiritual perspective
and O'Keeffe’s vibrant depictions of nature have inspired me to present nature not simply as a backdrop, but as an
active, living force that transcends time and human existence. Their work has led me to envision nature as both a
constant presence and a boundless source of vitality.
In a time when many explore human-centric surrealism, what motivates your focus on spiritual and nature-
centric narratives?
My focus on spiritual and nature-centric narratives arises from a fascination with the interconnectedness of life and
the natural world. In a time when much of contemporary surrealism emphasizes human experience and perception, I
feel drawn to explore perspectives that transcend human-centric views. I am particularly influenced by the belief
systems I encounter, especially those from Eastern traditions, which emphasize the spiritual energy in nature and the
idea that all things, human and non-human, are interconnected. This approach allows me to create narratives that
invite a different view of the world, one where nature and spirituality hold central roles.
Beyond photography, how do literature, film, and dream journaling expand or inform your creative practice?
In my daily life, I enjoy reading literature that explores futuristic worlds, watching surrealist films, and keeping a journal
of my dreams. These hobbies and practices infuse my photographic work with rich imagination and a transcendent
perspective. I deliberately distance myself from the routines of everyday life, creating space for new ideas and
inspiration to emerge.
What do you hope viewers take away from the interplay of mystery, serenity, and spirituality in your work?
I hope to offer a fresh perspective that speaks to the mystery and power of nature. I want viewers to perceive the
harmonious relationship between humans, nature, and spirituality in my work. Simultaneously, I seek to blend the
structural beauty of Western architecture with Eastern philosophical views on nature. This expression also reflects my
personal experience living in a Western environment—an intertwining and fusion of cultures.

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YOUYU WU

Youyu Wu is a London based artist creates art in a variety of media, including multimedia, sculpture,
installations, and drawing. Often investigates her own perceptions on how to deal with mental illness and
physical life. Psychoanalysis is used as a theoretical framework in this study to examine the way spiritual
problems affect everyday life and their subtle appearances. The goal is to draw attention to the intimate
but frequently ignored connections that exist between people, their surroundings, and themselves.

The latest idea is to use herself as a research method, attempting to recreate the storytelling that creates
an almost violent narrative between reality and fiction in her mind. When the indescribable nature of
abstractions cannot be changed, she believes that there are still better ways of expression than spoken
words.

How do your experiences with mental illness and physical life shape the themes and excretion of your
artwork?
I think the scenarios I intend on capturing in my work are the somatization effects that mental illness has on one's
physical body. They are often shown on behaviours and inside the body. For example, using the intestines, or digestive
system, as a visual element can be related to stomach sickness and eating disorders that occurred while I was
mentally ill.

Can you elaborate on your use of psychoanalysis as a theoretical framework in your creative process?
When I was working on the project called ‘Excretion’, the concept of ‘fragmented body’ from Jacques Lacan and the
book ‘The Power of Horror’ from Julia Kristeva had a strong impact on me. It helped me to understand in depth how
certain symptoms manifest in the body from a different perspective.

Your work focuses on the subtle connections between people, their surroundings, and themselves. How do
you capture these often-overlooked relationships in your art?
It's easy to forget how much of an influence what happens around them may have on them. For example, if a person
suddenly has a sore throat and is unable to make any sound, and various tests show that there is no sign of any
physical disease, it is possible to be concerned about whether there is something wrong in the spiritual world, as the
body sometimes reacts to an unrest before the person does!

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In what ways does using yourself as a research method inform the narratives you create in your work?
This is a strange way to phrase it, indeed. Feelings and sensations of one's self that are intimate and are often difficult
to express. To do so, I go deeply into my own emotions, attempting to figure out the structure behind them—why,
where do they come from, and how do they appear? Unlike using the self as a resource, the path of investigation here
is not restricted to my own experience but also incorporates the expressions and narratives of others, thus generating
a semi-fiction.

You mention the "violent narrative between reality and fiction" in your mind. How do you translate this into
your multimedia and installation pieces?
The element of intestines first came out of a bizarre dream I had. It started with 9 people lined up in a 3x3 formation
on the front lawn of a perfectly normal building. Spiders were threaded in a line from their mouths through their
intestines, all the way down to their anuses and out, or maybe the other way around.

When abstract ideas resist verbal expression, what alternative forms of communication do you find most
effective in your art?
The way I've been using it a lot lately is to take something tangible as a point of reference, like the organ-like elements
in my pieces.

How do you integrate different media—like sculpture, installations, and drawing—to convey a unified
narrative or emotion?
My approach lately has been to create a space where the viewer can be immersed. As I use a lot of different media,
this helps me a lot to enrich the whole experience through different representations, such as using background noise,
smells in the room, creating special textures for the sculptures, and so on.

What role does storytelling play in your exploration of the indescribable, and how does it evolve across
different works?
The way of storytelling in my work isn't usually led to a whole story that has a start and end. However, one thing that
barely changes is that the works have become certain characters/creatures who have their personalities, more and
less.

How do you hope viewers will interpret or connect with the spiritual and emotional themes in your
installations?
When the work is directly presented to the audience, I tend not to give much information about the work and to
accept different interpretations due to individuals' backgrounds and experiences. In this respect, I believe in the power
of the work itself more than in my own words.

What future directions do you envision for your artistic practice, particularly in how you address the
intersection of mental illness and self-perception?
I think my exploration of this theme is not yet finished. Apart from the research method I talked about previously as a
way to acquire more knowledge, as a young artist, I also hope to show my works to a wider audience and to extend
my perception through communication with various voices on this subject.

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 Excretion

Latex sheets, wire, thread, fabric, wood,

orange oil,
Various size, 2024
Rest

Silicone, thread, cotton

Various size, 2024
notes:
The Surreal World | Special Edition | volume 60 | Collect Art | Tbilisi, Georgia