Collect

Art
Special Edition

The Sea
of Emotions

VOL 72 July, 2025

on the cover ‘La Mer’ by Drithi Bopanna Puliyanda
 Table
of
Contents
Drithi Bopanna Puliyanda 05 Andri Iona 42
Gaia Artworks

Donna Mindart 09 Lewis Andrews 47

Bernard Kyei Baffour 50

Paula Wilkins 13
(Ben Kay)

O Yemi Tubi 55
Svetlana Fenster 17
(MOYAT)

Gen Doy 61
Sue Ridley 21

Sigurd Kraus 65
Nahalah 24

Molood Jannesari 69
Palina Pantyushina De 28
Chavez
Aaran Sian 72
Lucinda Button 33

Miriam Habibe 38
EDITOR'S
MESSAGE
There are few elements as universally symbolic—and And yet, this edition is not solely about crisis. It is also
emotionally resonant—as the sea. Since the dawn of about the awe of standing before the sea and feeling
visual culture, artists have turned to water to express humbled. It’s about the salt that stings and the silence that
what words alone cannot. The sea reflects us: its soothes. It’s about beginnings, endings, and everything in
stillness, our peace; its turbulence, our grief; its tides, between. Just as the sea is never one thing, neither are the
our longing; its depths, our hidden truths. It is both a emotions that pour through these works. From rage to
literal and metaphorical space—a force that connects, reverence, from despair to wonder, our artists ask: What
carries, destroys, and heals. does it mean to feel deeply in a time of deep uncertainty?
In this special 72nd volume of our publication, The How do we hold on to empathy when so much is in flux?
Sea of Emotions, we dive into the rich waters where We invite you to read this issue like a shoreline—
art and emotion meet. This edition is not simply about meandering, reflective, rich with fragments. Drift from
depicting the sea—it is about engaging with it as an work to work, from artist to artist, letting the currents
emotional entity, a character in our shared human carry you. Look closely at the marks made by hands, by
story. Through paint, thread, film, sound, sculpture, tides, by time. Notice the tension between beauty and
and debris, the artists featured in these pages offer a discomfort, between presence and erosion.
collective meditation on the relationship between Most of all, let yourself feel. Let the waves rise.
feeling and fluidity, between the state of the planet Because art, like the sea, has the power to overwhelm and
and the state of the self. to heal—to remind us that we are, all of us, fluid beings,
Many of the works featured in this volume are made shaped by the storms we weather and the depths we dare
from reclaimed materials: driftwood, rope, seaweed, to explore.
plastic, rusted metal, worn clothing. These materials
speak not only to the state of the oceans, but to our
emotional need to mend and reimagine what has been

Welcome to The Sea of

broken. There is power in re-use, in the gesture of
turning waste into meaning.

Emotions.
 Drithi Bopanna
Puliyanda
Gaia Artworks

To me, art is more than expression - it is a deeply personal and transformative experience, woven into the
fabric of my earliest memories. My journey began in childhood, shaped by quiet yet profound moments spent
with my father, an artist himself. From the age of three or four, our shared hours with paper, clay, and crayons
were more than playful experimentation; they were the foundation of my creative language. By the time I was
six, I was immersed in watercolours and acrylics, finding solace in the act of creation - a sanctuary that
unknowingly became a form of meditation.
When I lost my father at eight, art became my most enduring connection to him. It was in these moments of
creation that I felt closest to his spirit, each stroke an echo of our time together. As I grew, my artistic
exploration led me to a discovery that would define my practice: Stippling. In a quiet art gallery in Rennes, I
encountered this intricate technique - thousands of delicate dots converging to form depth, movement, and
quiet intensity. It struck me as visual poetry, a monochrome world rich with expression that transcended the
need for colour.

Drithi Bopanna Puliyanda is a London-based artist whose work draws deeply from cultural heritage,
emotional and spiritual introspection. Introduced to art at a young age by her father, an artist at
heart, she learned early on the transformative power of creativity. After his passing, art became her
way of honouring the connection and translating grief into something meaningful. Now, her signature
practice lies in the meticulously detailed technique of Stippling. Through thousands of tiny,
deliberate dots, she creates monochromatic works rich in movement and feeling, with each
composition a quiet meditation on presence, absence, and healing.
Influenced by her Kodava roots from Coorg, India, an Indo-Greek culture with a rare lineage, Drithi’s
art reflects both personal legacy and broader global narratives. Her background in psychology and
organisational behaviour, coupled with the multicultural influences of living in Mysore, Rennes,
Bamberg, Luxembourg, and London, shapes a perspective that is both analytical and intuitive. In
2024, with the unwavering support of her husband and mother, she founded Gaia Artworks, an
artistic platform celebrating the interplay between the inner self and the natural world. With a focus
on original pieces, archival prints, and bespoke commissions, Gaia Artworks blends traditional
stippling with contemporary storytelling, inviting viewers into a sensory dialogue between
mindfulness, symbolism, and the rhythms of nature.

05
Stippling is a slow, meditative process—how does this method shape your emotional state as you
work, and what draws you to its quiet intensity?
The intense focus required for stippling gently quiets the chaos around me, filtering out noise and distraction. Much
like meditation, stippling is meditation in motion. It soothes my emotional state, creating a sense of sanctuary. Even
observing stippling can feel meditative; when one lingers on the intricate dots and dives into the detail, it invites
mindfulness. I share glimpses of this process on Instagram @gaiaartworksuk, hoping to ripple that same calm into
my audience.
Your pieces often seem to evoke stillness and contemplation. How do you decide when a stippled
piece is “complete”? Is it more intuitive or structured?
Working solely in black and white, my pieces often evoke a sense of stillness and emotional depth. In works like La
Mer, there’s a quiet contemplation that invites reflection - does it speak of the sea’s serenity or its fury? Perhaps the
audience will observe that to me, it holds both. I never truly know a piece is finished until it resonates with me
emotionally, especially in those final moments. I usually begin with a theme, but it’s intuition that shapes its
meaning and guides me to completion.
You describe art as a connection to your father and a form of meditation. How has this early
emotional bond influenced the themes or moods of your current work?
My father introduced me to art at a very young age, and some of my earliest memories are of us creating together.
His work was mostly inspired by nature - wildlife, landscapes, the beauty of the natural world. On road trips, we’d
observe the scenery and spot animals hidden among the trees. He turned everyday moments into games, asking
me to find patterns in clouds or trace the lines in wood grain. Those small rituals shaped the way I think creatively.
They taught me to stay curious, to be observant, and to draw inspiration from both nature and architecture,
whether I’m traveling or simply moving through daily life.
There’s a quiet spirituality in your practice. Do you see your art as a form of prayer or ritual, and how
does that show up in the final work?
To me, spirituality is about connecting with myself and staying in meaningful exchange with the universe. While I
don’t view art as prayer, it’s a powerful way for me to honour the world’s beauty and share that reverence. My Flora
Collection, featuring four flowers, explores spiritual symbolism across diverse cultures. The Sati Collection raises
awareness about chakra healing and invites alignment with the body’s natural rhythms. Both collections are
intended to spark deeper conversations around holistic well-being and spiritual connection.
You were captivated by stippling in a gallery in Rennes—can you describe that moment in more
detail? What did that artwork awaken in you that changed your direction so profoundly?
I first discovered stippling in a quaint gallery tucked away in the old town of Rennes. Its intricacy and quiet
dedication left me awestruck. It commanded attention not through size or bold colours, but through sheer
devotion to detail with simple black ink on paper. I delved into its history and found out just how rare the
technique is today. Perhaps it was quietly simmering in the back of my mind because two years later, during
lockdown, I found myself experimenting with Stippling in my art book. The technique felt innate as soon as I put
pen to paper. To honour that experience, I later created Frozen in Time, inspired by both my introduction to the
technique and my deep admiration for the beauty of the Saint Séverin Church in Paris.
Do you consciously choose your subjects before you begin a piece, or do they emerge through the rhythm
of the dots?
Inspiration strikes whenever creativity stirs. Whether I’m walking through a park immersed in nature, traveling and

06
absorbing diverse cultures, caught in conversation, or simply noticing the intricate details around me. I jot down
ideas as they come and approach each piece with intention, allowing variety to shape my portfolio. One such piece
I’m working on was sparked by a fleeting moment during the holiday season in London. I glimpsed St Paul’s
Cathedral from a bustling shopping street—its historic grandeur quietly anchoring the scene, content to play
backdrop to the vibrant pulse of modern life. That juxtaposition felt like a visual poem, and I knew I had to capture
it through stippling.
You’ve lived across India and Europe and draw from your Kodava roots. How do these diverse
influences manifest in your visual language?
Having lived in five different countries, my curiosity about cultures has only deepened with each experience. I’m
keen to create art that reflects the rich diversity of the world. Architecture often finds its way into my ideas, acting
as a visual archive of cultural evolution and identity. Over time, drawing from my Kodava roots has become
especially significant. Representing just 0.0008% of the global population, I understand my culture is rare. I’ve come
to believe that art is a powerful medium for cultural awareness and preservation, giving me opportunities to share
my culture on various platforms. One such example is my piece The Flame Lily/Gun Flower from the Flora
Collection. This flower holds deep spiritual significance in my culture for a ceremonial ritual on Kailpodh – a
festival. Through pieces like this, I hope to keep that legacy alive and resonant.
What role does your heritage play in Gaia Artworks? Is there a dialogue in your art between tradition
and modern identity?
To be transparent, I was initially apprehensive to create pieces that are culturally significant to me, as I didn’t know
if my audience would engage with something unfamiliar. I began subtly, incorporating the Kodava language into
titles like the ‘Pulu’ Collection, which translates to “Insects” as a quiet tribute to my heritage. Over time, I started
noticing an increased cultural curiosity as I talked more about my heritage, and this encouraged me to create
pieces dedicated to my culture. I would love to build on this and have a whole collection exploring different aspects
of my heritage. This would present storytelling through art with traditional artifacts and rituals on a global
platform, showcasing the age-old hand stippling technique with a modern feel.
Gaia Artworks emerged from a pivotal transition in your life. What does the name ‘Gaia’ signify for
you personally and artistically?
Although art has always been a part of my life, I never had the opportunity to dedicate the time I do now to pursue
it professionally. The shift began during my move to London, when conversations with gallery owners sparked
unexpected intrigue. Their intrigue, paired with the unwavering encouragement of my husband and mother, laid
the foundation for Gaia Artworks. As I explored the possibilities of the name, I was certain of the themes of nature
and femininity as they resonate with me. Gaia, meaning Mother Earth, felt organically symbolic. Gaia Artworks
celebrates the profound connection between our inner selves and the world around us.
Your career journey spans business, psychology, and art. How do these disciplines intersect in your
creative process, and how have they shaped your understanding of what it means to be an artist?
My background in business is majored in organisational behaviour, which connects me back to psychology. Much
of my education and professional experience—including coaching—has centred on understanding human thought
and behaviour. These disciplines deeply inform my creative process, as I intentionally consider the emotional
responses my artworks might evoke. As an artist, I recognise the profound influence visual storytelling can have,
and I strive to spark positivity, curiosity, and meaningful reflection through both my pieces and the narratives they
carry.

07
 La Mer
Ink on paper,
21x21cm,2024

“La Mer” is created to capture the profound duality of the sea, reflecting the emotions of calmness and angst
that reside within us all. Like the sea, our minds experience moments of serene stillness alongside restless
currents.
This piece illustrates the sea’s ability to embrace its nature and remain beautiful despite turbulent waters,
serving as a poignant reminder that we, too, can cultivate a shift toward a positive mindset amid challenges.
The style used to create La Mer has been a meticulous process with fine art pens. The dotted stippling
technique replicates the delicate movement of currents and the tranquil stillness of water, showcasing a flow
of shades that add depth and elegance. The colours black and white are intentionally chosen to allow the flow
of the sea to shine with dark depths indicating angst and lighter hues indicating calmness. La Mer is designed
to enhance a sense of peace and reflection.
 Donna Mindart

‘’My work explores the layered, shifting relationship between the external world and our internal
experience of it. Drawing from memory, emotion, mythology, and a strong connection to place. I use
fine pen work to map out what often feels invisible-unspoken feelings, fleeting thoughts, and tension
between stillness and movement.
In 'The waters within' I reflect on the sea as both subject and metaphor: vast,fluid, unpredictable,
and deeply tied to human emotion. My lines mimic tides and tempests, repetition becomes rhythm,
and negative spaces become silence or breath. I'm drawn to working slowly and deliberately,
allowing the process itself to mirror the act of feeling, remembering, and releasing.
Across all my work - whether on paper, metal, or found objects- I aim to create spaces for pause
and personal connection. My practice is a response to the world around me.‘’

Donna Mindart is a multidisciplinary artist whose practice centres on memory, emotion, place, and
perception. Working primarily in pen and ink, they create intricate, flowing compositions that explore the
textures of lived experience and inner landscapes. Their work often merges the natural world with symbolic
storytelling, resulting in pieces that feel both timeless and deeply personal.
Based in Scarborough, England, Donna Mindart has exhibited across the United Kingdom and is a recipient
of Arts Council funding for digital development in contemporary art practice. Their evolving body of work
includes hand-drawn pieces on traditional and unconventional surfaces, digital portraits, etchings, and
conceptual illustration. Each work invites viewers into a space of reflection and quiet intensity.

09
 The Water Within
Pen on paper,
42x60cm, 2025
The waters within' explores the shifting emotional terrain we navigate within ourselves. Mirroring the sea's own
unpredictable temperament. The flowing lines evoke the pull of tides and the momentum of storms, while the
skull-like foam suggests the remnants of past thoughts, memories, and unspoken feelings. There is a calm in the
repetition and chaos in the swell, together forming a visual meditation of balance, depth, and personal
reflection. A complex fluid relationship between humanity and the sea.
Your work beautifully blurs the line between internal emotion and external environment. How do
memory and place interact when you begin a new piece?
Memory and place are deeply entwined in my process- one often triggers the other. I draw from the emotional
imprint a place leaves behind, using memory as a way to access its atmosphere, symbolism, or lingering feeling.
The marks I make are less about what I see and more about what I carry from those moments. It's an intuitive
translation of internal landscapes shaped by external ones.
In The Waters Within, the sea becomes both metaphor and map. What led you to use water as a
central emotional and narrative symbol?
As a Pisces, I’ve always felt a deep intuitive connection to water- its emotional tides feel personal and familiar. I
often refer to my mind as having ‘a washing machine effect’ where thoughts churn, loop, and crash like waves.
Water became a natural metaphor for the inner motion. It allows me to express chaos, stillness, and release in one
visual language.
Your compositions often feature flowing, rhythmic lines. Is there a meditative or ritualistic quality to
your drawing process?
Yes- my work is slow, deliberate, and meditative. The repetition of flowing lines helps me process emotions and
enter a state of calm focus. It’s less about realism and more about rhythm, sensation, and internal mapping.
Drawing becomes a form of release and reflection.
You mention unspoken feelings and fleeting thoughts as subjects. How do you visually represent
what can’t be easily named?
I use abstract forms, negative spaces, and layered texture to suggest what words can’t capture. Flowing lines,
tangled patterns, or repeated marks hint at emotion without needing to define it. Silence becomes shape and
movement, standing in for feeling.
It’s about creating a space for personal interpretation and emotional resonance.
There’s a tension between stillness and movement in your work. How do you decide when a piece
has reached that delicate point of balance?
I trust my intuition- There’s a moment when the piece feels like it's breathing on its own, I look for a quiet rhythm
where neither stillness nor movement dominates. It is about the balance of energy and pause. When the drawing
feels emotionally honest, then I know it is complete.
Working primarily in pen and ink requires a high level of precision and commitment. What draws
you to this medium, and how does it reflect the emotional landscapes you explore?
It still amazes me how one tool can create endless textures and moods. It allows me to shift from delicate whispers
to intense storms with just pressure and rhythm. The limitation becomes a strength, forcing me to be intentional
and expressive with every line. It mirrors how complex emotion can live in the smallest of gestures.
Nature and symbolism are deeply embedded in your visual language. Do you draw inspiration from
specific mythologies or natural environments?
I draw to tell stories that aren’t always obvious, inviting others to find their own meaning. Mythology and natural
environments often emerge instinctively, shaped by my thoughts and emotional state in the moment. They are like
symbols that surface when they are needed. This intuitive layering lets the work remain personal yet open to
interpretation.

11
Your work spans paper, metal, and found objects. How does the material you choose influence the
emotional tone or narrative of a piece?
The material often chooses me, but quite often sets the tone before I even begin. Paper offers me softness and
introspection, while metal brings weight and permanence. Found objects carry their own hidden stories, adding
layers of memory and decay. Each surface invites a different kind of mark-making and emotional response.
There’s an intimacy and quiet intensity in your imagery. What do you hope viewers feel or reflect on
when they engage with your work?
I hope viewers feel a moment of pause- a quiet space to reflect on their own emotions or memories. My work is not
about giving answers but opening a gentle conversation. I want it to feel personal, like something familiar yet hard
to name. If it stirs feelings or recognition, then it has done its job.
You describe your practice as a response to the world around you. In times of chaos or stillness, how
does your creative process shift?
I try to always be responsive and honest, like a visual diary that shifts with the state of my mind, the process
mirrors what I am feeling. In chaos, my lines are more intense and layered, illustrations show somewhat personal
objects, a way to relieve tension, and to make sense of disorder. In stillness, I work slower, focusing on the subtle
detail and quiet rhythm.

Stones Flow - pen on paper, 42x60cm,

12
 Paula Wilkins

Although Paula did study traditional photographic techniques many years ago at college, she mainly uses
digital photography and cyanotype, and has been drawn to exploring more sustainable techniques and
practices in order to minimise her impact on the planet. In 2024, Paula’s work was included in an exhibition
of print at Tamarisk Gallery, on St Mary's, Isles of Scilly, as part of the Creative Scilly festival. In 2025, Paula
took part in the Nimble Art School group show: Cyber Critters at Hypha Studios, Hastings

13 High tide - Coffee-toned cyanotype, printed on recycled watercolor paper, from tracing paper negative, A4, 2024
Your journey began with traditional photography, but you've since moved into digital and
cyanotype. What continues to draw you to these processes — especially cyanotype — in today's
image-saturated world?
I get such a thrill from watching a cyanotype develop- every time it’s so exciting! Rather like watching a Polaroid
develop in the old days!
Making things really reminds me of my childhood, I think when I was always making things, and ‘digital’ hadn’t yet
been invented! Which makes me sound ancient. Making things for my own enjoyment is important for my
wellbeing, but if others can also enjoy my work, that’s a real bonus.
You’ve made a conscious decision to adopt more sustainable techniques. What does sustainability
look like in your photographic practice, and how has it changed the way you work?
Sustainability is a priority. For me, this means choosing materials that minimise environmental impact wherever
possible, from reducing waste, conserving water, using non-toxic chemicals, and so on. It has meant that I will try to
research the best materials or equipment before starting a project, maybe changing my idea, or not even starting if
I can’t find something suitable.
How do you balance aesthetic choices with your environmental values when creating new work?
As I said above, if I cannot achieve something in a sustainable way, I simply don’t do it. Nowadays, I would find the
knowledge of having used materials that don’t align with my values detracts from my enjoyment of the piece.
Do you see your practice as a form of environmental commentary or activism, or is sustainability
more of a quiet, behind-the-scenes commitment for you?
It’s something I’m working on. Increasingly, I am understanding the importance of the ‘ripple effect’, if I can be
brave enough to speak out and raise awareness, perhaps it can empower someone else too. No one is going to
save the world on their own!
For the Cyber Critters exhibition I showed a piece called Notes From Sulis Island: We Are The Ocean - this was in
response to the March For Water, in November 2024, in the UK, which was a protest calling for government to take
action over the pollution of the countries contaminated coastal water and rivers. I showed several images of
beautiful, fragile seaweeds, in the hope that it would highlight what we stand to lose and the fragility of our oceans.
In 2024, your work was shown at Tamarisk Gallery during the Creative Scilly festival. How did the
setting — the Isles of Scilly — influence your creative approach or the way your work was received?
I wanted to do my best to highlight the beauty and delicate environment around me. Islanders are fiercely
protective of their home, so I believe the care I took, in working in a way that will not harm the islands, was
appreciated.
The Cyber Critters show in Hastings seems quite different in tone. Can you share how your work
responded to the theme, and what it was like to be part of a group show exploring such
contemporary ideas?
The Cyber Critters exhibition was named after our online art school cohort. As part of Nimble Art School, we meet
online, once a week for discussions and crits, and we decided to keep the theme open-ended.
Do you begin your work with a clear concept in mind, or do the ideas emerge through
experimentation with process and materials?
Probably a mixture of the two approaches - sometimes I might have a really clear idea of what I would like to
achieve, sometimes ideas emerge as the images progress. Sometimes I might come home from a walk with a
handful of found objects and just experiment. I think the joy usually occurs in the experimentation for me.

14
Cyanotype is often associated with the sun, water, and time — how do these elements inform the
themes or mood of your work?
Island life has a lot in common with cyanotype; everyday life is affected by the weather, the tides, and time, and I
think it is inevitable that these will affect the theme of my work, as they do impact my mood. It is possible to feel
lonely and isolated from everything in the fog or a beautiful sunshine paradise, and everything in between, so being
able to harness the elements to tell this story and incorporate them into the work itself is rather magical and feels
part of the image for me.
As you look forward, what techniques or themes are you interested in exploring next, especially in
the context of sustainable or alternative photographic practices?
Where to begin? There are so many avenues to explore that it’s sometimes difficult to choose. I’ve been
experimenting with cyanotype animation, so that’s something I want to explore further. The Alternative Processes
Academy online course has a plethora of techniques that I am slowly working through, so I will be busy for a long
time yet!
What advice would you give to emerging artists or photographers who want to work more
sustainably without compromising their creative vision?
I am always learning new things. There is a wealth of knowledge available, and there are some really inspirational
artists developing new techniques and generously sharing their work around the world.
I would say research, find other artists who share similar values, experiment, and have fun!

15 Swimming out of my depth - Cynotype toned with oak leaves, printed from racing paper negative on recycled watercolor paper, A4, 2024
 Newfoundland Point
Tea-toned cyanotype, digitally altered,
A4, 2024
Svetlana Fenster
Svetlana Fenster is a Cyprus-based artist who was born in the Ural region. Having built her career in IT,
Svetlana explores the reverse side of technology, considering it essential to address the topic of internal
privacy and rethinking. She researches the possibilities of soft pastels, seeking to create the most
transparent and engaging ways to communicate her ideas. She participates in international exhibitions
across Cyprus, the USA, Europe, and Russia. She is a member of the National Pastel Society of Russia in the
status of “Experienced Artist.” Her works are held in private collections worldwide. As an eco-activist, she
represents the international platform Null.art, which supports several eco-projects.

Over the sea - Soft pastel on paper, 14x40cm, 2024

Through my work, I hear the voice of nature expressing themes of renewal, purification, and liberation. While the
human figure in my artworks is often absent from the canvas, he serves as my main character. My paintings depict the
world through the eyes of a man who returns to his roots, sheds the distractions of society, and discovers inner silence.
My art is an invitation to a journey where every step leads to the search for a balance between external and internal.

Sea diary series

The vastness and silence of the sea overwhelmed me all at once. I felt the need to observe and listen before I began
to draw. I saw the sea as a silent rebellion against the inconsistencies of our world. After a while, I started to work
responsively with the place, keeping my approach concise and clean. I spent a considerable amount of time
developing a color that accurately reflected my emotional state, making a spectacle different from the classic. I
created a diary that captures both the essence of time and the feelings it evokes, spreading the space and
supporting my inner light. Day after day, I decompose all the fuss and complexities of this world into two planes, sky
and sea, building inner resilience and illuminating my path.
17
Your Sea Diary series feels deeply meditative. How did your process of simply "listening" to the sea
shape the emotional tone and visual restraint of the work?
I spent a long time simply observing and listening to the rhythm of waves, light, and wind. That quiet listening gave
the main impetus to my artistic practice and shaped the tone and the form of the work. I began to reduce, to distill,
to focus. There is a lot of freedom in visual restraint and a lot of space for interpretation. I try to convey that feeling
to the viewer, not by overloading them with details, but simply by offering a breath of fresh air.
You mention creating a specific color that reflects your emotional state. Can you describe this color,
and what role color plays in conveying inner silence or tension?
In Cyprus, winter night falls quickly. Dusk is brief and incredibly fragile — a fleeting moment when light and feeling
shift together. I try to capture that atmosphere and build up my color within it. Technically, it's a rather complex
shade—layer by layer, but I don't aim for realism; I aim for emotional resonance. The color is the last breath of
light before the night settles in.
While the human figure is absent from your compositions, you describe the human as the central
character. How do you express that invisible presence through landscape alone?
The human figure may be absent, but the perspective is always human. My landscapes are invitations. That's
precisely the presence I hope to evoke — not seen, but deeply felt. The landscape could become a mirror, quietly
reflecting the viewer's inner state.

Orange - Soft pastel on paper, 30x40cm, 2025 18

Much of your work speaks of cleansing and release. Do you see your paintings as part of a personal
ritual of healing or transformation?
Absolutely. I live in a space of visual purity — sky, sea, and a single horizon line. And that external simplicity
gradually quiets the internal noise, too. I often begin with some details — small changes in the sky, the light at the
horizon — but as I connect more deeply with the space, I start removing them. What remains is the essence. That's
where I find healing: in the act of letting go, of returning to clarity, of rediscovering silence.
What draws you to soft pastel as a medium?
Soft pastel is a very responsive medium to use. It is intimate and direct. There's no intermediary — just the hand
and the paper. I agree with the opinion that pastel goes beyond drawing. It is a medium in its own right. There's a
softness to it, but also a rawness. It gives me exceptional opportunities to express my emotions.
You emphasize a "concise and clean" approach. How do you balance the softness of pastel with the
sharpness of your conceptual intentions?
Exploring soft pastels, I create textures that deeply engage the viewer, both aesthetically and energetically. My
works are concise because visual simplicity holds deep meaning and gives the viewer freedom. My works are a kind
of dialogue about the illusion of limitations and liberty, because many of the barriers exist only in our minds.
As someone with a background in IT, how has that shaped your view of "inner privacy" in contrast
with the openness of nature?
Technology has a reverse effect — a growing need for inner silence, a search for solitude in nature. Nature, for me,
represents a kind of openness that respects privacy. In nature, you can simply be. That's what I seek in both life and
art — the freedom to experience without exposure.

Emotions - Soft pastel on paper, 25x40cm, 2025 19

Can you tell us more about your involvement with Null.art and how your ecological activism
intersects with your artistic practice?
With each of my works, I invite the viewer to reflect on human identity and our unity with nature. When we learn to
notice, we begin to care. That's where change begins.
Coming from the Ural region and now living in Cyprus, how have these two very different landscapes
influenced your sense of space and silence in art?
Moving to a new culture has given me a fresh perspective and the role of an observer, and this is what my art
reflects: the balance of new and familiar coming together.
What does "returning to roots" mean to you — not just artistically, but philosophically — and how
does this journey reflect in your evolving work?
Returning to roots, for me, means stripping away what's artificial and reconnecting with essence — with values,
emotions, and truths. Philosophically, it's about learning to listen again — to nature, to silence, to yourself. My
journey is ongoing. Starting as a soft pastel artist, I am moving to a multidisciplinary approach, which reflects a
desire to find the most transparent and engaging ways to convey not only visual perception but also the emotional,
cultural, and historical layers beneath the surface. Maybe one day we'll talk about it.

The Farewell The Light

Soft pastel on paper, Soft pastel on paper,
40x30cm, 2025 40x30cm, 2025

20
 Sue Ridley

Sue Ridley is a local artist with a love of the North Eastern and Northumberland coastline. Her artwork is
inspired by the ever-changing details and moments she observes whilst walking along the beaches she
visits. Sue is fascinated by the sea’s motion and the wonderful waves it creates, as well as the ever-
changing, beautiful skies often seen along the coastline. As both the sea and sky change so quickly, she
uses her camera to capture lots of images of them, especially the waves as they roll, turn, and splash onto
the beach.
In her studio at B.Box Studios in Ouseburn, Sue uses her many photographs to sketch and paint her
seascapes. Predominantly working in acrylic paint, Sue very much lets her paintings evolve as she builds up
layers of colour, tone, and texture using a variety of tools, including her fingers.
Above all, Sue wants the viewer to gain a sense of being there on the beach, ruminate, reflect, and enjoy
the moment that has been created in her paintings.

What first drew you to the Northeastern coastline as your primary subject, and what keeps you
returning to it as a source of inspiration?
I was drawn to the North East coast because, as a child, I spent many days exploring our local beaches, mostly
those at South Shields, as I was born there. I keep returning to this coastline holds so many happy memories with
loved ones who are no longer with us. Every time I visit, I see wonderful things, e.g., sunsets, sunrises, wildlife like
dolphins, and wonderful waves.
How do your walks along the beach influence your creative process?
Whilst walking along the beach and enjoying the moment, I often find interesting pieces of driftwood, stones, shells,
and seaweed. The natural treasures I find often change my direction of work from landscape to still life studies.

21
Your paintings evolve through layered textures and tones. Can you walk us through your process
from photograph to finished piece?
My paintings usually start from an image I have captured with my mobile phone while walking on the beach. I then
use that image to draw a basic guide on canvas or paper. This is very much a sketch. I then tend to start with the
sky in my seascape. I apply the paint with a thicker brush, palette knife, or straight from the paint tube. I do refer to
my photo for tones, and after finishing the base layer of colour, I apply the clouds and varying sky tones, often
layering colour to get the desired effect I want. After completing the sky, I apply paint across my canvas to create
the sea’s base colour, then generally use a palette knife to add a variety of blue tones with white to create depth
and movement. Then I add the foreground.
You use tools ranging from brushes to your fingers — how does this physical, tactile approach shape
the energy and emotion of your seascapes?
I love getting fully immersed in my paintings, so using my fingers as a tool is in many ways an essential part of my
art. I often find the paint applied with my fingers creates the most perfect effects, especially when painting clouds in
the sky.
You’ve spoken about the ever-changing nature of the sea and sky. How do you capture that sense of
motion and fleeting light in a still image?
As the sea is constantly changing and often quickly, I capture wonderful moments of movement with my camera. I
love how waves change so quickly and how they curve and turn, before crashing onto the shoreline.
Do you ever find it challenging to translate the atmosphere of a moment into paint?
I find using paint to translate the atmosphere that I have experienced on the beach because it gives me the
freedom to explore and allows my work to evolve. Every time I paint, I get a real buzz because the finished
composition is unpredictable.
What role does emotion or memory play in your painting process?
Memories play such an important role in my life and work. I feel so privileged to be alive as I’m a Cancer survivor,
and every time I’m walking on a beach, experiencing happy moments with family, my dog, or alone, I feel deep
happiness. I want the viewers of my art to feel something too. The way they interpret my work is unique to them,
but I hope they get a moment to reminisce.
Do your works aim to reflect a specific place or moment in time, or are they more about capturing
the general feeling of being by the sea?
My seascapes are all about capturing the moment. The wonderful moment I experienced whilst being at the beach.
A moment that was unique and worth sharing with others who may have never had the opportunity to experience
it for real.
How does your studio space at B.Box Studios influence your practice? Do you bring the energy of the
coastline into the studio with you?
I love my studio. I call it my happy space. I have filled my studio with my work, and yes, it is full of the energy and
inspiration I get from the local coastline.
Looking ahead, are there new directions or coastal stories you’re hoping to explore in your upcoming
work?
At the moment, my work is focused on the islands and lighthouses on or near our local coastline. These paintings
give me an opportunity to develop my seascapes and, again, give the viewer the desire to dream and reminisce.

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 Dancing in the moonlight
Acrylic on canvas,
40x40cm, 2024

I stood on the beach in awe of the Hunter's Moon and the bright light it gave as it rose into the sky at Roker Beach. I took lots of
photos to try and capture the moment, and yes, I was dancing in the Moonlight on the beach. This painting is inspired by what I saw
and how I felt that night on the beach. I was captivated and drawn closer and closer to it as its light glistened over the sea.
Nahalah
Painter born in Reunion Island, self-taught, her painting plunges you into a celestial, dreamlike, galactic,
interstellar universe. Her paintings with shimmering colors open you to other worlds, walk waking reverie
that tells you a story or questions you about life. Inspiration is born from the tip of the brush, from the
present moment, from questioning, from pain, from travel. His style mixes the abstract and the figurative.

l'attente - Acrylic on canvas, 80x80cm, 2023 24

 le passage, 2015
une métaphore pour traduire le passage de la vie à la mort, un passage étroit vers un autre
monde, l'eau tumultueuse symbolisant nos émotions notre souffrance, nos peurs lors de
ce évènement inévitable qu'est la mort
la colère ou la révolte qui sommeille en nous
40x40cm, 2025
mer déchaînee
 Stormy sea
50x40cm, 2025
le calme après la tempête
 Abysse
70x50cm, 2012
les profondeurs de l'océan, les profondeurs de notre âme, notre monde interieur
Palina Pantyushina De
Chavez
“Through my canvases I breath and communicate. My brushstrokes are the impressions of my soul, finding a bliss in creation and light.”

My artistic practice is an intimate pilgrimage into the uncharted territories of the soul. It's a quest to render the unseen, to give
tangible form to the ephemeral whispers of spirit. My last series, “Living Souls”, comprised 14 completed artworks, was a focused
exploration of individual auras and resonant energies, a deliberate step beyond the concrete realities of our daily existence. I
sought to illuminate the unique frequencies of being, translating profound spiritual encounters into visual symphonies of color and
light. 'Living Souls' was recently presented at Naples Gallery Larimart.
My current work, “Multitude” emerged as a fraction of “Living Souls”, taking on a life of its own as an independent series. It expands
this introspective journey to encompass the vast, interconnected tapestry of the collective human soul. These paintings are born
from an intuitive, gestural language, an organic unfolding of abstract expression. They are not mere representations, but living
narratives of human connection, raw emotion, and shared aspiration, revealed through the visceral poetry of color and line.
Currently, 'Multitude' consists of 6 works and is in the midst of its creation, with no predetermined limit. Each stroke is a thread in the
grand narrative of our shared humanity.
“16 Years of Color” is a deeply personal and vibrant homage to Mexico, a land that nurtured my artistic awakening and shaped my
very essence. These works are not simply landscapes, but distilled memories, fragmented visions of a place that resonated within
my soul. They are rendered with a touch of surrealism and playful exaggeration, reflecting the elusive, dreamlike quality of memory
itself. Each canvas pulsates with the vibrant energy of Mexico, a testament to its indelible mark on my artistic journey. This series is
currently in progress and will ultimately consist of 16 artworks.

Born in Moscow, Russia, in 1983, Palina Pantyushina de Chavez demonstrated a remarkable gift for art and
design from a young age. Her artistic foundation was built at the Municipal Cultural Center of Moscow,
where she studied music and visual arts. In 2003, she graduated with honors in Costume & Fashion Design
from Moscow Technological College and later expanded her expertise by earning a degree in Art
Marketing from Central Saint Martins College of Art & Design, London. With over a decade of experience
as a celebrated costume designer in film, theater, and the fashion industry, Palina has worked on
prestigious productions across Russia, England, the USA, and Mexico. Her illustrious career includes
collaborations with the Monte Carlo Theatre Festival, the Grammy Awards, and over 30 runway
presentations, including Boston Fashion Week. Palina’s own artworks have been showcased at renowned
art fairs in Europe, such as Art3F in Monaco, Paris, and Madrid. In the USA, she frequently exhibits at local
galleries in Naples, Florida, and participates in various art events and shows. Her dedication to nurturing
creativity in others is evident through her students' exhibitions, which have adorned the Golisano Children's
Museum for the past three years, inspiring a love for the arts in younger generations. Having spent nearly 20
years in Mexico, Palina devoted the last eight years to advancing Cancun’s cultural scene as a member of
the Patronage of Culture and Arts. Now based in Naples, Florida, she continues to thrive as an independent
art consultant, serving the global art community in four languages. Her creative journey has evolved to
include painting, ceramics, children’s book writing and illustration, alongside her teaching of art and art
history. Constantly pushing the boundaries of her artistic expression, Palina’s work continues to inspire and
captivate audiences worldwide.

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 Waves of Awakening
Acrylic on canvas, 48'’x36'’
Your work fuses realism with abstraction to reveal inner worlds. How do you know when a piece has
found the right balance between the visible and the invisible?
I never truly "know" when the balance is right; it's an intuitive resonance, a feeling deep within my soul. When a
piece is complete, it unveils its sacred narrative, a story whispered from the unseen realms. During creation, my
hands become mere vessels, allowing the profound wisdom of the universe and my inner spirit to flow unimpeded,
delivering its message without intellectual analysis.
In ‘Living Souls’, you explored individual auras and energies. How do you translate something as
intangible as spirit or frequency into visual form? Is there a synesthetic or intuitive process behind
it?
My creative process is a light and open meditation, completely intuitive. I simply let go, listening to my own soul,
and feel the urge to choose a certain color when I connect with a specific person for "LivingSouls." Every person has
a unique color and shape, distinct from what most people perceive because we often only see the external shell.
What I paint is seen with my soul, not my eyes. I shift into a different state of existence when I create, and my
practice of intermittent, open-eyed meditations helps me access that space anytime.
You’ve lived and worked across Mexico, Russia, the UK, and the US. How have these cultures shaped
the emotional and visual language of your paintings?
My journey across diverse cultures has profoundly infused the emotional and visual essence of my paintings with
deeper spiritual resonance. Mexico emerged as the most luminous and transformative influence on my creative
soul. Having once perceived the world through muted hues, particularly from Moscow in the 80s and 90s, Mexico's
vibrant landscapes, sacred architecture, ancient folklore, and intricate crafts—bursting with brilliant, contrasting
colors, rich textures, and soulful sounds—ignited a profound awakening within me. This immersion swiftly
reshaped my color palette, not merely in my art and designs but in my very being, opening my heart to greater
trust, joy, and a fearless embrace of my bold, authentic self. London, as a global nexus, offered an infinite tapestry
of cultures and kindred spirits that nourished my boundless imagination. The USA, a realm of boundless
possibilities, beckoned me to spiritually reinvent myself as an artist, guiding me to become an art teacher and to
explore the creation of my own children's art books. Engaging with young souls provided a fresh, innocent
perspective on my artistic explorations, further enriching my path.
‘16 Years of Color’ reflects your time in Mexico — what makes Mexico’s landscape and energy so
artistically potent for you, and how do you distill memory into color?
Mexico truly was a place of rebirth for me, unconsciously molding me into a Latin way of being amidst its
impressive and diverse landscapes—from powerful green mountains and vast seas to deserts and magic, beautiful
small towns. The energy of the Pacific coast mountains is especially powerful, mysterious, and deep; I felt their raw
force, particularly during thunderstorms before heavy rainy season showers in Puerto Vallarta, as a profound
source of creative power. Moments in its charming mountain villages, with their mysterious foggy air and surreal
trips into the past, dissolved my sense of space and time, allowing me to feel at one with the world; these
sensations are etched into my DNA, later transforming into sketches and color. The vibrant Mexican sky and sun,
along with bright pink and blue houses, blue agave fields, whimsical cacti, and crazy bright flower trees, infuse my
memory with vivid hues. These fragments, and sometimes whole images like profound Oaxaca, become the living
colors of my art, often stemming from sacred moments experienced traveling across the country with my older
son, Yan Dali.

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The idea of the ‘collective human soul’ runs through your ‘Multitude’ series. How do you visually
suggest interconnectedness while still retaining individuality within each figure or gesture?
Motional and visual language of your paintings? In my "Multitude" series, I intuitively pick colors and stretch them
with a special scraping tool in a way that they unpredictably blend and create multiple layers. This is just like us,
humans, we blend into one when we interact or just exist next to each other. We share our auras in a physical
space, feeling each other with our personal energy wave. It's an inevitable process, but if we connect with intention,
we can keep our own spiritual essence without mimicking each other, which happens a lot in whole nations.
Because every one of us is unique, I add each spirit a "head" and mark the body language with line expressions. For
me, the body language of each figure says a LOT, more than faces, that's why I omit them at all. Some figures
convey resilience, others pride, some appear submissive or oppressed, while others exude judgment and power, or
search for love and acceptance. Ultimately, these lines say what the observer is ready to see. I see everyone in those
interconnected lines as individuals and as a whole cultural human wave.
There is a strong emotional and spiritual undercurrent in your work. How important is it for your
viewers to engage with that depth, and how much do you invite personal interpretation?
This is a very sensitive question, and there truly won't be a single answer as it depends on the place and time of my
exhibition. I understand that not everyone is ready for my speech; sometimes, it's better to simply leave the viewer
to listen to their own soul through their eyes. My artwork is designed to speak a different story or revelation to
everyone, and I've seen people turn into tears or shine into a smile when they engage with my creations on canvas.
Sometimes, my words must stay in my books, as I am solely a channel, and my hands are the vessels for the
message.
As someone who’s worked across costume design, ceramics, and illustration, how does each
medium serve a different part of your creative psyche?
My background in costume design profoundly influences my art, with its graphical expressions in lines and shapes
informing my interpretations and techniques across mediums. Through observation and exploration, I've taught
my hands to fearlessly apply textures to canvases. Ceramics is a path I'm exploring, a stepping stone toward
sculpture, which remains on my lifelong learning wish list for self-expression and realization within this human
experience. Finally, book illustrations, inspired by my young art students, represent a warm, fulfilling, and joyful
chapter that inevitably weaves into my broader artistic practice.
You have spent years nurturing creativity in others, from museum exhibits to teaching. How does
teaching art inform your own practice, and what have your students taught you in return?
Becoming an art teacher was an unexpected yet profoundly fulfilling journey. My students consistently push my
own boundaries, compelling me to explore new skills and techniques, and inspiring me to be hyper-creative for
them. In my classes, I understand I'm not just teaching painting and drawing; I have access to the sensitive young
versions of their souls. This is a huge privilege and responsibility, making me very conscious of my influence. Every
word I say is encouraging, inspiring, and positive. Through art, I guide them to see life positively, to love and
appreciate themselves, and most importantly, to enjoy every single moment of the process. I often receive requests
to guide other creative beings, including adults. I don't question why the universe chose me; I simply guide with an
open heart, sharing my experiences and the inner voice I hear about the art path and career. My years in Mexico
as a cultural developer and promoter were probably the most meaningful and important work of my life. Helping
others in their personal and professional journeys, nurturing their visions and growth, multiplies my own source of
energy. I give first because I believe in Dharma. In return, I receive an abundance of love—truly, tons of love!

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Do you find that your experience in costume design and theatre influences your paintings?
Absolutely, my experience in costume design and theatre profoundly influences the way I compose my paintings;
the way I look at the composition of the artwork is with a designer's eye. What's different as an artist, however, is
the immense freedom: I don't have to be interpreted into anything physical, wearable, or immediately
understandable—a key reason I left fashion behind. I chose the path of the artist precisely for the unlimited
freedom it offers.
What does “success” mean to you now — is it about recognition, personal fulfilment, emotional
resonance, or something else entirely?
For me, success is clearly defined by five core principles. First, it's the freedom to choose what to do, when, and
how, coupled with the freedom to choose where to live at every stage of our lives. Second, it's about being calm,
unburdened by haste, fully present in every moment, and truly enjoying every minute of our time. Third, success
means finding satisfaction from the process of self-realization through creativity and personal achievements,
including great health, motherhood, and meaningful relationships. Finally, it's the ability to leave something
tangible behind from this brief human experience—something that outlasts our physical bodies, such as my books,
paintings, and teaching methods. Material possessions hold no meaning as indicators of success for me; they are
superficial and fragile. Instead, it's our meaningful life, our impressions, experiences, and the products of our
creative self-realization that we will truly cherish on our final day of consciousness.

32 The reflection within - Acrylic on canvas, 36'’x48'’

Lucinda Button
Lucinda Button is a graduate of Wimbledon School of Art (1992) and Glasgow School of Art (1995), where
she specialised in Embroidered and Woven Textiles. After a brief period working as a designer, she realised
a strong urge to explore the world more widely. This led to a varied early career as a freelance broadcast
journalist, producer, and actress. Eventually, she settled in Sussex to start a family and, in 2004, began a
new chapter as a secondary art teacher.
Following a long break from her textile practice, Lucinda recently reconnected with her creative roots and
has since worked intensively, reclaiming every spare moment to produce new work. Creativity has always
been central to her life, enriched by a broad experience of travel, which continues to inform her practice. A
lifelong environmentalist, she is now using her textiles as a platform for communication, activism, and
reflection, fuelled by a strong sense of purpose and urgency.
Her New Horizons series marks a return to textiles and represents a deeply personal exploration of emotion
through the motif of the sea. In this work, Lucinda examines how the ocean’s portrayal can convey
emotional states while simultaneously calling attention to the environmental crisis facing our marine
ecosystems. By integrating natural and synthetic sea detritus, she encourages viewers to stop, reflect, and
truly “see” the sea. She aims to inspire awareness and hope—to suggest that although time is running out,
there is still a possibility to “turn the tide” and restore our relationship with the oceans.
The New Horizons series formed the heart of her first central London exhibition, The Poetics of Space, in
2024. The pieces, developed over a summer of creative intensity, drew on fabrics already collected and
long-formed ideas rooted in her artistic philosophy. With over two decades of experience teaching art and
textiles, Lucinda brings to her work a deep, instinctive understanding of composition, colour, and 20th-
century visual language.
Her practice blends traditional textile techniques with a contemporary environmental consciousness. Found
sea detritus—both natural and manmade—is stitched into repurposed fabrics: old garments, outdated
swatch books, and industrial leftovers. These materials are dyed, printed, layered, and embroidered by
hand. Each piece becomes a quiet act of transformation, finding beauty and meaning in what has been
discarded. While the damage inflicted on the marine environment is a driving concern, Lucinda’s work seeks
not to accuse but to educate, offering visual poetry as a vehicle for reflection.
The urgency behind her creative resurgence was born from personal trauma. In 2023, Lucinda’s youngest
son nearly died and underwent an emergency liver transplant. While caring for him during his recovery, she
faced the emotional fallout of the experience and the ongoing uncertainty around its cause. Creating work
during this period became a form of therapy—each stitch a moment of grounding and healing. The resulting
sea-inspired pieces serve as both personal catharsis and environmental testimony: a “sea of emotion”
embodied in textile form.

33
In 2024, Lucinda began a new body of work titled Landworks, a natural evolution from her sea-focused
series. This time, the materials include land-based detritus, gathered over years, and arranged into
compositions that explore different colour palettes and conceptual pathways. The process has opened up
new avenues for thought and artistic investigation.
Lucinda's work has been included in several recent exhibitions, including Palette & Palate in Ireland
(focusing on food and our relationship with the land), The Green Exhibition (connecting art and
environment), Plant Postcards, Stitch by Stitch, and Art as a Response to Mental Health. One of her sea-
inspired pieces was also selected for Under the Sea, a global virtual exhibition connected to the UN
Decade of Ocean Science—making her the only UK-based artist included.
Collaboration has become an important part of her evolving practice. She is currently working with a
scientist researching kelp regeneration, resulting in new pieces—Bournemouth Battles and Kelp Cries—for
her developing Second Sea series. As someone who frequently travels to remote coastlines, Lucinda often
takes the opportunity to clean these areas. The found debris is then incorporated into her work, woven and
stitched into forms that highlight the scale of the ocean’s pollution crisis.
Her upcoming projects include a high-profile collaboration with a European fashion design team focused
on sustainable production. Lucinda has been commissioned to produce four large textile installations for a
catwalk show on a luxury yacht in New York in September 2025. Returning to the palette of blues and
greens has been both a technical and emotional journey, reflecting how her artistic voice has evolved while
remaining tethered to the sea—her enduring muse and emotional anchor.
Through it all, Lucinda continues to learn and grow. As a teacher, she values the importance of an open,
evolving practice. She regularly attends workshops in painting, printing, and textile processes, staying
engaged with both traditional craft and contemporary innovation. Her work remains rooted in
transformation—of materials, of meaning, and of emotion—always with the quiet aim of drawing attention
to the fragility and wonder of the world we inhabit.

34 Triptych of the Sea - Mixed media, textile, 72x52cm each, 2024-2025

You returned to textiles after many years working in
journalism, acting, and teaching. What did it feel like to
reconnect with your original creative discipline after such
a long pause?
Going full circle back to my source of creativity felt like coming
home; all the experiences, collections of so many different things
from seeds to driftwood and of course my huge pile of recycled
fabrics; it’s like it was all waiting for me to step back into that way
of looking, that reconnection with Textiles as a means to
communication seems completely obvious to me now.
Your New Horizons series emerged during an incredibly
emotional period in your life. How did the act of making
help you process this trauma, and how is that emotional
journey stitched into the work itself?
By actively concentrating on colours and composition, I forced
myself to be very in the moment, in doing so, there was much less
time to catastrophise and worry. The physical repetition of
particularly hand embroidery, I found grounding and relaxing. I
felt like sometimes the layer upon layer of stitches was the layers
of fear being stitched down, held fast, controlled.
You work with repurposed fabrics, sea and land detritus,
and hand embroidery — how do you choose what to
include in a piece, and how do you balance instinct with
intention in the making process?
I don’t know that I have a specific formula; sometimes
photography, drawing, painting, or collage play a role in the
decision-making process. I am often trying to make a point; to
share an opinion or an idea, this is therefore this is an important
aspect of what is added to work and why. Sometimes an object
itself can be the starting point for a piece.
There’s a strong message about environmental
responsibility in your work, yet it’s conveyed with care
rather than accusation. How do you approach this
balance of urgency and subtlety?
I feel strongly about our collective responsibilities to the
environment, but I have never liked to be told what to do or think,
so I would not presume to do so even with work that I want to
draw attention to a specific concept. I really care about our
planet, but I want to make work that people will like as well as be
moved or motivated by. It is a balance between aesthetics and
message, one that I am constantly grappling with.

35 Gap in thr Pier and into the Pink - Mixed media, textile, 45x25cm, 2024
From kelp regeneration to microplastics and rising sea levels, your work engages with urgent
ecological concerns. What role do you see art playing in today’s climate conversation?
I believe Art has always held a mirror up to society, never more so than now. I think it’s incredibly important that
Artists are making work that reflects what so many people are thinking and feeling about the planet and its future.
Artists have historically challenged the status quo, and I see that as an important part of their role in society.
You've described your work as both ‘visually interesting’ and ‘thought-provoking.’ What reactions or
reflections do you hope to spark in the viewer?
I love that people often don’t notice the plastics or unusual mixed media embedded in the work, they are drawn to
the colours, textures, and or the composition. Only when they look more closely do they see the mirror I am
holding up, reflecting an idea or the point I am trying to make.
You’ve recently begun collaborating with a scientist and a European fashion designer. How have
these cross-disciplinary relationships expanded your thinking or practice as a textile artist?
Working with a scientist has encouraged me to think about how I approach the information I want to share with
the viewer differently. I want to use data, the information visibly, and this will be a departure from my usual
practice. The collaboration with the European Designers has forced me to work with specific colours and
dimensions and to a tight deadline. These constraints are challenging and exciting, taking me out of my comfort
zone, but forcing me to believe in my choices and just go for it!

Collage IV The Grand Blu

Mixed media, papers, oil pastel, inks, pens Mixed media, textiles,
A5, 2023 72x52cm, 2024-2025

36
How do you keep curiosity alive in your work, and what has teaching taught you about creativity?
I have been lucky enough to go on a few creative courses myself, and these are for me an invaluable experience.
Being the student for once challenges me, reminds me how much there is still out there that I don’t know. Having
an open mind, being prepared to create ‘happy accidents’, to me, is key to being able to move forward creatively
and enjoy the process.
Your work has been shown in diverse contexts — from the UN’s Under the Sea exhibition to mental
health-themed shows. How does context shape the meaning or reception of your work?
Sometimes I submit work already made into specific exhibitions, because it fits the theme, but I think some of the
most exciting and spontaneous work I have made has simply come about through the simple joy of playing with
materials and creating something meaningful to me. Trying out new ideas for a specific exhibition has taken me
into new territory, and that’s why I am prepared to keep considering exhibitions or residencies out of my comfort
zone; they help move me forward, creatively speaking.
Whether stitching sea detritus or collecting land waste, your practice remains deeply site-
responsive. What’s next for you — and how do you envision your work evolving in future landscapes,
both literal and emotional?
Currently, I am in the middle of two very different residencies, one is international and intense for just a
month, July. The other is completely different and once again new to me, both are teaching me a lot about
myself and my practice. The big pieces I am working on for the New York show are helping me stay in the
moment, stay present at a time of great anxiety as I wait for my diagnosis.

She of the Sea, Skeptical Seeker 6 Wave Form

Mixed media, textiles Mixed media, papers, inks, pastels, acrylic, handmade paper
50x50cm, 2023-2024 30x20cm, 2023-2024

37
Miriam Habibe
Miriam Habibe is a Welsh-based artist of BAME South Asian heritage whose creative journey embodies
resilience, identity, and self-discovery. After years devoted to parenthood and a full-time career, she has
returned to her artistic roots, crafting deeply expressive works that bridge tradition and modern
experimentation. Drawing inspiration from craft forms like weaving, she merges abstraction and mixed
media techniques, forging an artistic voice that is uniquely hers. A defining aspect of Miriam’s practice is
the Japanese SAORI weaving philosophy, which celebrates intuitive creativity and unfiltered self-
expression. This approach aligns with her journey and her longstanding practice of Japanese Buddhism,
reinforcing the connection between inner transformation and artistic exploration. Miriam's materials range
from fibres, painted glass, and digital mediums, reflecting her belief in the dialogue between the external
world and personal experience. Her work has garnered recognition in esteemed exhibitions, including
Boomer Gallery's Identity and Dreams and Nightmares open exhibitions, and the international Threads of
Connection, as well as Art from the Unseen in Beaumaris Town Hall and the Aberlleiniog Sculpture Trail
(2023). She showcased her work at Manchester Art Fair (2024) and was featured in Abstracted magazine
and an exhibition that same year. Miriam’s presence in the contemporary art landscape was further
cemented through inclusion in 101 Contemporary Artists & More.../ VOL9 and exhibitions with CasildArt
Gallery in London (2024/2025), where she connected with American collectors. Miriam holds a 2.1 Honours
degree in Time-Based Media/Fine Art from Preston Polytechnic (1988) and is a featured member of Art
North Wales. Through her work, she continues to weave together personal truth and universal narratives,
embracing art as both an expressive outlet and a means of connection.

Your journey back into art after years of parenthood and a full-time career is incredibly inspiring.
What prompted you to return to your creative roots, and how has this life experience shaped your
current artistic voice?
Returning to art felt like coming home after a long, rich detour. Motherhood and a demanding career taught me to
value presence, resilience, and the quiet power of making. These years gave my work a deeper emotional register—
less about mastery, more about honesty. My voice now carries the weight of lived life, not just creative instinct.
You merge traditional craft techniques like weaving with mixed media and abstraction. How do you
see the relationship between tradition and experimentation in your work?
For me, tradition is a thread I hold in one hand while the other experiments freely. The rhythmic practice of
weaving connects me to ancestral knowledge, while mixed media allows that connection to evolve. I see them not
as opposites but dance partners—each offering stability or surprise when needed. It's a kind of temporal
collaboration.

38
The SAORI philosophy emphasizes imperfection and self-expression. How did you first encounter
this approach, and how has it influenced the way you view both art and yourself?
I discovered SAORI weaving in a small studio in North Wales, and I immediately resonated with it, having spent time
in Japan. It permitted me to let go of control, to embrace the beauty in irregularity. Now I see art, and myself, as
fluid, imperfect, and alive. It changed not just my weaving art, but my way of being.
Can you talk about the interplay between your spiritual practice and your creative process?
My spiritual practice informs everything: the pace I create at, the attention I give each piece, the embrace of
impermanence. I approach my work as a meditation—every mark, every layer is part of my spiritual breath.
Creating becomes a form of devotion, a way to honour both the material world and its ephemerality. They nourish
each other endlessly.
You work with a range of materials, from fibres and painted glass to digital media. What draws you
to such diverse media, and how do you decide which to use in a given piece?
I’m drawn to materials that speak to the senses and memory. Glass refracts light like nostalgia, fibres carry the
warmth of skin, and digital media holds the now. I let the idea lead—sometimes it asks for translucence,
sometimes for texture. Each piece chooses its voice.
What symbolic or emotional meanings does weaving hold for you?
Weaving is both metaphor and muscle memory for me. It reflects how identity is built strand by strand, across time
and contradiction. There's comfort in its repetition, but also a fierce freedom in disrupting it. It allows me to embed
personal and ancestral stories into structure.

Veil of Midnight Tears - Digital Art, 54x72cm, 2025 39

 Cerulean Drift
Mixed media glass art, 54x72cm, 2025
"Cerulean Drift" is an abstract fusion of glass and textile art, where fluid blue hues and organic
shapes evoke the serene depths of the sea. Swirling patterns of cerulean, indigo, and turquoise
ripple across the surface, mimicking the gentle movement of ocean currents. Translucent glass
elements catch the light like sunlit waves, while textured textiles add depth, resembling the
undulating forms of underwater landscapes. The interplay of materials creates a dynamic yet
soothing composition, inviting the viewer into a tranquil, immersive experience—an artistic
reflection of the calm, boundless sea.
to The Great Wave off Kanagawa. Inspired by her travels in Japan, it conveys energy and spirituality.
textile imprints merge to reflect oceanic serenity, with deep blues and frothy whites paying homage
This piece embodies the artist's deep connection to the sea and Japanese artistry. Fused glass and
Mixed. media glass art, 54x72cm, 2025
Tides of Tradition
As a Welsh-based artist of South Asian heritage, how do cultural intersections influence your work?
Living between cultures has made me fluent in nuance. My work often lives in the tension between visibility and
erasure, ornament and minimalism, reverence and rebellion. I don't just reflect my heritage—I reimagine it- into
diverse new mediums in which to express. It’s a gentle resistance to not be put in a box, created with a desire to
make connections.
Are there particular moments or memories in your life that act as anchors or touchstones?
Losing my mother young left a silence I’ve carried into every area of life and my work. That absence taught me to
become my sanctuary—resilient, attentive, and grounded in the present. My practice of Japanese Buddhism
became an anchor, offering me the possibility of human elevation, and a way to honour the impermanence of Life.
In drawing from these experiences with mindfulness, each piece becomes a homecoming I’ve created for myself.
You’ve exhibited in a range of high-profile shows—from Manchester Art Fair to CasildArt Gallery.
How have these experiences shaped your understanding of your place in the contemporary art?
Exhibiting in larger spaces has widened my sense of community and affirmed that my quieter narratives have
resonance. It's also helped me trust my instincts more, not bend to trends but stay rooted. I see the art world as a
constellation, and I’m content being one steady star among many. It's about connection, not hierarchy.
What does success look like to you at this stage in your artistic journey?
Success, for me, is when someone tells me they saw a part of themselves in my work or really values my work—that
exchange of recognition is everything. Fulfillment lies in the quiet, sacred act of creating—when time dissolves and
I’m held by the rhythm of making. I do not chase external validation; instead, I stay loyal to the pulse of my own
unique vision. And to be honest, I’m overwhelmed to be gaining recognition so early in this emergence—it’s
humbling, and deeply unexpected.

Fractured Threads - Digital Art, 70x50cm, 2025 41 Pulse of the Fold - Digital Art, 70x50cm, 2025
Andri Iona

Fresh
45x30cm, 2024

Resembling a kelp forest swaying in slow-motion waves,

its verdant textures house seahorses and octopi in
secret, shadowy submarine gardens.

42
Andri Iona completed her studies at Camberwell University of Arts in London and has been working in her
atelier since 2000. Her work has been showcased in two solo exhibitions: at K Gallery in Nicosia (2005) and
Gallery Kypriaki Gonia in Larnaca (2009). She has also participated in numerous group exhibitions both in
Cyprus and internationally, including in the UK, Scotland, Greece, Crete, Malta, and Italy, as well as in the
2nd International Online Exhibition of Motile Art. Her artistic journey and work have been featured in a six-
page interview in Art Reveal Magazine and the Collect Art Spring issue.

Andri Iona draws inspiration from the richness, diversity, and mystery of nature. Her Ceramic sculptures,
crafted with stoneware clay, explore the profound connection between form, matter, and the organic
world. Nature serves as both a source of wonder and a metaphor for inner exploration, as her creative
process becomes a dialogue between material resistance and personal transformation.
Her work reflects an internal and external evolution, an ongoing journey to express emotional depth,
spiritual searching, and social concern. Through art, she navigates the
complexities of human existence, expressing both contradictions and
harmonies, as well as anxieties and joys.
Themes of life, birth, transformation, and
the duality of the human experience are
central to her practice.
Each piece is a metaphorical rebirth, an
attempt to reconcile soul, body, and nature
into a unified whole. Her sculptures often
resemble tree trunks, underwater
landscapes, or abstract human forms,
blending elements of the natural world
with the essence of humanity. By merging
organic textures and bodily shapes, she
creates a visual language that speaks of unity,
strength, and the timeless connection
between humans and nature.

Fiesta
20x20cm, 2024

Barnacle-covered rock from the ocean's abyss, crusted in

algae and secrets, sheltering deep-sea creatures from the lightless, crushing depths below.

43
Your ceramic sculptures seem to blur the line between human form and natural sculpture. How do
you approach these fusions when beginning a new piece?
When I begin a piece, I feel like I’m shaping something that already exists within the material. The body and nature
follow similar laws: erosion, growth, and transformation. I sculpt to reveal what is silently already there.
Nature is a central theme in your work, not just a subject matter, but as a metaphor. How has your
relationship with Nature evolved through your art over the years?
Nature began as my subject, but became something deeper, almost ancestral. Over time, I stopped observing it
and started sensing myself as part of its cycles. Its patterns of birth, erosion, and renewal mirror both my body and
my process.
You describe your process as a dialogue between material resistance and personal transformation.
Can you share an example of how the clay itself has reshaped your intentions during creation?
Sometimes, as I work, the clay leads me somewhere more silent, more essential. It carries the memory of soil,
moist, patient, and ancient. When I follow its rhythm, the work becomes less about control and more about
allowing a quiet kind of birth.
Themes like birth, transformation, and duality are deeply philosophical. How do you translate these
abstract ideas into a tangible, tactile form?
Birth and transformation are not just ideas; they’re felt experiences, especially in a woman’s body. When I work
with clay, I echo that inner memory: expansion, rupture, repair. The form grows like a body does, slowly, from the
inside out.
Many of your sculptures resemble underwater forms, tree trunks, or abstract bodies. What draws
you to these particular organic archetypes?
I’m drawn to shapes that feel timeless, like underwater roots, ancient tree trunks, or bodies caught between states.
These forms hold memory of growth and decay, stillness and flow. They remind me that everything is both solid
and fluid, anchored and evolving.
Your work has been exhibited widely across Europe. How do different cultural contexts shape the
reception of your art, especially pieces rooted in universal human themes?
Being Cypriot, I carry with me a deep sense of land, memory, and touch. When my work travels, I’m always moved
by how people from different cultures respond. Some see ritual, others see vulnerability. But the human core birth,
change, and longing are universal. It reminds me that art speaks where words fail.
You've been featured in publications like Art Reveal and Collect Art. How do you feel writing and
interviews contribute to the public's understanding of your work?
Writing and interviews can’t replace the tactile, physical experience of the work, but they offer another kind of
presence. They help me reflect, and they allow the audience to bring their own stories. Once the piece leaves my
hands, it begins a life of its own. Language becomes a bridge, not a boundary.
Your sculptures often suggest a kind of rebirth or reconciliation between body, soul, and nature. Do
you see art as a healing or spiritual practice for yourself or the viewer?
For me, art is both a healing and a spiritual practice. Sculpting becomes a meditation where body, soul, and nature
meet and find harmony. I believe this journey can ripple outward, inviting viewers to touch their own inner
landscapes and reconcile with themselves.

44
Flaming
40x25cm, 2024

Fiery coral reef aglow, this molten formation evokes volcanic vents on the seafloor, where strange marine life fiercely clings to survival.
As someone who has worked
consistently since 2000, how has
your artistic voice changed or
matured over time both in form
and intention?
Over the years, my artistic voice has
deepened through moments of quiet
struggle and unexpected clarity, both
in clay and paint. The tactile nature of
clay connects me directly to the earth,
allowing me to shape and feel form in
a deeply physical way. Painting, on
the other hand, opens a window to
explore light, color, and shadow
elements that evoke emotion and
atmosphere. Together, these
mediums create a dynamic dialogue:
clay gives volume and presence, while
paint reveals the intangible spaces
between. This interplay enriches my
understanding of transformation,
helping me to embrace uncertainty
and discover new layers of meaning
not only in my work, but within myself
as an artist.
What ideas or materials are
currently exciting you in your
practice and how do you envision
the next evolution of your
sculptures language
I’m currently drawn to raw textures,
natural pigments, and the idea of
sculpture as a living form. I
experiment with various techniques
inspired by nature, sky, light, and the
cycles of life and birth both in clay
and in painting. My work is moving
Sea Path
toward openness forms that feel 70x35cm, 2024
porous, vulnerable, and alive, like
This sculpture captures the wild essence of the sea, coral-like textures, deep ocean blues, and
fragments of something both ancient foaming whites evoke the raw beauty of underwater worlds, shaped by tides, time, and saltwater
and yet to come. dreams.

46
 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’.

St Ives 301 - Photograph, 59.4x42cm, 2020 St Ives 302 - Photograph, 59.4x42cm, 2020 St Ives 303 - Photograph, 59.4x42cm, 2020

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.

47
Lewis’s work acts as a conduit between art and science. The supply of information from science fuels the
production of visual material, which communicates the knowledge of a scientific endeavour. In short,
Lewis’s work focuses on dealing with complex thoughts, ideas, and facts within nature and science. Some
explore those in which we seem to be overshadowed and overpowered in comparison by the vast
distances, size, or quantities. Others investigate moments of extreme power, creation, and rebirth on a
molecular scale or on a scale comparable to that of the universe. Questioning our relationships, place, and
role within the universe, environmen,t and natural spaces.

St Ives 312 - Photograph, 42x59.2cm, 2020

Inspired by Edmund Burke's theories of the sublime, the Oceanic Sublime series aims to document moments
when nature displays great power and dominance. Giant waves, vast sea storms, and chaotic breaks can
all lead to emotions similar to those of the sublime.

“The passion caused by the great and the sublime in nature, when those causes operate most powerfully, is
Astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some
degree of horror” - Edmund Burke, ‘A Philosophical Enquiry…’, 1757.

48
St Ives 233
Photograph, 59.4x42cm, 2019
Bernard Kyei Baffour
(Ben Kay)
‘’As an interdisciplinary artist practicing artistic photography, moving image, and filmmaking, I believe in the profound power of storytelling
to reflect our shared humanity and inspire change. My work, rooted in Afrocentric visual storytelling, seeks to illuminate the beauty,
resilience, and complexity of the African experience. I am Bernard Kyei Baffour, also known as Ben Kay, a storyteller on a mission to capture
narratives that shape collective consciousness, bridging the gap between tradition and modernity. But my vision extends beyond the
confines of Afrocentrism. As an interdisciplinary artist practicing artistic photography, moving image, and filmmaking, I recognize the
universal power of storytelling to transcend borders and unite cultures. Whether through tales of love, loss, or triumph, I strive to amplify
voices that are often overlooked and shine a light on the beauty and complexity of the human experience. Drawing inspiration from the
lush landscapes of Ghana, the vibrant rhythms of its people, and the timeless wisdom of its traditions, I stand to create artistic experiences
that transport viewers to new worlds and provoke thought-provoking conversations. Through the use of cutting-edge technology and
innovative storytelling techniques, I seek to push the boundaries of artistic photography, filmmaking and redefine the art form for a new
generation of storytellers. But beyond the screen, I see my role as an interdisciplinary artist practicing artistic photography, moving image,
and filmmaking as a catalyst for change. By amplifying marginalized voices, challenging stereotypes, and promoting empathy and
understanding, I believe we can build a more inclusive and compassionate world. Through collaborations with artists, activists, and
communities around the globe, I aspire to spark meaningful dialogue and inspire positive action. In essence, my art is my activism, a
powerful tool for social change and cultural transformation. As I embark on this journey, I am guided by the belief that stories have the
power to heal, to unite, and to inspire. And it is my greatest hope that through my work, I can contribute to a more just, equitable, and
compassionate world for generations to come. ‘’

50 Vigilant - Photography, 29.7x42cm, 2018

Bernard Kyei Baffour, professionally known as Ben Kay, is a Ghanaian-born interdisciplinary artist whose
work traverses artistic photography, moving image, and conceptual filmmaking. Based in the UK, Ben’s
practice is rooted in Afrocentric storytelling, weaving together symbolically rich narratives that interrogate
identity, resilience, historical trauma, and the ongoing impact of colonial structures on African life and
culture. Ben’s creative path began in 2011 at Kumasi Academy, where early exposure to visual arts sparked
his deep interest in narrative imagery. Raised in Kumasi after being born in Accra, he developed a sharp
visual sensibility shaped by his surroundings, history, and the stories passed down through generations. This
early foundation evolved into a committed practice rooted in visual symbolism and critical engagement
with African experiences. He holds a Bachelor of Technology and Higher National Diploma in Graphic
Design from Takoradi Technical University (TTU), Ghana, where he played leadership roles across creative
and student platforms, and was honoured with a major award recognizing his contributions to visual
storytelling. In 2022, he earned a partial International Talent Scholarship to pursue a Master of Arts in Film
and Television at Falmouth University in the UK, completing the program in 2023. In 2025, Ben founded
BENKAY VISUALS LTD, a UK-based creative production company specializing in artistic photography, video
production, and creative direction. The company reflects its interdisciplinary approach and its commitment
to amplifying African narratives within global visual culture. Through this platform, he continues to develop a
visual language that is at once personal, poetic, and politically resonant. Ben’s works have been exhibited
internationally, including in the UK, the US, and Europe. Recent exhibitions include “Future Stars Digital – 6th
Edition” and “Art on Loop” with The Holy Art in London, Athens, and Los Angeles; “Portraits” at the Glasgow
Gallery of Photography; and “Spring Open” at The Poly in Falmouth. His participation in the FORMAT25
Photography Festival in Derby and COAST by The Photocopy Club at Grays Wharf in Penryn further
underscores his growing footprint on the international art scene. Key works such as “Silent Breath”,
“Equilibrium”, and “Bound by Labor” have garnered critical attention for their emotional depth and symbolic
commentary on postcolonial realities, global health inequality, labour exploitation, and the psychological
cost of survival under oppressive systems. His style blends conceptual rigor with visual poetry, often using
metaphor and environment to elevate the Black experience beyond surface representation. A co-founder
of Snaphactory Media House in Ghana, Ben formerly led the videography department there until 2022. He
is also the founder of Ghab Photographic Equip Hub, an initiative aimed at empowering Ghanaian
creatives through greater access to photographic equipment and technical resources. Although proficient
in digital post-production tools such as Avid Media Composer, DaVinci Resolve, and Adobe Premiere Pro,
Ben considers these skills to elevate his artistic vision, not define it. His focus remains on the narrative power
of images, how they can challenge dominant perspectives, stir collective memory, and serve as vessels for
healing and resistance. Ben Kay’s work has been profiled by platforms including The Holy Art, Citi
Newsroom, Pulse Ghana, and Bella Naija, all recognizing his role in shaping a bold, culturally rooted
aesthetic that speaks to both African and diasporic experiences. He continues to build his international
presence through exhibitions, interviews, and collaborative projects that centre the African story in global
discourse, honouring both tradition and innovation in every frame.

51
Your work merges visual poetry with political commentary. How do you balance personal
expression with the weight of historical and social narratives?
I approach my work as a dialogue between personal experience and collective history. Visual poetry
allows me to express emotion and vulnerability while grounding the pieces in social and political
realities. This balance invites viewers to connect intellectually and emotionally.
Afrocentric storytelling is central to your practice. What does Afrocentrism mean to you in
the context of contemporary visual art, and how has it evolved in your work over time?
Afrocentrism, to me, is reclaiming African identities through our lens and challenging dominant
narratives. Over time, my work has grown to blend traditional symbols with contemporary issues,
reflecting both heritage and the ongoing evolution of African culture.
Can you share a specific moment where one of your works
sparked meaningful dialogue or transformation?
During an exhibition of Silent Breath, I witnessed visitors openly
discuss generational trauma and its impact on community healing.
That moment showed me how art can break silence and encourage
conversations around resilience and social justice.
The Wall Within - Photography, 29.7x42cm, 2025 52
“Silent Breath,” “Equilibrium,” and “Bound by Labor” all touch on themes of resilience and trauma.
How do you approach the emotional labour of creating work rooted in postcolonial and socio-
political realities?
I approach work with respect and self-care, knowing it carries emotional weight. Engaging with the community and
grounding my process in research helps me honour these stories without becoming overwhelmed.
As someone who traverses photography, film, and moving image, how do you decide which medium
best tells a particular story?
The choice depends on the story’s emotional and narrative needs, photography captures moments of still
reflection, film conveys layered narratives, and moving images immerse the viewer in experience. Sometimes I
combine mediums for a fuller impact.
Founding BENKAY VISUALS LTD and Ghab Photographic Equip Hub suggests a strong commitment to
infrastructure-building. How does empowering others through access and mentorship feed into your
artistic vision?
Building infrastructure is key to nurturing a vibrant creative community. By providing access and mentorship, I aim
to democratize artmaking, helping others find their voices and expand the reach of Afrocentric storytelling.
You’ve studied and exhibited internationally from Ghana to the UK and beyond. How do these varied
cultural spaces influence your creative process and the way your work is received?
Working across cultures broadens my perspective and deepens the complexity of my narratives. It also shapes how
audiences engage with my work, as different contexts bring new interpretations and connections.
You mention that technology enhances but doesn’t define your work. In an era increasingly
dominated by digital aesthetics, how do you maintain a sense of humanity and tactility in your art?
I prioritize texture, emotion, and storytelling to keep the human element central. Technology supports but never
replaces the lived experience and cultural memory embedded in my work.
Your storytelling bridges the traditional and the modern. How do you incorporate Ghanaian folklore,
oral history, or indigenous symbolism into contemporary visual language?
In The Wall Within, I use the Adinkra symbol Eban, a motif of security as a living language that connects past and
present. Wrapped in Fawohodie cloth and framed by this symbol, the work creates a visual meditation on
protection and freedom, inviting viewers to reflect on how identity is shaped by history yet not confined by it.
Looking ahead, what stories
remain untold for you? Are there
specific themes, communities, or
historical moments you're eager to
explore in future projects?
I’m eager to explore stories of African
women’s resilience, environmental
justice, and overlooked histories of
resistance. These themes deepen the
conversation around identity, power,
and survival in today’s world.

Equillibrium - Photography, 29.7x42cm, 2024

53
 Anchored in Agony
Photography, 42x29.7cm, 2022
O Yemi Tubi (MOYAT)
I am a Nigerian-born, American-trained Artist residing in the United Kingdom. I am an artist with a unique personal
style. Most of my recent paintings were influenced by the political and social upheaval of our world today and the
works of Renaissance artists. I was moved by emotion to do most of my politically and socially influenced paintings.
“THE EAGLE HAS LANDED” was done to speak about the American-led war on terror. My painting “KABIYESI OBA
OBAMA (Unquestionable King Obama)” was a political satire based on the love and hate relationship between
President Obama and Donald Trump. The exchange of missiles of words between President Donald Trump of America
and Kim Jong-hu of North Korea provoked him to do the painting “The Chickens’ Fight.” “THE BLEEDING ROSE” was
done in solidarity with Christians beheaded by ISIS in Iraq and Syria. I used my paintings “AFRICAN’T”, “HUNGER IN THE
LAND OF PLENTY”, and “OIL: AFRICANS’ WEALTH AND WOE” to speak about the exploitation of African nations. The
Painting depicts paradoxical poverty and the riches of Africa. The theme of my works, in general, is "The Facts of Life:
Roses and Thorns." Life is roses and thorns; sometimes it emanates the sweet aroma of pleasantness, and sometimes it
pricks and causes pain. I often use roses and thorns for portrait paintings of the facts of people's lives. I first used
Roses and Thorns in my political painting “THE BLEEDING ROSES.” Since then, I have adopted this floral iconography
style - Roses and Thorns as my unique style in some of my paintings like “DOMESTIC ABUSE” and “MY MOTHER, Her
Majesty Platinum Jubilee: Her Rosy Reign”, to name a few. Roses are for achievements and other positive parts of life,
and Thorns are for painful challenges and negative parts of life.’’

55 The Fishers of Men - Oil on canvas, 30'’x40'’, 2016

O Yemi has exhibited worldwide and received awards and recognitions. His works were awarded 1st, 2nd,
4th, 5th and 6th places in political commentaries in American Art Awards from 2014 to 2022. He also
received the First Round Award with cash in the Art Olympia 2015 International Open exhibition in Tokyo,
Japan.
O Yemi Tubi was awarded the 2nd Place Prize in the 2025 “Save Our Planet” Exhibition by Red Bluff
Gallery, Corning, California, USA. He was awarded the “Cultural Best Practice Award” with his painting
“Message In A Bottle in the 2024 International FL3TCH3R EXHIBITION in Johnson City, Tennessee, USA. UK
No Name Collective Art Magazine awarded him the Finalist Certificate for the 2024 Annual Challenge. He
was selected as one of the 50 artists winners of the Premier Artist Prize 2024. He was a winner of the
Award of Distinction in the Southern Tier Artists 2024 Noteworthy: Music in Art Exhibition. He won the
Fletcher H Dyer Award at the 11th Anniversary FL3TCH3R 2023 Exhibition. He was awarded 2nd place in the
2023 Brouhahaart ‘Climate Change’ “Right Here, Right Now” exhibition.” O. Yemi won the First-Place award
with his painting "The Chickens' Fight" in the WAR or PEACE 2022 International Competition by Art Impact
International. He won the best show at the 2022 Urbanization and Health International Art Exhibition and
Competition. Art Show International Gallery awarded him the Talent Prize Award in the PORTRAIT 2022
International Juried Art Competition for his work “PORTRAIT of an Artist. His work, GELE, was awarded the
Best Show Award in the CQ64 2021 Winter issue of Creative Magazine. His work “My Mother" won 1st Place
(Best in Show) in the International Art Competition by Tall Sequoia Gallery, Toronto, Canada in 2020. His
works are part of the top 25 in the Fine Art category of Creative Quarterly Magazine and were awarded
the 100 Best Annual 2019 Fine Arts Award Certificate. His works have been published in some Newspapers,
Magazines, and art books. His works were published in 2019 ART Habens Art Review, Biennial Edition,
published in Issue Vol. 49; 2019 MURZE Arts Magazine, Issue 4, January/February Issue 2019, and 2019
Quotes: Inspirational Quotations / Creative Responses’ book.
O Yemi Tubi's interview and works were featured in Issue 2 of Sfumato Art Magazine! His interview and
works were also published in the Collect Art Special Edition of the magazine 'Art & Activism' in March
2025. His works were published in 2020, The March MASS: MATRIARCHY Monthly online Magazine, and His
works were published in 2018 ARTtour International Magazine ATIM’s Top 60 Masters of Contemporary Art.
Fine Art America published O. Yemi’s winning works in 2017 at
www.Huffingtonpost.com. “World’s Best Political Painters” and “World’s Best Celebrity Portrait Artists.
His interview and some of his works were published on Africa.com.
O. Yemi is a member of the Artists Artwork, Fine Art America, the Society of All Artists, AERA –the
Association Embracing Realistic Art Circle Foundation for the Arts, WCA- World Citizen Artists, International
Association of Visual Artists, Visual Artists Association, and New York Artists Equity Association. CollexArt,
Artists Talk, UK Artist, LOUPE.

56
Your paintings often respond directly to contemporary geopolitical issues. What compels you to
translate political tension into visual art?
What compelled me to translate political tension into visual art is my passion and my care for my world in crisis. I
learnt in art history class about some great artists like Picasso’s “Guernica” used their works to speak about the
political and social upheaval of their time. To translate the political and social upheaval into visual storytelling, I
use my knowledge of graphic art to use my laptop as my sketchbook to do the composition of my works. I often
collect reference images online, and I use my graphic art software to put these images together like collage in a
composition for the visual stories that I want to tell the world about political and social current affairs of our time.
You describe your style as influenced by Renaissance masters yet
rooted in present-day realities. How do you blend classical
techniques with urgent modern messages in your work?
Renaissance painting composition is characterized by harmony, unity, and
the use of the Golden Ratio and pyramid shapes. These value and virtue
find their way into some of my works consciously or unconsciously
especially pyramid shapes composition of some main images in my
paintings like in “The Bait” in which the big fish was positioned in the
centre of the canvas and 10 times bigger than the fisherman, and the other smaller fishes made up the part of the
pyramid shape. You can see the harmony, unity, and pyramid shape in my other paintings like “The Glamour and
the Sexual Abuse in Hollywood”, “The Chickens’ Fight”, “The Bleeding Roses”, to name a few. “Liberty Leading the
People” by Eugène Delacroix inspired my first political painting, “Arab Revolution” in 2014, as my political
commentary of the Arab Spring of 2012. The work of the Renaissance Surrealist artists, like Giuseppe Arcimboldo,
the artist who used fruits to create portraits of his subjects.
The theme “The Facts of Life: Roses and Thorns” is central to your art. How did you develop this
visual metaphor, and what does it allow you to express that words cannot?
The theme of my work is “The Facts of Life: ROSES and THORNS.” I am a Christian; the concept of ROSES and
THORNS emerged from the Easter pamphlet of my church programme during Easter service some years ago. On
the cover of the pamphlet, I saw the images of a cross, a rose and a crown of thorns with a drop of blood. This gave
me the idea of my first painting with the Roses and Thorns “The Bleeding Roses.”Since then, I have adopted this
floral iconography style - Roses and Thorns as my unique style in some of my paintings like “DOMESTIC ABUSE”,
and “MY MOTHER, Her Majesty Platinum Jubilee: Her Rosy Reign”, to name a few. Roses are for achievements and
other positive parts of life, and Thorns are painful challenges and negative parts of life.
Have you ever faced backlash for your work?
Thank God that I live in a country ruled by a democratic government
where the human right of FREE SPEECH is honoured. If I were living in a
country ruled by a dictator leader or under the hegemony of a dictator-
wannabe leader like eccentric Donald Trump, I would have faced a
backlash. One of Donald Trump’s supporters attacked me on social media
because he was offended by my painting “He Brought the House Down”
which was created to comment about Donald Trump’s white terrorists
that attacked the House of Senates on the 6th of January 2021.

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Artworks such as THE BLEEDING ROSE deal with religious persecution and human suffering. How do
you balance emotional expression with respectful representation in such sensitive subject matter?
I created my painting “The Bleeding Roses” because I was horrified to see pictures of mutilated bodies of Christians
killed because of their faith and even literally nailed to crosses by Islamic State terrorists in Iraq and Syria in 2014.
The painting was done with empathy and as my solidarity with the Christians that I saw as the body of Christ –
Roses that were living under the hegemony of the Islamic State which were the thorns on the body of Christ.
You’ve received numerous international awards and exhibited
globally. How has the reception of your work varied across
cultures and countries, especially given the strong political
undertones?
My works were widely receive across the globe for my political
commentaries. My painting “The Chickens’ Fight” was selected for
exhibition in 2017 by Art Tour International in New York, USA mainly
because of its political undertones. Many of my works won awards in
international competitions by American Art Awards. My painting “The
Eagle has Landed” was awarded 6th place in Political commentary
category in 2014 and “Hunger in the Land of Plenty” was awarded 2nd
place in Political commentary category in 2015. In the 2021World Best
Political Commentary category, both my painting, “Lest We Forget” and
“The Broken Liberty” were awarded 3rdplace and the 5th place respectively
by American Art Awards.
Roses and thorns appear both symbolically and visually in your portraiture. How do you decide
which aspects of a subject’s life are 'roses' and which are 'thorns' when composing these intimate
narratives?
I always do research on lives my subjects before I do their portraits. I
read about the early life of the American sensational artistic gymnast
Simone Biles who is the most decorated gold medalist in world
championship gymnastics history. Simone was given up by her mother
when she was just two, and she was shuffled into various foster care
programs before being adopted and raised by her grandparents.
Doubtlessly, those were the thorns of her life and Rosy time of her life
started from winning about 5 Gold medals in the 2016 Olympic Games.
Which that information I was able to create the painting, Simone Biles:
The Golden Rose. In my painting, “PRINCE: Purple Rain; Music Rain”,
Prince’s successful music career was the rosy time of his life. The
primary thorn in his life was the contract restraint with Warner Brothers
when he could not produce records with his name (Prince) for a short
time. The death of his son, the end of his marriage to Mayte Garcia and
the accidental drugs overdose that brought a premature end to his life
and his successful music career were the other thorns of his life.

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You’ve been featured in publications ranging from ART Habens to
Africa.com. How important is it to you to maintain a presence in both
Western and African art spheres, and what conversations do you hope
to bridge between them?
I often say in many of my exhibitions and interviews that I am using my art to
exhibit my Christian’s faith and my African culture – my Yoruba rich- heritage. The
Western world often like to focus and promote negative narratives about Africa
like famine, poverty, wars and corrupt governances which often have the
influence of the Western powers. As an African man living in the Western world for
more than 40 years, I am using my work to educate the West and the whole world
that Africans story should not be about negative narratives. I am using my art to
spotlight Africans achievers and affluent with my painting “SOYINKA: African’s
Literary Icon” which is the portrait of Professor Wole Soyinka, who was first to be
awarded the Nobel Prize in Literature in 1986 and 2009 Academy of Achievement
Golden Plate Award; “TUNDE ONAKOYA: The King of Chess.” This painting
celebrates the achievement of one of the Nigerians’ world record breakers who
broke the Guinness World Record for playing the game of chess for 60 hours in April 2024. I chose to exhibit
affluence and elegancy of my Yoruba rich heritage in these two of my paintings: “GELE (Africans’ Head wrap):
Vintage and Modern”, and “IJO IYAWO (Bridal Dance)”
As a member of multiple global art associations, what role do you believe community and networks
play in the life of a political artist today?
Membership of multiple global art associations affords me a global opportunity to exhibit my works and my
messages to advocate, evoke emotions, and promote positive change to the social and political issues of our time.

Looking forward, how do you envision the evolution of your

artistic voice? Looking forward, I am yet to envision evolution of my
artistic voice. The Facts of Life: ROSES and THORNSstill remains the
theme of my art since the life is still a mixture pleasures and pains. Our
world is still in crisis with wars still raging around the globe and with
egocentric world leaders like Donald Trump and Putin, I will continue to
make social and political commentaries.
Message in A Bottle - Oil on canvas, 36'’x24'’, 2023
“Then the Lord God placed the man (humans) in the garden of Eden (Earth) to cultivate it and guard it” Genesis 2:15 (GNB version)
According to the Bible verse above, humans are supposed to be caretakers and custodians of creatures and planets that God created.
Unfortunately, humans are the greatest abusers and the destroyers of the planet Earth, and we are reaping the fruits of our destructive
actions through droughts, floods, and other natural disasters. This painting was influenced by the negative reaction of some climate
change denials of world leaders to the Swedish climate activist Greta Thunberg’s speeches and other people who think that climate
change activists are a nuisance that likes to disrupt the smooth running of their day-to-day lives by their activism. These Climate Change
denials may wish to put the climate change activists in a bottle, cork it and throw the bottle in the ocean so as not to hear the ranting of
the climate change activists and continue their climate-destructive habits. Take out the bottles from the ocean, uncork the bottles,
uncork your ears, hearken to the message in the bottles and change the habit that causes climate change. The ocean creatures are
choking and dying from the pollution of human waste. Cleaning up the ocean safes ocean creatures and our planet. Hearken to the
urgent plea of our children- SAVE OUR PLANET. CLIMATE CHANGE I am an artist, oblige me to paint the picture in words. At an alarming
rate, the Rainforest is disappearing. Rain is not falling when it ought to. Sporadically, rainfall in excess; causes deaths and damages.
Furiously, Flooding cities, towns, and villages. People and their pets are drowning. Wildlife is not even spared. For God’s sake, Change the
habit that changes the climate. Our air and sea are polluted. The wildlife, the common and the rear, On the verge of extinction. In the
forest and in the ocean and sea, They choked on human waste. The urban dwellers daily choked in toxic, Emitting from vehicles on our
roads. For crying out loud, Change the habit that changes the climate. The industrial revolution of old, good, and great. Industries sprang
up here and there. The Great Depression heralded great success. Affluent life comes to town. Disposable life, new style in town.
Mountains of disposable waste are everywhere. We are enjoying the luxury at our own peril. Disposable materials may be disposed us, If
we don’t change the habit that changes the climate.

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Riding the Storms and the waves of Life
Oil on canvas,
24'’x36'’, 2019

“When you go through deep waters, I will be with you. When you go through rivers of difficulty, you will not drown. When you walk through the fire of
oppression, you will not be burned up; the flames will not consume you.” Isaiah 43:2 NLT Sometimes in one’s life, it’s as if storms and waves of challenges
come from every side. It often seems one will go down and be swept away by the storms of life. In the Holy Bible, there are lots of encouraging words that
give one hope to persevere to ride the storms of life. I am using this painting to illustrate one of the encouraging verses from the Holy Bible- Isaiah 43 verse
2. In the background, I painted the face of Christ breaking through the turbulent cloud in the sky at the back of the main image. I painted an image of a
woman on a surfing board in my usual style of Roses and Thorns which is also a message of encouragement – As the roses blossom amid the thorns, one
can survive the raging waves of life. I put two waves opposite each other to create a heart shape around the main image. This depicts that even in the
storms of life one can sense the love of God.
The Rosy Seasons of Life
Oil on canvas,
36'’x48'’, 2018

“To everything there is a season, and a time to every purpose under the heaven.” Ecclesiastes 3:1 In recent years, I used my paintings to speak about the
glooms and dooms around the world. Despite the despondency and challenges part of life, there is a rosy side of life as well. In this painting “The Rosy
Seasons of Life” I chose an optimistic look of life to celebrate rosy side of life Greatly influenced by the works of Renaissance’s artist Giuseppe Arcimboldi,
the artist that used fruits to paint portrait of his subjects like “VERTUMNUS” – the portrait of Emperor Rudolph II in the year 1590, I used Roses and Thorns
to paint what I called “the fact of life”. I interpreted the successes and failures in everyone’s life to be the “Roses and Thorns” of life. In celebrating the Rosy
Seasons of life with this painting, I wrote the poem below. It is a Wonderful World after all. After all the tilling and toiling of the working hours. It is a
wonderful world after all. After the gloomy and dreary of the wintertime. It is a wonderful world after all. The sun is shining; the nightingales are singing,
and human beings are dancing. It is a wonderful world after all. The fields are green, and the flowers are blooming. It is a wonderful world after all. When
humans take a break from all the wars, worries and woes. and be at peace with himself and enjoy the bounties of the Lord. It is not a perfect world after all;
yes! It is a wonderful world. These are the thoughts that influenced this painting.
Gen Doy
‘’I often like to work with materials from the past, attempting to suggest through these that we can reflect on, and
engage with, the present. By bringing the past into a dialogue or confrontation with the present, new meanings and
understandings may emerge. I use various media in my work, particularly sound and live performance. I also work with
still and moving images, written and spoken texts, to construct narratives that are not linear, but suggestive, evocative,
and open to creative interpretation by the viewer and listener. I am interested in myth, history, and the many ways in
which the historical can collide and interact with the contemporary. Giving voice to, and making visible, people and
events which have been ignored or marginalised is important to me, as is the creation of a political artistic practice.
Starting from ideas and concepts, questions and politics, I enjoy researching historical and contemporary sources and
selecting appropriate media to realise each project.’’

Gen Doy is a British artist living and working in London. Gen worked as a historian and theorist of visual
culture at De Montfort University, Leicester, before studying fine art, graduating with an M.A.(Distinction) in
2013. Her work has been broadcast on radio (eg. Resonance FM, UK), installed in galleries (eg. M2 gallery,
Bush House), included in publications (Photology.Photographers and Metaphor,editioni Fosco Fornio, 2021),
and performed in indoor and outdoor settings (eg. Roman Bath Strand Lane, London, Woolwich Garrison
Church, London), and she is the recipient of two bursaries from a-n the artists’ information company.

Your background as a historian and visual culture theorist deeply informs your art. How does your
academic experience shape your approach to art-making, particularly in sound and performance?
I find historical research very useful in that it allows me to make comparisons with the present, allows different or
forgotten voices to emerge, and to try to present myself as different personae, not what I am, i.e., a 76-year-old
woman. I recently did a performance where I was a 17th-century Dutch whaler speaking words from a historical
account, and then a post-menopausal whale, whose words I made up using current information about whales and
climate change.
You often work with non-linear narratives that blend myth, memory, and history. What draws you
to this form of storytelling, and what do you hope the audience takes away from this open-
endedness?
I like to invite the audience to become emotionally engaged, but also to think about their own situation in the
present social and political climate. So I can start with something that seems distanced in some way, even
seductive, but then it becomes more disturbing, or is undercut with humour.

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Giving voice to the ignored or marginalised is a key concern of your practice. How do you approach
ethical responsibility when working with difficult or traumatic historical material?
I usually only refer to people who are mentioned in historical and/or contemporary sources, but have become
largely invisible. E.g., mutineers in the navy, migrants drowned in the Mediterranean, women tortured as witches.
They deserve to be remembered, but we don’t need the details of their physical and mental tortures spelled out. We
can, unfortunately, attempt to imagine what they endured and reflect on this.
In Back of an Envelope Drawing 1, the sea becomes a metaphor for systemic collapse and erasure.
Can you talk about how you approached representing such a politically and emotionally charged
subject through this deceptively simple format?
I wanted to draw the sea off Gaza, as when I discovered what happens there, I was so appalled. Israel destroyed
Palestinian fishing boats, shot fishermen and their kids, and the sea is polluted as a result of the genocide. It’s grim,
it’s gloomy, and it sums up the whole Gaza situation on land as well.

Back of an Envelope Drawing 1: The Sea off the Coast of Gaza

Pencil and charcoal on paper envelope
31x49cm, 2025

In the murky sea off the coast of Gaza, we see pollution, lack of mature fish, wrecked fishing boats and human bones. A bathysphere seems to be
surveying the scene. Fishermen from Gaza have been shot by the Israeli military and their boats destroyed. Sewage runs into the sea as the treatment
plants have no fuel to keep them working. Overfishing has meant a lack of large fish, as Palestinian fishermen dare not venture far off the coast to look for
bigger catches. The coast and the sea have been severely damaged, as have the human inhabitants. The idea of the "back of an envelope drawing" refers
to the derogatory way that people sometimes describe some idea or proposal as "a few lines on the back of an envelope", meaning it is ill-thought through,
under-researched and pretty worthless. I challenge this and aim to show that the lines on the back of an envelope can present us with very thoughtful
material.

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The second drawing in the series offers an imagined future, hopeful and vibrant. What role does
speculative imagination play in your work, especially about geopolitical realities like Gaza?
We can hope. We can struggle. We can bring up our kids and grandkids to be kind, tolerant, and oppose
oppression. If only more politicians thought this way. That’s why the figures in this drawing are young people in a
sea filled with light.

The second of this pair of drawings about the coast off Gaza imagines how the sea could be very different if allowed to develop free of pollution and
restrictions imposed by Israel. Light floods down into the water showing the richness of sea-life and youthful swimmers in clear water and in harmony with
the environment, which has recovered from the damage caused by years of blockade and war. Life and happiness emerge from destruction.

Back of an Envelope Drawing 2: The Sea off the Coast of Gaza as it could be

Pencils and pen on a paper envelope
38x48cm, 2025

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You’ve used radio, live performance, and sound installations in your work. What does sound allow
you to express that other media may not, and how do you think the act of listening changes how we
experience art?
Ah, well, the listening bit …you would have to ask my audiences! I feel an important connection to my audience
when I’m doing a live performance and also singing to them. I believe that someone singing unaccompanied
directly to you is an emotional experience, and it’s great when the audience sings with me, too. I once performed a
mobile camera obscura called Turn the World Upside Down. The title was taken from a demand from the Levellers
in the 17th-century English Revolution, ie, the powerful would be powerless, the rich would be poor, etc. As I was
singing to a woman in the small, dark space, she held my hand and told me it was like being a child again, listening
to her mother singing. It was very emotional for us both.
You’ve said you like to work with materials from the past to speak to the present. Can you share an
example of when this collision of temporalities led to unexpected insights or meanings in your work?

I think probably one of the best examples of this is the sound piece/performance Mermaids Singing, which
I made a few years ago now. I find the sea very enticing, full of myths, folk tales, legends, etc. Also, my dad
was a sailor. But the sea is a place where awful things happen. Oil rigs aflame, factory-fishing, ferries sink,
crews kidnapped into forced labour. The more I find out about the sea, I realise it’s also a very dangerous
and exploitative place.
Voice is central in your practice — both as a literal element and as a metaphor for visibility and
agency. How do you decide whose voices to include or embody in a piece?
It just depends on what I read and think about. I cut articles out of newspapers and think, people need to know
about this, or this is ridiculous, why is this happening? I think we should give voice to non-human creatures, too.
Recently, I read an article about sending sea bass into space for a fish farm to feed astronauts!! Help! Save the fish
we have got left on this planet first, save our planet. I think the sea bass deserves a voice, so I will lend them mine. I
also had an idea for a workshop where humans had conversations with non-humans, eg, a worm. What would
they learn about one another?
You describe your work as political. In today’s saturated media landscape, how do you see art as a
space for meaningful political engagement or reflection?
Art can make people stop and reflect, or it should. However, I find it difficult to get my work out to the public. A lot
of art these days seeks to astonish technically, be noisy, grab your attention quickly …I find even the sound levels of
some works hurt my ears. People can learn by sitting down and just listening, looking, and thinking. But do most
people have the time and the opportunity? Also, more seats in art venues, please! Standing up to watch a
video/performance that lasts 15 minutes or more is tiring.
Looking ahead, what questions are currently compelling you — historically, politically, or personally
— and how might they shape your future projects?
I think there is much in the world to be concerned about, but it’s about how I’m going to approach this. I don’t want
to do anything that depends a lot on technology, just reasonably simple materials, but done engagingly. I don’t
want to make agitational art like posters; others can do that better. I try for something more reflective and
suggestive, but also engaging and moving. Environmental damage, war, racism, cuts to social services, anti-
immigrant prejudice, there’s a long list of issues out there. Sometimes I despair, but I need to get on and work
before I die!

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Sigurd Kraus
‘’I like to create expressive oil paintings, strong in contour and colour. I'm drawn to the magnificient and the
grotesque. I try to capture the bridge between reality and fantasy to connect the visible with the invisible in
life. Many of my paintings reflect life events, inner feelings, and turmoil.’’

Mermaid and Merman

Oil on canvas,
130x180cm, 2002

Painted before the birth of my daughter. Reflecting tenderness but also vulnerability.

Sigurd Kraus is a contemporary artist born in Germany. He has graduated from Berlin University as a Doctor
of Medicine and is currently living and working in the UK. He has lived and worked in Germany, Romania,
South Africa, and the United Kingdom. He’s exhibited at Ferens Art Gallery in Hull, UK, Hull School of Art,
and various online galleries. He’s been a winner of the Boomer Art Prize in 2024.

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Your paintings are bold and expressive, often bridging the real and the fantastical. How do you
approach translating emotional or psychological states into visual form?
Often, it is in emotional or psychological distress that creative work is created. Therefore, emotional and
psychological situations act as both a catalyst and a stimulus
You’ve described your work as capturing “the magnificent and the grotesque.” What draws you to
these extremes, and how do they coexist in your practice?
The magnificent and grotesque seem to contradict each other. I try to unite them in my work as they are siblings
from the same family.
Having lived in Germany, Romania, South Africa, and now the UK, how have these different cultural
environments shaped your artistic vision?
Any experience with different cultures and people broadens the artist's perspective and is crucial. Ignorance is
never creative.
You trained as a doctor before becoming a full-time artist. How does your background in medicine
inform the way you see or depict the human condition?
Suffering is everywhere and as a doctor it may just be a bit more visible and closer and naturally affects the way I
see things and translate it into my art.
Many of your paintings reflect inner feelings and turmoil. Is painting a cathartic or reflective process
for you?
It is both cathartic and reflective and sometimes healing.
What role does symbolism play in your work — are your figures and forms intuitive, or do they often
carry specific personal or universal meanings?
The figures in my work try to tell a story that I’ve been carrying in me sometimes for months or years. When they
are finally painted it’s a form of relief.
Winning the Boomer Art Prize in 2024 marked a milestone in your career. How did this recognition
impact your practice or visibility as an artist?
It was very nice to have been recognised for my work and I’m very grateful for this. It gives me reassurance and the
confidence to continue the way I paint.
Has your style or thematic focus evolved in recent years, or do you feel you're deepening an existing
path?
I agree with the latter I feel I’m deepening an existing path. My style and thematic focus hasn’t changed. I may have
become a bit less restrained though.
You speak of connecting the visible and the invisible — how do you hope viewers experience that
connection when engaging with your work?
I hope that viewers can see the message or the meaning or at least feel the energy in the painting. It’s like reading a
book. Reading a page or a chapter can already tell a lot about the story.
What’s next for you — are there new subjects or materials you're curious to explore as your practice
continues to evolve?
I have my next painting planned. It will be a kind of a portrait. Otherwise I’m hoping to finish my third Tryptich. I’d
love to do another woodcut and am curious about a mosaic.

66 Daisies - Acrylic, quartz sand on canvas, 40x40cm, 2024

 Sailor and Women
Oil on canvas, 180x110cm, 2019
Sailor and Woman dancing on a tropical beach under palm trees
 Fisherman
Oil on canvas, 150x110cm, 2019
Fisherman playing the accordion on his boat after a successful catch
 Molood
Jannesari
Molood Jannesari is an international
contemporary artist with a BA in
Animation and a background in
performing arts. Specializing in
portraiture, her digital artworks explore
the feminine collective unconscious,
emotional depth, and the strength of
women. Drawing on mythology and
archetypal symbolism, she merges
womanhood with the healing force of
nature to create powerful visual
narratives.
Her work is rooted in resilience and
transformation, reflecting women’s
struggles and unity through poetic
metaphors of growth and rebirth. Molood
sees art as a space for dialogue and
resistance, using it to amplify women’s
voices despite social and ideological
challenges.
She has exhibited her work widely, with a
strong presence in the U.S.—including
New York, New Jersey, Missouri, San
Francisco, Washington D.C., and
California—as well as in Italy, Germany,
the Netherlands, London, Turkey, and
Ukraine. In Asia, her participation extends
to China, Taiwan, and South Korea.
Molood’s portraits offer a profound
emotional experience, where nature and
Unlocked charm (1)
feminine strength intertwine, inviting
Digital painting,
viewers to witness resilience as both 140x80cm, 2023

personal and universal. A painting from Unlocked Charm Collection/ a visual story from the depths of ocean

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 Ocean waves
Digital Painting
100x100cm, 2023

Beneath the waves, a girl, a sight, Vibrant colors, fading from light. Drowned in the ocean, silent and deep, A tragic end, where secrets sleep.
 Pink ocean
Digital Painting
100x100cm, 2023

a lover's sigh, A girl, adrift, beneath the sky. Fishes dance, a colorful sight, A moment of love, pure and bright. Drowning in passion, a blissful grave, A heart
entwined, forever brave.
Aaran Sian
Aaran Sian is a multidisciplinary artist and designer working at the intersection of visual art, community engagement,
and social justice. Their practice envisions speculative futures, emphasises histories suppressed or hidden, and
(re)claims narratives through the lens of queer and trans people of colour and other intersectional identities. Their
approach to creating is highly collaborative and process-driven, carving out space for community connection,
dialogue, and shared making. Through creative workshops and participatory projects, Aaran brings communities
together to create layered, textured, and collectively held artworks. This approach is political — a soft resistance
against spaces and cities that have historically excluded queerness and transness. Aaran’s work is deeply informed by
their own experience navigating cities and spaces as a queer, nonbinary South Asian person. Their practice centres
radical trans and queer infrastructures, drawing on speculative futures shaped by the politics of identity, race, gender,
and queerness. They believe queer and trans people of colour are constantly rewriting what it means to live and thrive
— both outside of and within systems that have sought to exclude them — offering vital, transformative visions for
radically inclusive futures through a queer-ed, decolonial lens.
Aaran has been recognised for their ability to hold space with care and intention, drawing out complex, intersectional
narratives and translating them into powerful visual artworks, exhibitions, and events that act as sites of reclamation
for queer and trans communities of colour. In recent years, they were commissioned to co-create an exhibition and
visual response within a heritage site, facilitating workshops and producing work that explores non-Western histories
of gender fluidity, queerness, and resistance prior to colonialism.
As part of Connecting Camley Street in London, they produced mural artwork centring queer and trans South Asian
existence in urban environments, reclaiming public space through bold, affirming imagery. Their work has been
exhibited across London, as well as internationally in the US and Australia, consistently offering spaces for queer,
trans, and decolonial futures to be seen, felt, and celebrated.

How do your personal experiences navigating cities inform the stories you tell through your art?
I’ve always felt hyper-aware of my presence in cities as a visibly queer, non-binary racialised person, oscillating
between hypervisibility and invisibility, safety and danger. My experience of navigating cities is polarising and fluid -
like moving between heaven and hell - and I’ve found deep solace in community networks and spaces, perhaps
because so many trans people have had to just for survival. Having worked as an architectural designer, I
witnessed how cities and architecture often perpetuate erasure, while grassroots queer and trans communities
build infrastructures of care. This tension between erasure and self-made infrastructures, anger and joy, violence
and power, sits at the heart of my work.
How do speculative futures and pre-colonial histories coexist in your work?
A queer, decolonial lens breaks the linearity of time - it is more like a circle of past, present, and future, where
ancestral memory, pre-colonial histories, and speculative futures are constantly meeting to imagine something
new — alive, fluid, rooted in resistance, and forever connecting.

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You describe your practice as a kind of “soft resistance.” What does that term mean to you?
Softness, to me, is strength. It’s the tenderness and authenticity with which queer and trans people of colour show
up for each other, often in hostile environments, growing like wildflowers, despite constant erasure. That act of care
is radical, inherently anti-colonial, and a quietly deep but persistent resistance. Kind of like how over time a flowing
river carves itself into land - that is how I see soft resistance in reclaiming public and institutional spaces, it won’t
happen overnight and is generational work.
Collaboration is central to your process. How do you approach participatory projects?
I create spaces shaped by consent, autonomy, and open-ended collective exploration. Rather than prescribing
outcomes, I like to offer tools and ‘soft scaffolding’ that can be inhabited with people’s own stories. I like to set the
intention from the start that participants can bring their full selves, shaping the work together. There is no pressure
to be anything more or anything less than you are in the moment. The process is as important as the outcome, and
the outcome is never the end.
In what ways have your collaborations surprised you or taken your work in unexpected directions?
I’m constantly amazed by how collaborative work reveals narratives and visual worlds I couldn’t have imagined
alone. The act of collective world-building always produces something more layered, powerful, and alive than
anything I could plan.
What does it mean to “hold space” as an artist, and how do you balance your creative voice?
Holding space means centring the voices of those I collaborate with, whilst interweaving my creative voice. It’s
about building layered, open-ended visual languages shaped by and interlaced with conversations, workshops,
and lived experiences - my visual language is often born from this. It isn’t just about the visual work, though;
everything that happens in and around the art is just as important, all of that is holding space.
How do you approach translating complex, intersectional narratives into visual forms?
I translate these narratives by working in multiple layers — images, words, illustrations, and textures intertwine to
hold complexity. I often use bodies, nature, and powerful cosmic gender-expansive characters as vessels to carry
these stories. Common threads tend to emerge organically, and I allow the narratives to speak for themselves. I
collage with the collages created by participants in workshops — highlighting elements and weaving them
together. It’s powerful to see multiple collages from different workshops create a dialogue with one another - it
affirms how interconnected we all are.
Can you share more about your experience working within a heritage site?
Working in a heritage site felt both unexpected and necessary. In a Western context, it’s rare for decolonial and
queer narratives to be centred, so it can feel ‘new’ to institutions, and that comes with constant negotiation and
mutual learning. I think institutions can be nervous because queer and trans identities are so politicised, but
beyond that, we are just human. Although this work involves added labour and challenges, it carves out spaces
where we’ve always existed but have rarely been centred. This particular heritage project created an incredible
sense of belonging and truly affirmed why reclaiming spaces in a context like this matters, especially when it comes
to situating ourselves in history.
How do you see your work contributing to broader conversations about visibility?
I hope that my work makes visible the stories, experiences, wisdom, and magic of queer and trans people of colour
while imagining the futures we deserve. It acts as both an archive and a speculative community-built blueprint,
reclaiming spaces, amplifying community-built infrastructures, and proposing radical worlds where care and
power are redistributed.

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If you could create a physical or symbolic space tomorrow — entirely shaped by queer and trans
South Asian futures — what would it look, feel, or sound like?
It would be a boundless, time-free space in tune with the cycles of growth and transformation. Regenerative, where
sparkling purple rivers flow with poetry and music, ancestral magic runs wild, and the most ‘marginalised’ are
centred with care, not tokenism. It would exist in constant flux — unbound, collective, shimmering with love.

Ebb and Flow

Mixed Media (acrylic, pens, collage, and digital art)
89x175cm, 2025

Ebb and Flow honours Queer and Trans voices, weaving ancestral memory, belonging, and pre-colonial histories of gender
fluidity erased by colonialism. Centring a collective poem by Queer and Trans people in Leicestershire, UK - using the river as a
metaphor for interconnected queer identities - this artwork is a love letter to our ancestors, our futures, and the power of
collective voice. A reminder that Queer and Trans existence is ever-shifting and interconnected. Uncontainable and ancient.
Visually, Ebb and Flow takes the form of a flowing river connecting two characters, which can be viewed as separate but always
interconnected, or different versions of the same character — a metaphor for bodies and multiple identities in motion, for
stories carried and passed down, for identities that refuse to be contained. The collective poem is layered across the artwork,
ebbing and flowing through the piece like water across time. Each line and image collaged into the piece is a moment of
defiance, tenderness, and survival, speaking to the realities of queer and trans people navigating a world shaped by colonial
violence and ongoing erasure.
The title, Ebb and Flow, inspired by a line from the collective poem, expresses the ever-flowing and uncontainable nature of
queer and trans existence — how we move, shift, and reshape ourselves and our histories, just as rivers flow and carve
landscapes over time. It is a reminder of our resilience, our interconnectedness, and our refusal to be erased.

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The Sea of Emotions| Special Edition | volume 72 | Collect Art | Tbilisi, Georgia