Issue 25 Winter 2025 : simplebooklet.com

MODERN RAISSANCE CREATE ALAND APARMODERNRWORLD ARA NOTE FROMTHE EDITORPolyxeni ZiaziaArt DirectorDear Readers,Welcome to a new chapter of creativity and artistic passion! In this month's issue,we are delighted to present a variety of artists' stories that record the essence ofour shared winter journey. Our team features contributions from artists from allover the world, creating a diverse mix of perspectives and experiences. As artistsshare their stories, they become valued members of our ever-expanding team.Our mission remains untouched: to make art accessible to every individual whoenjoys and is passionate about it. As members of this team, we are dedicated tocreating an inclusive and accepting environment that values diversity while alsoencouraging unbridled expression of individuality. Modern Renaissance Magazineis more than just a publication; it is a platform for voices that challengeconventions, respect traditions, and gently access the relationships of identityand art.We extend our heartfelt gratitude to every reader and artist who helps to keepour magazine vibrant. Your inspiration and creativity power the pages of ModernRenaissance, creating an authentic representation of the art that connects us.Polyxeni Ziazia06

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Sustainability and ArtBarragão’s artistic practice is deeply rooted in sustainability, with a focus on all steps of thecreative process. She sources textile waste from local factories and reuses discardedmaterials to craft her artworks. As she explains in an interview: "It was important for me tocreate something with meaning, and for me, that meant centering on the environment. I don'tthink I could work any other way." Through this approach, she not only reduces herenvironmental footprint but also contributes to the broader discourse on waste and pollutionwithin the textile industry.On her website, Barragão emphasizes the importance of using natural materials and dyes inher creations. She strives to minimize her ecological impact by adopting environmentallyconscious practices and raising awareness through her art. Utilizing techniques such as hand-tufting, latch hooking, and crochet, she creates intricate patterns inspired by coral reefs andoceanic landscapes. The rich textures and vivid colors of her works evoke a sense of life andmotion, celebrating the beauty of nature while underscoring its fragility.PICTURE BY CLAUDIA GLORI

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Oceanic Themes and ConservationOne of the central themes in Barragão's work is the ocean and its delicateecosystems. Her art captures the complexity and beauty of underwater life, particularlycoral reefs, which are undergoing drastic changes due to climate change and humanactivity. As she explains, "I've always felt more connected to the sea. Growing up onthe coast, I couldn't shut my eyes to what's happening to the reefs. They're just sogorgeous, but they're dying out in such alarming numbers." Her work highlights thisecological crisis, urging viewers to reflect on their relationship with nature and theimportance of conservation.Among her most notable works is the Coral Garden—a monumental textile piece thatembodies the vibrancy of coral ecosystems while addressing their destruction causedby pollution and global warming. Created entirely from discarded textiles, it serves asboth a visual and tactile reminder of humanity's consumption and its impact on theplanet. The intricate details of her work, down to the textures of the corals, reveal herprofound respect for marine life and showcase her technical mastery as an artist.12

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Connecting Art and AdvocacyBarragão views her art as a powerful tool for activism. As she explained in an interview,Vanessa Barragão considers her work a form of communication, emphasizing that art has thecapacity to connect with people on a deeper level than raw statistics or data. This idea isevident in the way her pieces captivate viewers with their beauty while simultaneouslyencouraging serious reflection on environmental responsibility. By transforming discardedmaterials into stunning works of art, Barragão challenges the throwaway culture of modernsociety and highlights its detrimental impact on the planet.Her installations have been showcased in various high-profile exhibitions and collaborations,sustaining interest from both the art world and environmental organizations. Thesepartnerships allow her to explore innovative ways of raising awareness and encouragingaction on environmental issues. As she notes, "We are all connected with nature, and wehave to take care of it. My hope is that my work can remind people of that connection andinspire them to care for the Earth." Through her artistry, Barragão not only creates visuallycompelling pieces but also delivers a poignant message about humanity's role in protectingthe environment.14

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E B E E B A N T U GLIGHT EXPRESSIONISTWhen did you begin your artist journey?Totally self taught, I consider my keen appreciationand practice of art in its visual, literary, music andperforming forms to be my art mentor andinspiration. I’ve always noodled, doodled, as longas I could remember. As a child I drew dancingstick figures, to my family’s consternation, onedges of books/magazines pages. When the stickfigures began to be dressed up head-to-toe infashionista-wear, I started hearing words ofencouragement. By high school I began to borrowmy Dad’s camera...although, my most fulfillingmemories are of hours spent till sun goes downpencil-sketching portraits from Life/TimeMagazines and LP album covers. And then goingback again and again to perfect their shading,highlights... I believe those hours trained my eyesto truly keenly see the nature of Light as a sculptingdynamic force. Today, continually seeking to prove, to discover andfind deeper and wider creative expressions of oneperson’s (me) dynamic relationship with the aetherand its myriad abundance, I carve out time almostdaily to create my experimental visual imagery. I stayactive with galleries, art buyers as well as onlineplatforms and media; local and international. My workhas been featured in Arizona, Virginia, NYC, SanFrancisco, London, Zurich, and Lisbon and continuesto win citations and awards. This summer, I have beeninvited to exhibit and be represented by 2 Europeanart galleries (Germany and Italy).Much, much later, -- summer of 2013, to be exact – mywork literally and figuratively began to become‘enLightened‘, the singular inspiration for the brandLightExpressionist that defines my work. I sense thatfrom that moment, I was on track with what I suspect isthe natural progression toward a state of greaterawareness and consciousness, which is the higherhidden and silent calling among all humankind. N A I A D S A T N I G H F A L LB A S E D I N O R E G O N , U . S .

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Do you feel your art challengesexisting barriers?I am passionate about expressingthe interplay of natural light in theaether and my in-the-momentconsciousness in spacetime.Indeed, aether and light, are boththe bountiful medium and matrix ofmy visual work/play. And, later even more deliberately, Ido not digitally manipulate nor addstrokes nor filters to my images,post-creation. With my inner eyespeeled, I strive to manifest glimpsesof inter-dimensional forces at playin and around common everydayobjects and the natural worldaround us –each image I create is atribute and testimony toomnipresence, co-creation and ourinter-connectedness to All That Is;and quite intensely with collectivezeitgeist . . . ever naturally, entireun-PhotoshoppedE C H O S O F F U T R E P E R F E C THow would you navigate a response to, is your artworkphotography or not?It's a forever conundrum for many people! When I'm at exhibits, andthey engage my work they'd ask, “Is this going to be printed on, why isit printed, and why isn't it on canvas?” And that's one end of thespectrum of the question. The other is, “Can you make it even bigger?Wall-sized? Stage-sized?” So I say, well, I need to work with a printerto do that. So to your question specifically, it's both.Because when I submit my work, I'm always, within the framework ofchoosing between painting, and all of the other genres, orphotography and digital art. The way I navigate it is I always say it'slens-based, but it's not your traditional hard-edge use of the camera. Ido not manipulate or do any digital work at all. I use the iPhonepurposely because it's so handy that it's like using a paintbrush. Soliterally, it's a physical extension of me. Aesthetically and conceptually, I castout realism totally from my thoughtand creative process; intuitivelyallowing my inner vision andconsciousness to interact withmovements of natural light in time-space at the given moment.Technically, I deliberately use onlymy iPhone camera as one would apaintbrush; consciously aiming not tocapture people, objects and places;instead, to explore, tease out, createand make visible one-of-a-kind/unrepeatable ephemeral imagesthat break through surface physicalreality in the given surrounding livingspace/s. Racing after movements ofnatural light, I literally paintexpressionist imagery, unexpectedvantage points and perspectives,bridging the edges betweenphotography and painting, both incharacter and impression. 18

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L O V E T R A N S C E N D E N C EWhat do you consider to be a muse for your practice? And are there any artisticmovements or phenomena that inspire this approach? First and foremost, my aesthetic is bold, adventurous, and contemporary. This came aboutorganically because I'm a forever student of art, though I never went to art school officially.Because I have 3 siblings after me, my dad used to say, “You cannot change majors all the time.Make a decision.” I had one year left. And I wanted to switch from journalism to fine arts. He said,"How many more years?” And I If I’d done it all together, it would've just taken me a year and ahalf. But because of the prerequisites, It would've been another four years. He said, “Forget it.You're not going to art school.” So I kind of ended up doing it on my own.I'm a very cosmopolitan person. I've lived and worked everywhere in the world. I was born in thePhilippines. But I've lived and worked in Tokyo, Amsterdam, Paris, and here in the U.S. I amforever a New Yorker, so now being here in Oregon is a cultural shock for me visually, mentally,and emotionally. At the same time, it plays to my internal me, which I used to escape from in NewYork City. I would go with my husband to Newport then to get out of town, always on theweekends. That’s how I alleviated my angst of being in this very crowded, noisy, and really edgycity. But that also rubbed into my aesthetics. Even as a child, I was practicing art. I started drawing at nine years old and continued through highschool taking peoples portraits. I learned how to do shades and be conscious of light. It’s reallyaesthetics that are philosophical, not just visual. Surrealism, the Expressionist movement, and theDadaist, are all in my subconscious. Because my work is not just visually expressive, it has theunderpinning of a commentary, or an exploration of an idea. If you look at all these Dadaist andSurrealist, they all have this same underpinning of being either humorous, dark or esoteric. Sothose are the milieu of my work. It's esoteric spirituality. It's metaphysics.And it's the philosophies of Gurjeff, Jung and his archetypes, and the shadow. I'm this very brightkind of open person but then for some reason especially since 2020 with what's going on allaround us, there's an undercurrent that happens when I work. It seems like a synchronicity of thecollective consciousness. I don't know how it happens but it does! I choose to allow it andsurrender so that when I work, there's no predetermined concept of what it will be. I just say okay,I'm here let's see what we're gonna find today! And that is the influence for how I've become sofocused and mindful about my work.So what were the influences ofliving in Oregon on your work?Before 2013 and coming toOregon, I was more casual aboutmy work. It was almost like I'mreceiving, I'm memorizing, I’minternalizing and using my cameraas a quick way to keep track of myexternal life. Then 2013 came andall of a sudden my work started toshift. There are energies andimagery that I never intended. Sofor a year, 2013 to 2014, I was lostin trying to understand whether theworld is a subjective reality or anobjective reality? I came to anunderstanding of the quantum fieldand quantum physics, that says, atthe subatomic level, nothing exists.And in your act of observing, youcreate. So the potential of creatinghappens in that given time.

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A L L W O R L D S T U R N : H A N G 1 0Do you have any further advice for aspiring artists?I consider myself an aspiring artist and the advice I hear me say to Bee: Stay curious, open, keep learning, followyour passion, share and give of yourself as best you can.How do you tap into that calmnegative space where your workflourishes?I'm very visual so it's external. I'vealways looked up and out. But thatmoment of being me, of beingcentered and quiet when I work, is ameditation practice. I am in themoment but I also surrender. You areof this world, yet you are bigger andmore expansive than this time. You'rein this infinite realm of possibilities thatyour voluntary consciousness isn'teven aware of! You have to surrenderto the things your subconscious isalready aware of. I don't think I canfind another medium that does so wellin expressing that.Specifically, iPhone digital cameras,because of the size of the iPhone andits facility of use as an extension ofyour personhood, it is so direct to yourenergy. You are unencumbered bythe technicalities of a single lensreflex camera which I used before2103. I just don't choose them. I wasalways fiddling with depth of field andspeed! But I am wanting to just forgetthe medium altogether. What isimportant is what is happening in thatpresent moment. It's truly ecstaticreally. A U T H O R E D B Y C A M E R O N W H I T E22

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When did you first begin your artistjourney?I grew up in this small village in the bosomof nature and the authentic Egyptianenvironment. I started drawing at the age offour, at that time my older brotherencouraged me to continue. I used to fillthe walls of the streets with my drawingssuch as birds, animals, people and trees. Inelementary school I used to draw famoussingers and actors, everyone including theschool teachers knew me as an artist andencouraged me at that time. Then I movedto middle school and became famousthrough my many drawings of celebrities,and that period was limited to drawing withpencils and charcoal.Then I moved to high school, and there Ialso received good encouragement fromthe teachers because I used to drawteachers in class and my Arabic languageteacher encouraged me, so he used tomake me draw on the board in front of thestudents any text of poetry that was in mymind, of course. My philosophy and logicteacher advised me to take the art aptitudetest and even paid for it so that I wouldhave the opportunity to join the Faculty ofFine Arts at the university. I did, passed thetest and joined the faculty. In fact, myfamily opposed it, believing that fine artshad no future, but I stuck to my desire. Thestudy period was five years, and at thattime, I was particularly famous in the oilpainting department. I graduated in 1996from the Faculty of Fine Arts, HelwanUniversity.What do you consider to be a muse for your practice? One of my first sources of inspiration is the rural nature surrounding me. I also find that shadow and light strongly attract me toproduce artworks, as well as the different movements of people, sizes, balance and free perspective that I love. But whatattracts me most is shadow and light. Secondly, in drawing people, what attracts me most is the language of the eyes and theexpression that I find in the character I want to draw, as well as the character that has a relationship with my memories.This countryside from which I smell the scent of my childhood, I long for and miss. I also convey the feelings of motherhoodand the beauty of the environment as an artistic mixture. It revolves within a kinetic framework that emphasizes the freeperspective and its rules. The movement of shadows and light to produce art that suits me from what I have learned in my life,and I always find a development in style and precision to some extent in my artwork..24

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How would you describeyour creative process?For me, the creative processnever stops. I always findmyself wanting to try differentmaterials and move betweenschools of fine arts to benefitfrom their aesthetics. Thatway, I feel like a passionatestudent learning for the firsttime. I find myself rebellingagain against the academic artthat I studied at university,until I find myselfsimultaneously in many stagesof my artistic life. For me, thestrength of forms emergingfrom shadow depends on their ability to attract the souland mind. What do you aim to say through the themes in your art?I like to highlight the artistic aspects present in the environment surrounding me by looking at the struggle of the Egyptianpeasant woman, the hardworking man, the hardworking children and some aspects that we live throughout the year such assummer resorts, the struggle of fishermen, shopping in the Egyptian countryside, the movements of peasant women whowash dishes in the river and the movements of animals that are like a friend to the peasant. The artwork resulting from the effects of shadow and light keeps its secrets, as it always carries multiple readings according tothe different levels of awareness with the different moments of the presence of the work in time and place. Therefore, Iconsider this research, from my point of view, to shed light on the importance of the role of shadows in the artwork as aphenomenon with a high creative value in artworks. A method used in producing shadows in a composition that enhances thepower of amazement and the pleasure of reception, as shadow has been a basic element in the art of photography since thebeginning of the fourteenth century, which requires me to continue working hard and always criticize myself to reach the bestin the artwork. My greatest wish is for my art to be displayed all over the world without obstacles.I N T H E M O O N26

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What advice do you have for aspiringartists?My advice to aspiring artists is to keepworking continuously and experimentingwith different types of materials and to bevery humble to learn even from theyoungest artists. I am not arrogant orproud to benefit from those who areyounger than me in experience and age.In fact, I have graduated at the hands ofmany, many students of fine arts andapplied arts and I listen to them to learnfrom them any style or method in art thathas been discovered recently. Who has influenced your work, orcontinues to influence your work?This is a difficult and very beautiful question,I liked it. I find that the love of art is the mainfactor and driver, but what comes to mymind now is that I was very passionateabout the international artist Auguste Renoirand the great artist Paul Cezanne, whosepaintings I imitated in amazement at onepoint, and the other one I loved to be friendswith is Vincent Van Gogh, as he takes medeeply into his world, and here in Egypt theartist Mohamed Sabry, who excelled in theart of painting with pastel colors. As for theinfluence in terms of continuity, they are myrelatives and colleagues, especially mydaughters, as they love that I live in mystudio and are happy with that despite thelow income or financial return, then I am atthe peak of my happiness while I ampainting and they are watching me, and alsomy students who love having me amongthem. The closest event today was about 100students gathered around me in an artseminar in a football field, and I wasteaching them to draw on Canson paperusing a new material, chlorine (cleaningchlorine), to produce paintings of roses,fish, butterflies and landscapes withshadow and light, which was wonderful andeveryone was enjoying the newenvironmental material for them, as it is anew style, and I promised them that I wouldcome again to teach them shadow, light andperspective in the near future, and all thiswithout financial compensation, as they areexactly like my children.I also advise contemplation a lot, as it is amental storehouse for the artist as aserious visual vision. The beautiful advicefor artists if they want their work to spreadis to start choosing topics for their workfrom their actual environment, as it is anentrance to the world. They should alsonot pay attention to those who discouragethem, such as saying, “What is the benefitof this or that work?” The bottom line is tolearn from their mistakes to becomeunique and distinguished. They shouldpublish their work on social media, holdgroup and individual exhibitions, andparticipate in art seminars to enrich theirartistic experience.

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What advice do you have for aspiring artists?My advice to aspiring artists is to keep workingcontinuously and experimenting with different typesof materials and to be very humble to learn evenfrom the youngest artists. I am not arrogant or proudto benefit from those who are younger than me inexperience and age. In fact, I have graduated at thehands of many, many students of fine arts andapplied arts and I listen to them to learn from themany style or method in art that has been discoveredrecently. I also advise contemplation a lot, as it is a mentalstorehouse for the artist as a serious visual vision.The beautiful advice for artists if they want their workto spread is to start choosing topics for their workfrom their actual environment, as it is an entrance tothe world. They should also not pay attention tothose who discourage them, such as saying, “Whatis the benefit of this or that work?” The bottom line isto learn from their mistakes to become unique anddistinguished. They should publish their work onsocial media, hold group and individual exhibitions,and participate in art seminars to enrich their artisticexperience.Who has influenced your work, or continues toinfluence your work?This is a difficult and very beautiful question, I likedit. I find that the love of art is the main factor anddriver, but what comes to my mind now is that I wasvery passionate about the international artistAuguste Renoir and the great artist Paul Cezanne,whose paintings I imitated in amazement at onepoint, and the other one I loved to be friends with isVincent Van Gogh, as he takes me deeply into hisworld, and here in Egypt the artist Mohamed Sabry,who excelled in the art of painting with pastelcolors. As for the influence in terms of continuity,they are my relatives and colleagues, especially mydaughters, as they love that I live in my studio andare happy with that despite the low income orfinancial return, then I am at the peak of myhappiness while I am painting and they arewatching me, and also my students who lovehaving me among them. The closest event today was about 100 studentsgathered around me in an art seminar in a footballfield, and I was teaching them to draw on Cansonpaper using a new material, chlorine (cleaningchlorine), to produce paintings of roses, fish,butterflies and landscapes with shadow and light,which was wonderful and everyone was enjoyingthe new environmental material for them, as it is anew style, and I promised them that I would comeagain to teach them shadow, light and perspectivein the near future, and all this without financialcompensation, as they are exactly like my children.A U T H O R E D B Y C A M E R O N W H I T E

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Where does your inspiration come from?In the past, my inspiration often came from observation, capturing a feeling in the moment, and expressing myworldview. I was eager to share my perspectives and emotions through my art. Over time, I became fascinated bythings I had never encountered before, such as Iris pattern detection in niche Chinese physiotherapy facilities or theimaginative worlds of science fiction films and television. These new influences inspired me to explore connectionsbetween different subjects and to envision the future of humanity, shaped by my deep interest in Easternphilosophies and their focus on interconnectedness.I also draw inspiration from learning new media techniques and contemplating the intersection of technology, humanexperience, and spirituality. Additionally, revisiting familiar phenomena and uncovering the unique qualities of thingswe often take for granted provides me with further creative fuel.I N - C I R C L E S E R I E SWhen did you begin you artist journey?My artistic journey began in childhood, though I didn’t initially see "artist" as a career option. I often dreamed ofbecoming a painter or designer instead. Thanks to the encouragement of my grandfather and art instructors whorecognized my talent, I discovered a natural gift for drawing and creating handcrafted works. However, for much ofmy early years, I distanced myself from the artistic path, as academic success seemed to be the primary focus for mypeers.It wasn’t until high school that I realized I wanted to embrace my creativity. I pursued professional training during highschool and was admitted to a prestigious art school. As a native of the digital age, my fascination with technology ledme to choose intermedia art as my major. Still, it wasn’t until after graduating and gaining experience in exhibiting mywork that I fully committed to following this path with determination.34

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I N - C I R C L E S E R I E S V 2 . 0Do you feel your art challenges existing barriers?Yes, I do feel that my art challenges existing barriers. For instance, in my piece "In-circle Artist," I critique the utopianideals of blockchain technology, satirize the exclusivity of the artist community, and encourage viewers to reflect onissues like inclusivity and access to the internet in the digital age. Through the interactive website “Artist Poem”, Iaim to blur the lines between artist and audience, questioning who defines artists and how we experience it. My work"The Missing Pig" pushes against anthropocentrism, questioning the human-centric way we view the world.Sometimes these themes are very prominent, while other times they are woven more subtly into the subject matter Iexplore. Across various mediums and concepts, my art consistently strives to provoke thought and break downconventional barriers.

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P U B L I C A R T M A N I F S T OWhat is integral to your work as anartist?Interdisciplinarity is at the core of myartistic practice. I work with a range ofmediums—including the internet,blockchain technology, AI-generated art,physical installations, and creative writing—to explore the intricate relationshipsbetween technology, the environment,culture, and identity. This blending ofmediums allows me to create works thatexist in both virtual and physical spaces,reflecting my belief in theinterconnectedness of all things. Criticalthinking and conceptual exploration arealso central to my approach. Through mywork, I aim to challenge perspectives andcreate spaces that invite reflection anddiscussion from the audience.How would you describe your creativeprocess?I would say my creative process is dynamicand it changes every time. It variessignificantly based on the subject matter Iam exploring and the medium I choose toexpress it. Different concepts inspire me toadopt different mediums, each offeringunique ways to convey the ideas I want toexplore. As an artist, I embrace theunpredictability that often comes with thecreative process. It's a form ofcommunication between me and my work,where sometimes it's crucial to listen to theartwork itself, step back and let the artworklead the way. I find that unpredictabilitybreathes life into the art, and a process thatis too smooth and predictable can be awarning sign.36

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What are your long-term artistic goals?My long-term artistic goals center around creating work that endures beyond the fast-paced rise and fall oftechnology trends, while also remaining relevant to the present. I aim to contribute to the ongoing dialogue in themedia art world and have a lasting influence on the cultural landscape. Ultimately, I want my work to deepen theunderstanding of contemporary life by building meaningful connections between art, social and technology. Alongthe way, gaining recognition and broadening my impact are key objectives that will help me achieve these largerambitions.What advice do you have for aspiring artists?Embrace the unknown and be honest with yourself. This is advice not only for aspiring artists but also a reminder formyself. In the art world, there is no single standard or set path, which can often lead to moments of solitude, as yourjourney will differ from others. But in those times, it's crucial to trust in your voice and your vision—the unique voicethat comes from your heart. Keep pushing forward, even when the road ahead feels uncertain. You may not alwaysknow where it will lead, and the unknown can feel overwhelming, but if you persevere, you'll discover somethinguniquely wonderful. Be patient with your creative process, and give your ideas the time they need to fully unfold.R A N D O M W A L K M E M O R YA U T H O R E D B Y C A M E R O N W H I T E

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ALL-STAR PRESS'12'24I grew up in England, but I’d come to the States to visit mydad’s family in Pennsylvania every summer. When I wouldvisit, my Grandfather would take me to baseball gamesand I fell in love with the sport. Baseball became a familyritual and it inspired my interest in sports more generally. I came to Chicago in 2002 and started working as a gigposter artist. As I was meeting lots of artists and gettingmore connected to the art scene here in Chicago, Iopened one of the first pop art and street art galleries tocome to the city in 2011. After leaving that gallery in 2016,I opened All Star Press a year later, in 2017. With All Star,my goal was to create a space that merged sports and art,be that street art/graffiti, fine art, or pop art. Even though now collaborations between the sportsindustry and street art is much more popular, it wasrelatively minimal when I was first opening All StarPress, and I wanted the space to address that hole inthe market. I felt I had a really good grasp both sidesof that coin and understood what people werelooking for in art, and the fandom of sports, andcollector’s items. It made me realize that there’s nodifference between collecting gig posters, orcollecting sports cards, or collecting art. I identifiedwith the artistry in all those realms.Can you tell me about the origins of All StarPress?B A S E D I N C H I C A G O , I L . , U S . SF E A T U R E D G A L L E Y38

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I went to school for art, and I initially thought I wouldlearn screen printing and use it as a component of mypaintings. I actually did start to make work thatcombined screens and painting, but I got way more intoprint and ended up not taking a single painting classwhile I was in school. From then on, screen printing tookover. After I graduated, I was working a lot of odd jobsand asking myself how I could be my own boss becauseI always knew I didn’t want to work for someone else. Istarted teaching private screen printing lessons, andeventually I was able to have a studio outside of myhome, which made a big difference in beingprofessional and on my career path. I ended up meetingmy business partner for the gallery that I mentionedearlier, that had opened in 2011, through renting out mystudio space, actually.Our mission is to be approachable and accessible toa broader audience than the traditional “white cube”.When I opened my first gallery, it had a similar ethosabout being accessible and new. I have alwaysstrayed away from being bougie, stuffy, and, ingeneral, the way a lot of traditional galleries are. Idon’t believe in the white walls with the quietbackground music. It feels too sterile and no longerrelevant. People are looking for spaces where theycan be themselves. I want people to feel comfortablein the space and like they can approach art just asmuch as the next person. Everybody should enjoy art.Was there a catalyst for identifying as a 3-in-onegallery, screen printing studio, and designcompany?What would you consider to be All Star Press'philosophy or mission?Having flexibility and not pigeon-holing yourself is soimportant, especially in the creative industry. It can beso difficult to have longevity and survive in the creativeworld, so having a multifaceted approach allows us topivot when something isn’t quite working. I’ve neverbeen the kind of person to look at one thing and say, “Ican do that well” and stick to only that, I like to adapt.So, even before I started All Star Press, I was doing allthose things: running a print shop, running a gallery, anddoing external design projects. Only, back then I wasdoing them all in separate spaces. Once I started AllStar, it only made sense for all of the things I was doingto happen out of the same space. It was a naturalevolution. Why would I limit the space and what we doin one industry when I don’t want to limit myself.How did your international background anddealings with the music industry contribute tothe founding of All Star Press? Growing up in Europe, I had the privilege to travel alot and be exposed to many different versions of whathumans do. Those experiences are definitely a partof what inspired me to make All Star Press such adynamic space that plays into different areas of thecreative industry. Working in the music industry, Ilearned a lot about the corporate elements of big boxbusinesses. Navigating the corporate aspect whilestaying true to the punky, grungey, creative heart ofthe industry has been an essential part of mycontribution to the field.

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With Liz, we had an incredibly successful first solo showwith her back in 2021. This second solo show was a wayfor her to explore textures and other mediums in her work.Since there are some artists, like Liz, that we are luckyenough to work with quite a bit, we really try to push thework we show and artists we work with. We want to getthe artist to think differently about what they are doing.We’ve also got an upcoming exhibition with LangstonAllston. I like working with Langston and am super excitedabout his upcoming show because he is very thoughtfulabout what he's putting out and what his work is saying.You know, aesthetically, something can be pretty andgreat for a wall and not actually say too much, butLangston's work pushes those conversations andforwards culture. Without those conversations, culturebecomes stagnant. If you don't have people trying to stirthe pot, it freezes… or something.There are so many artists to thank and who have mademajor contributions to the culture of All Star Press. JCRivera, Sentrock, and Lefty Out There, as well as SeanMort, Pose, and Kate Lewis have been a huge part ofour culture. There are hundreds, though. I can be thedriving force, but I can’t do it without everyone else. Thesum of all parts makes our culture what it is. It’s not justone person.How does one of All Star Press' newest exhibitions,for example Liz Flores solo show, characterize thegallery's current motivations and aspirations? Who are some artists that have contributed largelyto the culture of All Star Press?`For exhibitions, I’m looking for work that pushesboundaries, either technically, process wise, or with itsmessage. I want to know how the work will engage itsaudience and what conversations are being had. There’sso much content out there which makes it easy to find art,but you have to parse out what matters to you and what’sgoing to have an impact on others. The artists we partnerwith are always changing because my emphasis for thespace is constantly evolving. The heart of the selectionprocess for new work is to continually expand andheighten the ideas represented and the caliber of the art.What criteria do you consider when selectingartwork for an exhibition? We predominantly show and sell contemporary streetart, fine art, and pop art. We work with artists of varieddemographics and aesthetics who make work at abroad range of price points to keep art accessible. Icurate the gallery with the goal of staying interesting,fresh, and always expanding who our work speaks to.It’s a super eclectic space that’s always changing, soit’d be impossible to pinpoint just one type of work. I willsay, even with all the work I’ve shown being so varied,what is consistent and what visitors should expect isquality. I know the term “quality” can be prettysubjective and a little unspecific, but as an artist myself,I have a unique perspective that a lot of gallery owners -people who might have business backgrounds, or whoare more so fans of art than creators themselves - don’thave. I’m always blown away by how many talentedpeople there are, all with so many different aesthetics.It’s truly amazing seeing people interested in so manydifferent things. Obviously, one gallery can’t cater toeverybody's tastes, but I think we cast a really wide netwith the work that we show. that visitors can expect …Can you describe the type of work visitors expectto see through All-Star Press? Because we represent such a broad range of aesthetics, Idon’t have a super specific selection process. Afterworking in the art industry for so many years, it’s becomereally easy for me to identify what I like. I’m passionateabout collaboration and building relationships with artists,so I look to work with artists who want to build that bondand mutual commitment. If I’m excited about an artist andtheir work, I’ll put my all into supporting them, so I try tomake sure I’m working with someone who has the samerespect and interest for me and the gallery as I do forthem. I think Sentrock is a good example of the kind ofartist I look for. He has a well balanced way of making art(obviously), putting out products, and giving back to hiscommunity. He’s always trying to engage his communityas much as possible, whether that's through food drives,giveaways, conversations, you name it. That level ofengagement is so important in general. I don’t think youcan have success, monetarily or otherwise, if you’re notbuilding with your community. Success is a team effort,especially if you’re trying to sell shit.Can you detail your process for selecting artists andartworks for the gallery?40

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Can you share any memorable success stories ormoments from All Star Press? Over the weekend, I was reflecting on how fortunate wehave been to have consistent partners and theopportunities to work on the most incredible projects withthem. A recent highlight was working with the ChicagoWhite Sox. We worked with about 15 artists to make aseries of digital game day posters for about 30 Soxgames throughout the year. And, to cap it off, I got tothrow out the first pitch of the Sox game, which was veryspecial to me. Also, working with people like Pose and Beyond theStreets has been exceptional. Working with POSE, whois one of the biggest contemporary graffiti artists to comeout of the Midwest, was a really big moment for me.Definitely working with Beyond the Streets, as well. Ican’t think of a bigger global street art brand than them.Their show in London at Saatchi was probably the bestcurated exhibitions I’ve ever been to. It was four or fivefloors… absolutely fucking giant… just a treasure trove ofincredible art with some of the first ever graffiti writers tosome of the best contemporary graffiti artists. There’s notanother brand in the world that does what they do forgraffiti and street art. I’ve done about 30 projects forBeyond the Streets in the past four years and getting tobuild that relationship has been so inspiring. Lastly, Working with the MCA this year was another biggoal that we reached. Cultivating strong relationships hasalways been something I have loved to do. I’m verycompetitive, so, many success stories are personal littlewins. Having been able to keep my gallery operating forso many years and collaborating with such incredibleartists is a success story in itself that I can't take forgrantedWhat is All Star Press' main mode of communityengagement? Since the gallery is, in part, a screen printing studio thatcreates our own products internally, we work really closelywith artists in different ways than most galleries get thechance to. Getting to work so closely with these artists,especially so many artists local to Chicago, really connectsAll Star Press to the city and builds that lasting communityaspect. The artists I work with regularly feel like a big familyto me. It can be a great thing… it can also create someproblems… Ultimately, getting to build that kind of familyhere with these artists feels pretty unique to Chicago,partially because of the people themselves, but alsobecause I think it’s much harder to do in places like NewYork or LA. While working with the artists and the different communitiesthey are involved in is a big aspect of our communityengagement, we do a lot of community based projects. Thecourts we’ve painted are a great example of beautificationprojects we’ve done for very specific localized communitiesto support the youth in those underserved areas. I reallyenjoy getting the court projects into motion because it’s sospecial to see all the kids and the families come out to thecourt unveilings and get a little glimmer of what it means topeople and how it will affect them. We live in a big city wehave to share. The courts are a really lovely way of bringingsomething beautiful and exciting to communities that aren’tgetting the attention and support they need. We’ve also done Bulls Fest for the last few years, and thefirst one had over 120 artists from all over the world. I thinkwe had 15 thousand people come through for that event. Itwas so amazing to see all the families, kids, parents, fanscome out over those four days. Seeing everyone engagingwith people and their art from all over the world and gettingexposure they might not get otherwise is so special. Whenyou can get moments where lots of different people aresharing a space together it’s really remarkable because itdoesn’t happen too often.A U T H O R E D B YC A M E R O N W H I T E

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About the Artist: Ayana V. JacksonAyana V. Jackson is a contemporaryartist whose practice ranges acrossphotography, performance, and video.Known for works dealing with thethemes of identity, memory, anddiaspora, Jackson's practicechallenges historical narrativesthrough her works on the Black bodyin a place of empowerment anddignity. Her practice oftenincorporates elements of mythology,Afro-surrealism, and speculativefiction, offering a transformative lenson the Black experience.Jackson's approach is fully informedby historical research mixed withcreative storytelling, considering howoften she draws inspiration fromarchives and oral histories. Her workis about unsettling colonial narrativesand creating an alternative vision ofhistory and offering new ways tointeract with the legacies of theAfrican diaspora. "From the Deep"does this ethic quite well; it placesthe reader in a mythological worldemanating from the very resilience ofthe enslaved.Ayana V. Jackson/Gallery MOMO,The New York Times44

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INSTAGRAM @SURREAL_DUSK_ARTGabriella Azzopardi is a professional visual artist and has exhibited her work in various collectiveand solo Art exhibitions in Malta (Europe) and recently in collective exhibitions in London andVienna so far. She creates original works depicting surreal, imaginary worlds and interiors. Shepaints her visions and dreams; the worlds she would like see and experience. She is mainlyinspired by the works of the surrealists and symbolists.Gabriella studied art and sculpture and continued her studies in visual communication andindustrial design. She furthered her studies in history of art, graphic design, photography, digitalphoto manipulation and Art therapy, whilst also collaborating in various artistic projects. She hasrecently taken interest in conservation work on a voluntary basis and currently studyingpsychology and antiquing. She aims to continue her studies in Fine Art and keep working on herArt to keep showing her work internationally, and to also collaborate with other artists.GABRIELL AAZZOPARDIBIOGRAPHYSTATEMENTGabriella expresses her thoughts, experiences and visions through her paintings anddrawings. Her artistic compositions are symbolic of her thoughts or what she would like tosee. Through the years her work has varied from darker semi abstract paintings to moredetailed, imaginative paintings and drawings. Gabriella is fascinated by the open sea, emptybeaches, cloudy skies and wintry weather. She finds such environments and scenes calmingand inspiring in thoughts and visions. While studying history of art, Gabriella has beenmainly drawn to Baroque, Symbolic and Surreal art styles. Her interest in History,architecture and antiques has been reflected in her recent works. She tries to depict hervisions in a realistic and detailed way to help the viewer see and experience her surrealrealities. She finds it satisfactory that her art encourages the viewer to pause, observe andengage in thought about the hidden meanings in her paintings.52MALTA, EUROPE

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INSTAGRAM @__MM_COLLECTIONS__ I am a Berlin-based artist working primarily in mixed media and contemporary abstract art. My workis all about creating an undefined world through color, shape, and texture, rather than reflectingreality. I use acrylics as my main medium, enjoying how they allow me to work quickly and freely. Ilove layering different tools and paint mediums to build rich, textured pieces that invite exploration. Icreate my paintings on canvas in my studio in Berlin, where I am constantly experimenting andpushing myself to try new things. For me, art is about more than just making something visuallyappealing—it’s a way to express emotions and ideas that go beyond words.My work is deeply personal, shaped by my experiences and how I see the world around me. Iembrace the uncertainty and surprises that come with the creative process, trusting it will lead me tonew places. Through each piece, I hope to create a space where others can connect with somethingdeeper, something that can’t always be captured or explained.MAHSHID MISTATEMENTBERLIN, GERMANYBIOGRAPHYMahshid is an abstract painter based in Berlin, Gemany. Born with persian roots and raised inGermany, her diverse cultural background has profoundly shaped her artistic journey. Over the pastdecade, Mahshid has lived in five different countries, each leaving a unique imprint on her creativeexpression. Her artistic abilities are largely self-taught.For Mahshid, art is a powerful means of expressing emotions and ideas that words often cannotcapture. Her work explores the balance between chaos and control through dynamic compositions,vibrant color palettes, diverse textures, and striking contrasts between light and dark. She reflects onthemes of balance—connecting the past and present, chaos and harmony, and tradition andtransformation. Her art invites each viewer to engage with it in a deeply personal way.54

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PORTLAND, U.S.A.I am largely self-taught after being forced out of the 4th year of my BFA program when theuniversity I was attending realized I was gay. Returning to school a few years later I made apractical choice to pursue degrees in business in order to better support my art practice. Ideveloped, proposed, and completed an interdisciplinary degree in Arts Administration at OldDominion University after which I completed the MBA program at UC Davis. I am now creating artfull time, residing in Portland, OR. My practice consists of painting and printmaking, exhibitinglocally, nationally, and internationally.SUMNERBIOGRAPHYMy work explores the synesthetic, non-verbal communicative power that the visual arts share withthe performing arts, especially music.Music and dance have clear analogs in the visual arts: rhythm, repetition, improvisation, melody,harmony, and even syncopation. The addition of color, texture, transparency, opacity, and thepassing of time physically captured in visual media allows creates a visual matrix that is both opento what the viewer brings with them and suggestive enough to support a visual dialogue.This dialogue can communicate at a pre- and non-discursive level that is simultaneously morefundamental and more expansive than simple verbal communication. The writings of Henri Bergsonand others explore the limitations of verbal communication, highlighting the rich vein of humanexperience to explore beyond those limits. The titles of my work are composed of random syllablespulled from James Joyce's Finnegans Wake which creates an open-ended verbal matrix thatmirrors the open visual abstraction in the work itself.STATEMENTINSTAGRAM @RSUMNERARTRSUMNERART.COM56

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INSTAGRAM @MATTHEW_MORPHEUSEDINBURGH, UNITED KINGDOMMatthew Morpheus (born Serhii Matveichenko) is a renowned Ukrainian artist who combines graphicdesign, collage, and aerosol paints in his work. He has lived in Ukraine, Israel, and now resides in theUnited Kingdom. Morpheus has received numerous international awards for his contributions toabstractionism and is known for creating two unique techniques in this genre. His art serves as acosmopolitan dialogue, reflecting his diverse cultural experiences.BIOGRAPHYSTATEMENTI hear the echo of protests, I see the reflections of revolutions. And every pixel in the collage is theshadows of digital cities. My collages are a path that leads to new freedoms. And every line of thecanvas is a struggle, this is a sound, this is an era of change. I seek inspiration in the mundane and theextraordinary, in fleeting moments and eternal truths. The interplay of chaos and order, the tensionbetween freedom and constraint – these paradoxes ignite my creativity. And perhaps, most profoundly,it is the human spirit – resilient, fragile, and infinitely complex – that fuels my artistic fire.Matthew Morpheus is not merely my name; it is my manifesto. I morph reality, distilling it intofragments that resonate with the viewer's own memories. My collages are bridges between pastand present, between nostalgia and possibility.MATTHEW MORPHEUS58MRMATTHEWMORPHEUS.CREVADO.COM

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INSTAGRAM @GRAPHICAHOSROGERMONTEIRO.COM.BRPORTO ALEGRE, RIO GRANDEDO SUL, BRAZILRoger Monteiro was born in Porto Alegre, Rio Grande do Sul, in the late '70s. He holds a degree inLiterature, a postgraduate degree in Philosophy and Visual Arts, with a specialization in Art History andVisual Culture. Alongside a long and successful career as an art director and graphic designer, he hasbeen more consistently dedicated to non commercial arts since 2013, researching, exploring, andapplying digital media into artistic creation. He focuses on contemporary and urban themes and isheavily influenced by pop culture, rock'n'roll, punk aesthetics and the industrial processes of imageproduction. His work has been exhibited and published in various cities in Brazil and countries such asCroatia, England, Finland, France, Georgia, Italy, Liechtenstein, Portugal, and Spain. Most recently, asa natural consequence of his engagement with the digital world, he started to study generative artificialintelligence platforms and their potential for interaction with artistic work, experimenting, thinking, andwriting about the subject. He is represented in Brazil and Europe by Zebra Art Office. An eternalenthusiast of doubt, Roger Monteiro believes that every time he's one hundred percent certain aboutsomething, he is not doing his job right. Used to be a fencer for almost 25 years. He is married to thebeautiful Olivia and rides an old motorcycle named Lady Luck.BIOGRAPHYSTATEMENTROGER MONTEIRO62As an artist, I’m not specifically interested in Beauty, not in the greek conception of the word. Purity ofform bores me. Symmetry makes me sick. Harmony does not appeal to me at all. I’m an urban spiritaccustomed to the delicate relationships that emerge from chaos. My eyes are rough, they belong toasphalt and to concrete. I see poetry in the skyscraper, grace in the subway stations. My art stands foreverything that’s broken, everything that’s fake, everything in this jungle fever we call home. It speaksthe city language and it feeds from city codes: traffic lights, sirens, ads, typography and anarchy. Digitalby nature, it is distilled from silicon, ripped off from the algorithm. It bends what should be cartesian intoprimary colors to make it instinct. I feel my work as a manifesto of the undesirable, graphic remains of anightmare. But in a very particularly way, I’m a humanist. A poet of the scars. A punk playing horsepolo. Deep down we have something in common, even if it's nothing. Find out and get yourself a punch.

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For starters, I’m Logan, a now-realized 3D Generalist who dabbles in every medium necessary. Thisyear, one thing has been stagnant in my mind—the color, brightness, and artistry of late 20th to early21st century design. I’ve taken the clouded nostalgia from my brain and translated it into intense,saturated pieces, all transferred between several digital software, and one is even animated on myportfolio. Each piece comes from carefully studying stylization and even some graphic designtechniques. Doesn’t it look familiar?Logan Carter is an illustrator and current animation student turned 3D Generalist. Her style is derivedfrom the bright colors and shapes of 2000’s media after realizing that it wasn’t just nostalgia drawingher to it, but the bold and much more innovative designs. She has a variety of mediums such as 3Dmodelling and animations, digital and physical illustrations and motion media pieces. Her mainresidence is the United States, with a huge desire to travel.LOGAN CARTERBIOGRAPHYSTATEMENTUNITED STATES64INSTAGRAM @JUSTCHAITEATHINGSYOUTUBE @VELVVERETIBOOK VELVVERET

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CULTURALLYOur mission is for individuals to embrace their creativityand ignite their passion, shaping a global platformworking on tangible reform for accessibility andrepresentation in the arts.Our purpose is to advocate that art is for everyone andby everyone. We work to utilize the arts for social justiceefforts, for students to use their passions for globalchange. Our biggest advocacy effort is toward representation inthe arts; we have members, branches, and communitiesin 60 countries on 6 continents. Culturally advocates forthe inclusion of people from every background andcorner of the world, regardless of level of practice orsocioeconomic means. We aim to provide a platform for artists of all ages fromemerging students to established artists to develop theircraft through education. We strive to provide the utmostprofessional development through opportunities withan international impact! Our work is to eliminate and abolish the deeplyingrained elitist and exclusive stigmas around the arts,so we offer an artist directory, social media network,interviews, and more to increase opportunities foraspiring artists.66

Issue 25 Winter 2025

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