Return to flip book view

CULTURALLY ARTS COLLECTIVEJULY 2024ENIGMATIC GAZE - SHELINA KHIMJIISSUE 23

CONT05The Contributors 06Editor's Letter07Shelina Khimji21Lifu Hu25Lisa Sachs15Aleksandra Scepanovic

ENTS47The Journey of Women in the Arts42Qian Chen35Mingyue Qu55Community Features31An Jin Kyeong

THE CONTRIBUTORSExecutive DirectorIsabell SliwinskiArt DirectorPolyxeni Ziazia FeaturedShelina KhimjiAleksandra ScepanovicLifu HuLisa SachsAn Jin KyeongMingyue QuQian ChenAnd 18 artistsinternationally from the Culturally Arts Collective Community

MODERN RAISSANCE CREATE ALAND APARMODERNRWORLD ARA NOTE FROMTHE EDITORSPolyxeni 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

SHELINA KHIMJIBASED IN TANZANIA ON THE COVERELEGANCE

When did you begin youartist journey?My art journey started inpreschool as my carersremarked I was always glued tothe easel. I did not have anyformal art classes in school, soI painted in my art class andenjoyed drawing figures andmaps in my other classes. Inmy spare time, I used to do alot of crafts. After I completedmy A-levels, I began paintingon fabrics, clay and ceramics. Iforgot all about art whilepursuing higher studies. In2009, whilst working for anaudit firm as an audit manager,I realised something was amissand on the spur went topurchase some paints andcanvases. I juggled my full timecareer with art up until 2018.Therafter, I decided tofreelance freeing up my time, topursue art more passionatelyand here I am today.What do you aim to say bythe themes in your art?I invite viewers to reconnectwith their childhood memoriesas I reconnect with my ownchildhood memories, fantasies,thoughts and feelings, nostalgicplaces and inner longings. Myartworks depict the old and theancient look as I try to evokeromanticism and culture.My paintings have a fresh,bright and soothing tones givinga tranquil and cheerful mooddue to my idealistic and serenepersonality.which in turn lift thevibes of my viewers.REFLECTIONS OF A RAW BEAUTYWhat advice do you have for aspiring artists?I would advise aspiring artists to create for the fun of it. As long as it doesnot give you joy, you will not love your own work. However, apart from thatkeep doing what you are good at and do not impose any conditions onyourself to develop a style, or ever feel your art is any less compared toother artists. If you are unique and authentic, so will your style be. Alsoensure to always exhibit your work whenever you get any opportunitythereby learning from other artists, your viewers and critics. Exhibiting yourwork will motivate and inspire you to create more, Visiting art galleries andart fairs is also crucial. And finally work hard, develop your skills,experiment with different media, while being patient with yourself andembracing imperfections.08

MOONKISSED

Where does your inspiration come from?Colours! I tend to look at the world throughrose tinted glasses since I have a happypersona and an ideal world imagery. Apartfrom colours, I am also inspired by my own lifeand my memories, my fantasies, and mylonging to travel the world and appreciatedifferent cultures. I am also inspired by visiting art galleries, online galleries, as well as when I get to talk toand network with different artists.Do you have experiences that impactedyour art?In 2018, I visited World Art Dubai and Iwitnessed creativity buzzing all around me. Iwas like a kid in a candy shop. My dream wasto have my own booth at the WAD.It pushed me to take a short career break andpaint full time and I felt very fulfilled which iswhy I then decided to freelance. So in 2020, I registered for a solo booth atWorld Art Dubai. I took some of my pieces andtraveled to Dubai a couple of months earlier asthe event was scheduled for April 2020 butguess what!!! I ended up being locked down inDubai while World Art Dubai got postponed toOctober. I was disappointed but it was then that I cameacross, a project by Art Painting Lab onlockdown art which they were intending todisplay as murals all over UAE. This project suddenly went viral and all thelocal newspapers featured it.One day, I saw them put up an update sayingCNN would feature some artworks and thedeadline was in a few hours. I got to work andsubmitted it. Guess what!!! A month later, I was featured byCNN and that was my massive breakthrough. Ilearnt a lot then since it was a phase in life,where we all reflected a lot and did more ofwhat we found joy in. I look back and realise Ireally grew as an artist then. It was then that Idecided to build myself as a professional artistand I worked on my website, my logo, mybusiness card and the works. TRANQUILITY IN THE INDIANOCEAN WAVESDHOWS IN THE INDIAN OCEANWAVES10

DEWY EYED

In October, I then proceeded with WADhowever, it made me feel as if I hadbitten off more than I could chew to havea solo booth since I had theresponsibility to pack and carry all mypieces, fill out a zillion forms, installthem, price them, etc. I learnt how toorganise my own solo exhibtions andalso realized my dream. I got covered bya magazine called Art & Lusso and theNational UAE and later in our localnewspaper, the Citizen Tanzania.A UK based TV channel also asked meparticipate in their live talk show and itwas quite an experieonce as we talkedabout art and the purpose it serves.I always wanted to try murals and it wasin 2023 that I got to create my very firstmural jointly for a play room in theChildren’s Cancer Ward at the MuhimbiliNational Hospital in Dar es Salaam. As I look back at my journey as an artist,I think of mainly life experiences andopportunities that have shaped me aswell as my inner longings like places Iwould love to travel and my fascinationfor ballerinas since childhood Besides that, meeting diverse artistsgrow you as a person. This comes withthe necessary life lessons. Theserealizations and learning moments havehad a huge impact on my work. Iappreciated this after I participated in ArtConnects Women where I was among115 artists from different parts of theWorld representing Tanzania at theevent organised by Zee Arts Gallery,Meeting them was a phenomenalexperience. Lastly, I come from a place having lots ofculture and I have lived in UK and UAEtherefore culture has surely impacted myart as that is a popular subject in mypaintings.I also like to use objects that aresymbolic in my paintings like bicycles,ladders, lamp posts and places withculture that either are part of mychildhood or I long to go.ZANZIBAR LIFECYCLING INTO THE UNKNOWNZANZIBAR LIFE12

What are your long-term artistic goals?One of my future goals is to get a formaleducation in drawing and painting. I want tobe able to say I have graduated in fine arts.Another is to exhibit more in the UK as I lovedthe response to my work when I exhbited acouple of times there. I have exhibited more inUSA, UAE, Tanzania as well as once inMauritius and Europe. At the same time a lot of my work has beensold in Tanzania, US and Dubai and a couplein UK. I never had a real physical gallery torepresent me and I wouldn't mind if any did.However, I do have a virtual gallery that I buildmyself on web3. I am also currently thinkingto experiment with water colours due to itseffects as many of my viewers notice that mypaintings have a water colour effect. I alsowant to work on digital art, as I got the urge togo for digital artworks after I started mintingmy artworks as NFTs thus to explore theweb3 space.How would you describe your creativeprocess?My creative process starts with looking aroundfor inspiration. So I typically go through books,browse around social media and look for artexhibitions locally or virtually. After havingdone so, an idea just strikes me and I beginwith a sketch. However, as I go along, newideas pop in and take me elsewhere and theprocess at the point becomes interesting.Sometimes I work on two paintings at thesame time. I usually work several hours in a row, until Ifeel the need to take a break from the paintingprocess. I continue after the break, or I do notcontinue at all until after it feels right.Some days, I take a pause and only dotutorials both from books and youtube andread biographies of various artists, art emailson tips and tricks as well as try andexperimenting with new media ortechnologically. It’s a beautiful thing that inthis profession you never stop learning and asyou do that you learn about yourself and yourabilities.DREAMYENIGMATIC GAZE

Interview by Shelina Khimji. Artist, based in Tanzania. Edited byPolyxeni Ziazia. For Culturally Arts Collective, July 2024 MYSTERIOUS14

AleksandraScepanovicBASED IN WOODSTOCK, NYTHE BROKEN

What is integral to your work asan artist?Integral to my work is the concept oftransformation and the tensionbetween form and absence. Mybackground, shaped by migratorydisplacement and the contrastingexperiences of war, peace, anddifferent cultures, fundamentallyinforms my sculptures. I strive tocapture the essence of identity andchange, allowing my forms to serveas vessels for context and effect,inviting viewers to embark on theirown journeys of discovery.How would you describe yourcreative process?My creative process is a continuousexploration of the dialogue betweenform and expectation. I engagedeeply with the clay and themoment, letting them guide methrough a journey of transformation.Each piece begins as a physicalpreamble to wonder and potentiality,often reflecting my experiences andinternal questions. The processinvolves a combination of structuredrational forms and intuitive, almostmeditative, creation. This interplay iswhat gives my work its characterand depth.What do you aim to say by the themes in your art?Through my art, I aim to explore and express the complexities of identity, and the human experience ofdisplacement. My work delves into the spaces between war and peace, and culture and personal history. Byjuxtaposing rational forms with intuitive creativity, I hope to provoke thought and evoke a sense of wonder,encouraging viewers to reflect on their own experiences and perceptions.Where does your inspiration come from?My inspiration comes from a rich tapestry of personal experiences and memories. For instance, the archaeologicalsites of my youth, the brutal conflict of the Balkans, the vibrant energy of New York City, and the serene wetlands ofUlster County are geographies that contribute to my creative vision. Combined with diverse experiences, the placesinform my understanding of transformation, resilience, and identity, which are central themes in my work.16

ECHOESFACELESS

Do you feel your art challenges existing barriers?My art challenges the existing by questioning traditionalnotions of form and human identity. By merging rationaland intuitive elements, my work invites viewers toreconsider their expectations and engage with deeper, attimes uncomfortable, truths about themselves and theworld around them. My sculptures aim to break down theboundaries between different cultures, experiences, andperspectives.What are your long-term artistic goals?I intend to continue to explore and expand the boundariesof my creative practice. I aim to delve deeper into thethemes of identity and displacement, and to create worksthat resonate on a profound level with a diverse audience.I also aspire to learn and incorporate new techniques andlanguages of expression, allowing my art to evolve andgrow in new and unexpected directions.Do you have experiences thatimpacted your art?Without a doubt! My experiences haveprofoundly impacted my art. Growingup in a socialist regime, reporting onthe horrors of war, and navigating thechallenges of life in a distant newcountry have all left indelible marks onmy creative psyche. These events haveshaped my perception of identity andchange, fueling my quest to lend aframe to these elements in mysculptures.PROCESS OF MAKINGPROCESS OF MAKING18

FRAGMENTSTHE BIRTHING

By Aleksandra Scepanovic. Artist. Based in NY. Edited by PolyxeniZiazia. Interview for Culturally Arts Collective July 2024.TEACHER20

Lifu HuBASED IN NY, USA

When did you begin you artist journey?When I was a freshman in college, I got my first camera. Shortly after, I met a photography teacher who taught mehow to explore my emotions and express myself through the lens. However, after all these years, I still struggle withthe title of "artist." I grapple with defining myself and understanding the relationship between myself, the lens, andthe subject, and I still strive to find the most genuine way of expressing myself through my lens. I believe that oneday, when I can face myself with the purest and most open heart, I will happily accept the beautiful title of "artist."What do you aim to say by the themes in your art?My exploration of self will continue throughout my life, and I believe this is why my creations are always centeredaround myself. I don't have an agenda to achieve something through photography or art. Robust vitality is beautiful;myriad thoughts are beautiful. My joy stems from documenting it all, experiencing it all— it's about the processrather than the destination.Where does your inspiration come from?Before I delved into photography, my sole means of expression was through journaling. However, I later discoveredthat it wasn't a secure or private method. Consequently, I tore up most of my diaries. I felt that photography, tosome extent, replaced those diaries; my creations became my memories, my thoughts, my emotions. Takingpictures became a way to materialize my diaries. For instance, if in my diary I wrote, "We, like two balloons ready toexplode, hid in a thicket of tangled bushes," in my actual photography, I would use props and find ways to recreatethe imagery from my mind.THE LOST CITY22

What are your long-term artistic goals?I hope that in five years, my work can be moresincere and emotionally compelling. I also wishthat if the opportunity arises, I could return toschool to study film or philosophy.Do you have experiences that impactedyour art?My four years studying electronic engineeringduring undergrad are a deeply painfulmemory for me. I didn't have a passion forthat field, and each day, the complexities ofthe coursework slowly drained me. I had fewfriends at that time, and my parents didn'tunderstand me. However, the pain of that lowpoint granted me a lot of inspiration.Thankfully, things took a turn for the betterlater on—I had the opportunity to study inNew York and officially began my journey intoartistic creation.That period in college led me down manywinding paths and didn't necessarily yieldtangible results, but I'm still grateful for thatexperience. It bestowed upon me immensespiritual wealth.Who has influenced your work, orcontinues to influence your work?All the relationships I have influenced me a lot,I felt more when I was in pain in a relationship,no matter it’s between me and families orboyfriends.What advice do you have for aspiringartists?Face your true self and don’t be afraid ofchallenges. Only when you are true to yourself,your work can be attached to the audiences.GRANDMA

SLOT MACHINESCHINATOWNInterview by Lifu Hu. Artist, based in NY. Edited by Polyxeni Ziazia.For Culturally Arts Collective, July 2024 24

LISA SACHSWho has influenced your work,or continues to influence yourwork?The Impressionist period hasalways captivated Lisa. Living inParis at a young age likely heavilyinfluenced her appreciation forFrench impressionism. While animage can be captured in aphotograph, she believes themood of the moment is bestexpressed through collage usingbrightly colored and patternedpapers with soft pastels andacrylics.BASED IN SANTA PAULA, CALIFORNIAWhat do you aim to say by thethemes in your art?Lisa enjoys storytelling throughcollage, sharing the femaleexperience, and celebrating allbody types. The models inspirestories that she incorporates intoher work satisfying her earlyinterests in paper dolls and setdesign and her passion forproblem-solving.How would you describe your creative process?She usually begins with a photograph or a 20- to 25-minute life drawing sketched during a weekly live model studiosession, cuts the figure out, and places it on the floor to see what story it inspires. One or two are selected, asetting comes to mind, and then a color palette is chosen. That’s when the creations come to life. But what excitesher the most is the problem-solving aspect of this new work, recreating the effect of a straw hat or basket, wroughtiron windows, folded towels, tile floors, water spray, or even an ocean water’s edge. This type of challenge iswhat she loves most and reminds her of her architectural days building models.

MELISSA'S FIELD OF FLOWERS26

Do you have experiences that impacted your art?Born and raised outside Boston, Lisa’s family moved to Paris when she was ten years old after her mother was diagnosedwith breast cancer in her mid-30s. Doctors told her parents that her mother had only a few years to live and the first placethat came to mind was France since she knew French and loved to cook. The family business and house sold in one dayand all belongings were packed and shipped into one container while the family boarded the last transatlantic cruise of theQueen Mary to the Port of Le Havre. The family spent four adventurous years abroad, first in Paris, then Geneva, andfinally to Israel before returning to the U.S. Happily, her mother defied any medical predictions and even outlived herfather.While living in Paris and Geneva Lisa learned French and German, visited art museums, played “jeu de billes,” andindulged in crepes suzettes, escargots, and chocolate marmite. Her family then moved to Israel soon after the Six-DayWar to escape growing antisemitism. She learned Hebrew and Arabic and toured many archeological and religious sitesbefore returning to the U.S. These experiences though not directly captured in her artwork inform her art.18What is integral to your work as an artist?Inviting the viewer to contemplate each piece is integral to her work. The use of color, texture, and pattern creates interest. Perspective and use of angles are often used to create depth, but most importantly each piece has a story to tell.

GEISHASLYNETTE’S WINTER WONDERLAND28

When did you begin your artistjourney?She started as an aspiring painterattending the Rhode Island School ofDesign back in 1975. Still, she quicklyswitched her major to Architecture duringher sophomore year because she foundproblem-solving much more fulfilling. She’s led an illustrious career as anarchitect and construction manager andbecame a Fellow of both the AmericanInstitute of Architects (AIA) and theConstruction Management Association ofAmerica (CMAA). After merging her firmwith an international company over fifteenyears ago, she now has the time, financialindependence, and health to return to herpainterly roots. She has now come fullcircle - from artist to architect to builderback to artist.Where does your inspiration comefrom?During the pandemic, her plein air paintinggroup started to meet monthly via Zoomgenerating new topics each month, andwhen the leader of the group diedsuddenly of a heart attack after contractingCOVID, Urbanscapes was assigned as thenext topic to honor Rick, a city planner. Shortly thereafter, her daughter boughtsome amazing handmade papers fromNepal for Lisa’s birthday after receivingLisa's gift, wrapped in her hand-printedXmas Chanukah paper. The brightlycolored Nepalese papers inspired Lisa’sfirst piece in 2023 titled, Urbanscape inearly 2023 and she is now working on her52nd collage.ROXYBRIDES & BELL TOWERS

Interview by Lisa Sachs. Artist, based in California. Edited byPolyxeni Ziazia. For Culturally Arts Collective, July 2024 TOM30

AN JIN KYEONGBASED IN SOUTH KOREA

Who has influenced your work, or continuesto influence your work?It's my mother. I was influenced by her and shedrew, and my mother was a very dexterousperson.On the other hand, my mother did not go theway of an artist like me, but she is much betterat making than anyone else.Perhaps because he is a person withextraordinary creativity, I think my mother isgreat.Where does your inspiration come from?I usually go for a walk or get ideas fromeveryday life, or from books. Watchingexhibitions was also very helpful.I don't let go of my daily life. I think each subjectthat appears in my daily life has a greatinfluence on my work.While reading the book, the stories in the bookwere also very helpful in expressing the story inthe work. When I read a book, I come up withan idea for psychology and I mainly work onpersona.Do you have experiences that impacted your art?It was a European training exhibition that I went to in high school and a Japanese exhibition that I went to in college.Seeing the painters there, I thought it was very different from Korea,Unlike Korea, which only valued achievements and results, Europe and Japan valued the artist's efforts andprocess, and there were no set standards and they were free.Perhaps that's why I was able to get out of anxiety and work with a more comfortable mind.PATTERN SNAKEJEJU32

THE INNER AND OUTER WORLDWhat advice do you have for aspiringartists?Of course, I am well aware that the artpath is a very difficult and difficult one.However, I chose this path because Iwanted to live a heart-rending life.I think it is really great to leave yourwork in the world. Although it is adifficult and difficult path for aspiringartists, I would like to encourage themto overcome it and create the bestwork.I think I was able to stand in the positionI wanted because of the difficulties offailure and frustration.How would you describe your creative process?I paint on Korean paper and use mixed materials for collage work. I tear and paste magazines and Korean paper,and use powder and tube paint. It can have a three-dimensional effect and has excellent color development.What is integral to your work as an artist?As an artist, I think what is essential for my work is originality and excellent imagination.I've heard that the human brain loses its imagination as it gets older, and that's why it's harder to draw as an adult.That's why I think it's most necessary to maintain a healthy brain.I want to tell you that it is important to always see beautiful things and have good and healthy thoughts.What are your long-term artisticgoals?I am majoring in Korean art.While majoring in Korean art, I felt liketeaching Korean art to people all overthe world. And my dream is to becomethe best artist in the world.In the future, we will concentrate onmaking the best works and we intend topass on Korean art to people all overthe world.

PATTERN OWLInterview by An Jin Kyeong. Artist, based in South Korea. Edited byPolyxeni Ziazia. For Culturally Arts Collective, July 2024 34

Mingyue QuBASED INLOS ANGELES, CA

When did you begin you artist journey?I began my artist journey in my childhood, driven by a deep-rooted passion for art. From a young age, I wascaptivated by the act of creating, often drawing on the walls of my house. This early love for art continued to growand evolve as I explored different mediums and forms of expression. My journey took a significant turn during myuniversity years when I delved into interactive installations and wearable devices. These experiences allowed me tosee how art could engage audiences in unique, sensory-driven ways, ultimately leading me to pursue a career thatbridges art and design. This blend of creativity and functionality has defined my work ever since, guiding me increating immersive and impactful experiences.What do you aim to say by the themes in your art?Through the themes of my art, I aim to explore the intersection of technology and human experience, emphasizinghow interactive elements can enhance our understanding and engagement with the world around us. My worksoften delve into themes of sensory interaction, connectivity, and the fusion of the digital and physical realms.STEADY SLIPPERS36

Do you have experiences that impacted your art?Yes, several experiences have significantly impacted my art and shaped my approach to design. One of the mostinfluential was my work with interactive installations and wearable devices early in my career. Projects like the"Awesome Interactive Boards" and "Third Eyes" highlighted the power of sensory-driven interaction and narrativeconstruction. These projects taught me the importance of engaging the audience as active participants rather thanpassive viewers, transforming how I think about creating art.Transitioning from pure art to a more design-focused discipline was another pivotal experience. This shift allowedme to blend creativity with functionality, emphasizing the need for usability and accessibility in my work. Thistransition reinforced my belief that art can be both visually captivating and practically useful, a principle thatcontinues to guide my projects.My educational background and professional training have also played crucial roles. Studying interactive arts anddesign provided a solid foundation and exposed me to various tools and methodologies that I continue to use andrefine. These experiences equipped me with the skills to merge technology with creative expression effectively.Collaborating with cross-functional teams has broadened my perspective and introduced me to new ideas andtechniques. Working with designers, engineers, and other professionals has pushed me to explore innovativesolutions and think more holistically about my projects.Personal challenges and resilience have also influenced my art. Overcoming setbacks and adapting to newenvironments have taught me valuable lessons about perseverance and flexibility, which are reflected in theadaptability and innovation of my designs.Exhibiting my work in various shows and galleries has provided invaluable insights into how audiences interact withand respond to my art. These experiences have helped me understand the emotional and cognitive impact of mywork, guiding me to create more immersive and meaningful experiences.MAZE

Do you feel your art challenges existing barriers?Yes, I do believe my art challenges existing barriers in significant ways. By incorporating interactive elements, Ichallenge the traditional notion of passive viewing. My works, like the "Awesome Interactive Boards," requireactive participation, transforming the audience into co-creators of the experience. This approach breaks down thebarrier between the artist and the viewer, fostering a deeper connection and engagement.Blending art and technology is another way I push boundaries. By integrating sensory technology and digitalinterfaces, I merge these two fields, creating experiences that are both innovative and immersive. This fusionchallenges the conventional separation between art and technology, expanding the possibilities of what art canbe and how it can be experienced.Accessibility and inclusivity are central to my work. I strive to make my art accessible to a diverse audience,including those with different sensory abilities and learning styles. Designing for inclusivity challenges the barriersthat often exclude individuals from fully experiencing art. My aim is for everyone, regardless of their abilities, toparticipate and appreciate the art fully.Environmental responsibility is also a key consideration in my work. By using sustainable materials and energy-efficienttechnologies, I address the environmental impact of traditional art practices. Projects like the "Awesome Interactive Boards"promote a model of art that is both innovative and ecologically responsible.My focus on sensory-driven interactions and narrative construction adds depth to my art, challenging the superficial engagementoften found in traditional media. I aim to provoke thought and emotion, encouraging viewers to delve deeper and respond moreprofoundly.Cross-disciplinary collaboration is another aspect of my approach that challenges existing barriers. By working withprofessionals across various fields, including design, engineering, and user experience, I foster a more integrated and holisticcreative process. This method challenges the silos within the art and design industries.Moreover, many of my projects are inspired by real-world problems and aim to provide commentary or solutions. Addressingsocial issues through my art challenges viewers to reflect on and engage with these topics, promoting awareness and dialogue.In these ways, my art seeks to challenge existing barriers, creating more interactive, inclusive, and thoughtful experiences thatresonate with a wide audience and push the boundaries of traditional art forms.AWESOME INTERACTIVE BOARD38

THIRD EYESMAZE

Who has influenced your work, orcontinues to influence your work?Several individuals and groups haveinfluenced my work and continue toinspire me. Early on, I was deeplyinfluenced by pioneers in interactive anddigital art, such as Rafael Lozano-Hemmer and Janet Echelman. Theirinnovative use of technology to createimmersive, interactive experiencesopened my eyes to the possibilities ofblending art and technology.In addition to these artists, my professorsand mentors have played a significant rolein shaping my approach. Their guidancehelped me understand the importance ofuser-centered design and the power ofnarrative in creating engaging andimpactful work. They encouraged me topush boundaries and explore newmediums, which has been instrumental inmy development as an artist anddesigner.Collaborating with my peers and cross-functional teams has also been a sourceof continuous inspiration. Workingalongside talented designers, engineers,and other professionals has introducedme to diverse perspectives andtechniques, fostering a collaborativeenvironment where creativity thrives.Furthermore, the feedback andinteractions with users and audienceshave greatly influenced my work.Understanding how people engage withmy projects and incorporating theirinsights has been invaluable in refiningmy designs and ensuring they resonateon a deeper level.Lastly, staying updated with current trendsand advancements in technology keepsme inspired and motivated. The rapidevolution of digital tools and platformsoffers endless possibilities for innovation,driving me to continuously learn andadapt my approach.AWESOME INTERACTIVE BOARDSTRESS REACTION40

When did you begin you artist journey?I began my artist journey in my childhood, driven by a deep-rooted passion for art. From a young age, I wascaptivated by the act of creating, often drawing on the walls of my house. This early love for art continued to growand evolve as I explored different mediums and forms of expression. My journey took a significant turn during myuniversity years when I delved into interactive installations and wearable devices. These experiences allowed me tosee how art could engage audiences in unique, sensory-driven ways, ultimately leading me to pursue a career thatbridges art and design. This blend of creativity and functionality has defined my work ever since, guiding me increating immersive and impactful experiences.What do you aim to say by the themes in your art?I strive to create pieces that provoke thought and evoke emotion, encouraging viewers to become activeparticipants rather than passive observers. By integrating sensory-driven interactions, I aim to highlight the profoundimpact that technology can have on our daily lives, transforming ordinary experiences into extraordinary ones.MAZEInterview with Mingyue Qu. Artist, based in California. For CulturallyArts Collective, July 2024Edited by Polyxeni Ziazia.

QIAN CHENBASED IN LONDONWhere does your inspiration come from?''Dreamania'' inspired by Utopia and Generation Z’s advocating for quantum products, I enjoy the different impactsof order and chaos. These structures encourage me to narrate, combining stop motion images with nihilistic blur tocreate a Dreamcore space where dreams overflow into real life.What do you aim to say by the themes in your art?Dreamania'' is to create a new imaginative space by filling, recreating and beautifying connected memories indifferent media, prompting the audience to blur the boundaries between the past and the future, creating an absurdand distorted recreation paradise and using distorted and beautified retro equipment. It produces complexresonances, confusion about time and memory deviations, and dialectical thinking about nihilism.42

DREAMANIA PART 2DREAMANIA PART 1

How would you describe your creative process?I like to try different media, after completing the master degree in animation at the Royal College of Art, I want tobreak through the dimension and try to use sculpture to express my observation of my life trajectory. Based on myretro sentiment, I want to create a tactile spatial iteration concept to present The product of the interaction betweendaily life and dreams. In every collision with new media, I will learn new expression techniques that bring me closerto the artistic context I want to express, just like there are new scenery in every trip, and this art world that caninfinitely think without boundaries needs different media allow me to record and create.When did you begin you artist journey?I signed up for a drawing class when I was 6 years old, and discovered that I like to draw while listening. This habitallows me to switch my distracted attention to which part of interest, and I can get my own feedback while drawing. Ifelt very focused and productive during the process.With the support of my parents, I eager to turn this hobby into along-term career, thus working hard to achieve it.Do you have experiences that impacted your art?While studying at the University of the Arts London, I discovered that I had Aphantasia (can not generate imaginedimage in mind). This made me realize that I was blank when creating, but it was incredible that I could createwithout thinking about the picture. This wonderful symptom makes me look forward to my creation every time,because I am drawing a world that I don’t even know.DREAMANIA PART 344

What are your long-term artistic goals?I want to try cross-border cooperation and create artistic innovation with technologies related to quantummechanics. It is not limited to media, but breaks through the artistic sense to a new context and breaks thebarriers of the physical world.What is integral to your work as an artist?I feel that my creation is inseparable from my understanding of myself. Sometimes we are disturbed by theoutside world and forget our original intention. I am easily influenced by the environment, but I try to communicatewith myself when I am drawing alone. After I have a goal, I like to listen to music and popular science stories, andcreate in a relaxed atmosphere.

DREAMANIA PART 4Interview with Qian Chen. Artist, based in London. For Culturally ArtsCollective, July 2024Edited by Polyxeni Ziazia. 46

TheJourney ofWomen inthe ArtsCOLLECTION GALLERIES AT THE NATIONAL MUSEUM OF WOMEN IN THEARTS; PHOTO BY JOY ASICO-SMITH

Women have shaped the spine ofeach artwork movement duringhistory, yet their stories areregularly obscured by using men.Women have encountered manychallenges that have affected thedevelopment in their paintings,starting from inadequate schoolingand restrained exposure to revealsto no acknowledgment in anyrespect. The National Museum ofWomen in the Arts (NMWA)became based to fill this want bymeans of spotting female artistsand selling gender parity.Historical Barriers for WomenArtistsWomen have traditionally beenexcluded from attending artworkacademies and professional guilds.They had been often limited toprivate examination and had beendenied admission to existence-drawing sessions, which can berequired to collect understandingon the human anatomy and are animportant element of anytraditional artistic schooling.Despite those problems, severalladies have been capable ofsurviving and leaving their mark atthe records of art.Artemisia Gentileschi strove foracknowledgment in a lifestyledominated by guys and finished it.Mary Cassatt became a UnitedStates Impressionist whose picturesof ladies and children attracted themale-dominated Parisian artworknetwork. Georgia O'Keeffe hasbecome referred to as the "Motherof American Modernism" forchallenging conventionalpresentations with new views andvibrant color palettes.Gender Inequality within the World of ArtWhile those pioneers paved the manner, the artwork worldnevertheless has a protracted way to go in terms of genderequality. Major museums, galleries, and auction houseshardly ever feature lady artists. According to a 2019 survey,female artists accounted for only 11% of all acquisitions and14% of all shows at dozen principal American artworkinstitutions inside the previous year.Women's artwork keeps lowering in price due to this genderbias. Women's works at instances promote for less at auctionthan guys's works; woman artists have fewer solo indicatesand obtain much less crucial attention. This has an effect oncareer effects for dwelling female artists and keeps to biasthe photo of art records.A VISITOR OBSERVES ALMA WOODSEYTHOMAS'S IRIS, TULIPS, JONQUILS, ANDCROCUSES (1969) IN THE HOLDING GROUND:ARTISTS’ BOOKS FOR THE NATIONALMUSEUM OF WOMEN IN THE ARTS GALLERY;PHOTO BY JOY ASICO-SMITH48

32Examining the Systems of Gender BiasTo fully recognize gender bias in the art world, itis essential to have a look at the various systems—social, governmental, monetary, andsophistication—that have historically restrainedladies's get entry to the arts. Socially,conventional gender roles frequently relegatedgirls to domestic responsibilities, leaving littletime or guide for inventive pursuits.Governments and establishments frequentlyexcluded women from formal education andexpert networks important for creativedevelopment and popularity. Financiallimitations further compounded those troubles,as ladies had much less admission to investmentand patronage. Additionally, the artwork markethas long been encouraged with the aid of apatriarchal class gadget that values men's workover ladies', perpetuating the devaluation ofladies' artwork.The Evolution of Women ArtistsThe roles and visibility of girls artists havemodified substantially over history. In theRenaissance, artists including SofonisbaAnguissola received famous popularity nomatter social limitations. The 18th and 19thcenturies saw extra opportunities open up forladies, even though they regularly had to beaware of "female" genres like portrait paintingand home scenes.The past due nineteenth and early 20thcenturies noticed male dominance inside the artworld grow to be extra suggested. However, the20th century began to shift these inclinations.From the mid-twentieth century onwards, girlsstarted out gambling major roles in diversemovements, along with Modernism, AbstractExpressionism, and Feminist Art. Artists such asFrida Kahlo, Lee Krasner, and Judy Chicago didan awful lot extra than make contributions tothose movements; additionally they shiftedantique gender norms and brought women'stroubles to the foreground.COLLECTION GALLERIES AT THENATIONAL MUSEUM OF WOMEN INTHE ARTS; PHOTO BY JENNIFERHUGHES, COURTESY OF NMWACOLLECTION GALLERIES AT THENATIONAL MUSEUM OF WOMEN IN THEARTS; PHOTO BY JOY ASICO-SMITH

The Role of NMWAFounded in 1987 by Wilhelmina Cole Holladay and Wallace F. Holladay, NMWA gives the achievements ofwomen artists and promotes identical illustration for ladies in the arts. Located in Washington, D.C., it isthe simplest primary museum globally totally devoted to ladies within the arts.Fulfilling its venture, NMWA has significant collections of artistic endeavors, exhibitions, and educationalapplications. It consists of more than five,500 works from the Renaissance to the cutting-edge with the aidof well-known creators including Mary Cassatt, Frida Kahlo, and Faith Ringgold.NMWA's Impact on Gender InequityNMWA stands at the vanguard in highlighting women artists. Its exhibitions provide girls artists from thepast and give the eye they sorely need. Some superb shows encompass "Women Artists of the Dutch GoldenAge," which showcased the forgotten work of ladies all through this seventeenth-century duration in Dutchart, and "Magnetic Fields: Expanding American Abstraction, Nineteen Sixties to Today," which featuredsummary works by using ladies of colour.Through its instructional packages, consisting of Women, Arts, and Social Change, the museum providesopportunities for public discourse concerning gender troubles inside the art global. These tasks entice newgenerations of audiences and supporters of women artists, fostering a greater balanced and inclusiveinventive community.NMWA showcases the unbroken spirits and ingenuity of women over many centuries in their evolution asartists and their persevered battle for gender fairness within the artwork world. The National Museum ofWomen in the Arts serves as a beacon in this combat with the aid of celebrating the artistic achievements ofladies even as calling for an inclusive artwork internationally. Institutions like NMWA are essential inbringing genuine parity to the humanities, starting up opportunities for the voices and visions of girlsartists to be adequately represented and stated.NATIONAL MUSEUM OF WOMEN IN THE ARTS,EXTERIOR, 13TH STREET AND NEW YORK AVENUESIDES, 2023; PHOTO BY JOHN MANNARINO50

Critical Theory and FutureDirectionsTo deeply understand anddismantle the limitations whichhave traditionally hindered womenin the arts, it's far more importantto undertake vital theoreticalframeworks. Critical ideas, inparticular within the realm ofinternational relations, gives a lensthrough which we are able toexamine how energy dynamics,gender, and tradition intersect toform societal structures, such asthe art global. This theoreticalmethod encourages a crucial examof the systems of oppression andthe strength relations that sustainthem.Social SystemsThe social systems that improvegender bias inside the arts arerooted in conventional genderroles and expectations. Theseroles have traditionally relegatedwomen to the personal sphere,restricting their possibilities forpublic and expert engagement. Thecontinual undervaluation ofwomen's contributions in all fields,together with artwork, is areflection of broader societalattitudes that devalue girls'spaintings.Governmental and InstitutionalBarriersGovernments and institutions haveperformed tremendous roles inperpetuating gender inequalityinside the arts. Historically,regulations and practices haveexcluded girls from formal arttraining and professional guilds,which are vital for artisticdevelopment and recognition. Theloss of institutional help haspressured many women to pursuetheir artistic careers without theidentical sources andopportunities available to theirmale opposite numbers.34MEZZANINE LEVEL OF THE NATIONALMUSEUM OF WOMEN IN THE ARTS; PHOTOBY JOY ASICO-SMITHMEMBER PREVIEW DAY AT THE NATIONAL MUSEUMOF WOMEN IN THE ARTS, OCTOBER 20, 2023;PHOTO BY ELYSE COSGROVE/ASICO PHOTO

MEZZANINE LEVEL OF THE NATIONALMUSEUM OF WOMEN IN THE ARTS; PHOTOBY JOY ASICO-SMITHFinancial ConstraintsFinancial limitations have additionally substantiallyimpacted women' right of entry to the humanities.Women artists have traditionally had much lessaccess to investment, patronage, and differentfinancial resources important for developing andshowcasing their paintings. The artworkmarketplace, inspired through patriarchal values,often undervalued women's artwork, perpetuating acycle of monetary downside.Class DynamicsClass dynamics intersect with gender to furthercomplicate getting admission to the arts. Womenfrom decreased socio-monetary backgrounds faceextra boundaries, along with limited admission toeducation, fewer networking possibilities, anddecreased visibility. These magnificence-primarilybased dangers compound the gender-uniquedemanding situations that girls artists face.Moving ForwardAddressing those systemic obstacles calls for amultifaceted approach. Policy changes, improvedfunding for girls-led artwork initiatives, equitablerepresentation in exhibitions and collections, and arevaluation of women' contributions to thehumanities are all important steps. Institutions likeNMWA play an essential role in this system viahighlighting the achievements of women artists andadvocating for a greater inclusive artworkinternationally.By continuing to explore and project the structuresthat perpetuate gender inequality, we are able towork toward a more equitable destiny inside the arts.This includes fostering vital discourse, supportingemerging women artists, and recognizing the ancientcontributions of women to the artwork world.The fight for gender parity inside the arts is ongoing,and establishments like the National Museum ofWomen inside the Arts are crucial in this warfare. Byanalyzing the historical and systemic boundarieswhich have hindered girls artists and adoptingimportant theoretical frameworks, we are able tobetter recognize and address the complexities ofgender inequality inside the art international. Thiscomprehensive technique will assist to make certainthat women's voices and visions are effectivelyrepresented and celebrated, paving the manner for agreater inclusive and equitable inventive network.MEMBER PREVIEW DAY AT THE NATIONALMUSEUM OF WOMEN IN THE ARTS,OCTOBER 20, 2023; PHOTO BY ELYSECOSGROVE/ASICO PHOTO52

MEMBERS ATTEND A TOUR OF THE COLLECTION GALLERIES ATTHE NATIONAL MUSEUM OF WOMEN IN THE ARTS, OCTOBER 20,2023; PHOTO BY ELYSE COSGROVE/ASICO PHOTOCOLLECTION GALLERIES AT THE NATIONAL MUSEUM OF WOMENIN THE ARTS; PHOTO BY JOY ASICO-SMITH

ENTRANCE OFTHE NATIONALMUSEUM OFWOMEN IN THEARTS AT NEWYORK AVENUE; PHOTO BYELYSECOSGROVE/ASICO PHOTO54

1 8 A R T I S T S 9 C O U N T R I E SA R T I S TF E A T U R E SJ U L Y 2 0 2 43155

INSTAGRAM @VC_ARTWORKS_CHINCOTEAGUE ISLAND, VIRGINIAVivian Cavalieri is a visual artist with a studio on Chincoteague Island, Virginia. Her threedimensional miniature scenes prompt conversations on a range of global issues includingimmigration and social justice. Her work has appeared in numerous exhibitions in the US andabroad, including Paris, Athens, Venice, and Rome. Her art is featured in Suboart (December2023), Art Seen (February 2024), and on the Al- Tiba9 website. She is represented by Hambly &Hambly, Northern Ireland, UK. Cavalieri graduated from Harvard University (BA, Fine Arts) andthe New York University School of Law.VIVIANCAVALIERIBIOGRAPHYSTATEMENTI am a conceptual artist whose three-dimensional mixed media scenes unexpectedly promptconversations on topics such as immigration, climate change, and social justice. While myinternational upbringing predisposes me to select universal topics, my palette and sense ofdesign derive from my Venetian heritage. I incorporate a segment of a necklace I designed into a scene crafted with commerciallymanufactured items such as dollhouse miniatures, fabrics, and mirrors. While seeminglyimpersonal, the items selected are symbolic, the mix is eclectic, and the resulting perspectivesubjective. Just as the assemblage incorporates various components, construction of the scenenecessitates a variety of techniques including sewing, painting, photography, and woodworking.My assemblages do not criticize or preach; rather, they invite dialogue to foster awareness andempathy. I encourage viewers to approach with an attractive, small-scale scene. The customwood frame reaches outward to embrace the viewer. I frame using museum glass because itsclarity creates the illusion that the viewer is present at the scene, further encouraging dialogue.56

WAR & PEACE (CODE GIRLS)WAR & PEACE (IVY & ORCHIDS)SOSWAR & PEACE(STRINGS)BORN FREE

KYRGYZSTANMultidisciplinary artist Asia Aveli was born in 1980 in Kyrgyzstan. Her childhood was literally spentwithin the walls of the opera and ballet theatre where her parents worked. Later Asia herself woulddevote 15 years of her life to ballet. The ornaments on the stage costumes and the large-scale sets,conveying the moods of different epochs and cultures, and even the music coming from the orchestrapit, all served to instilling the future artist a love for everything sublime and beautiful. The uniquecustoms, crafts and folklore of the Kyrgyz people, among whom she spent her childhood and youngeryears, also served to make a certain “aesthetic imprint” on her worldview. Her post-graduate educationwas in the field of applied art. Creating something new with one's own hands is not only an irresistibledesire, but rather an urgent need which haunts an artist all their life.Asia began her adult life journey as an emigrant at the age of 23. After living in China and Malaysia untilthe age of 34, she moved to her historical homeland, Russia, and again found herself to be animmigrant with the same feeling of being out of place, this time in the very country where she had beenborn.A burning desire to feel free, regardless of who she is and where she is, are the core emotions that theartist pours out into her work.BIOGRAPHYSTATEMENTMy art is a reflection on what freedom is. Even when we achieve a spiritual and material balance and weachieve true inner freedom, we cannot say with certainty that we are then beyond all limitations. Socialinequalities, race, borders between countries, physical characteristics and other factors constantly serveto determine our level of freedom. My journey as an artist is the autobiographical story of a forcedimmigrant in my own historical homeland, where I have to re-establish a dialogue with the new worldaround me. This is my hero's journey, which in many ways defines my art. I want my work to reflect thefierce desire for the absolute freedom that I am striving for. This is why the theme of conflict andovercoming it runs through my work and the special medium that that I use, namely textiles, which cameinto art along with ideas of feminism and the struggle for gender equality. In my search for connectionsbetween textures and forms I use unexpected and sometimes conflicting materials, which in my worksnot only come into direct contact, but find unity and integrity, and in the end, freedom!ASIAAVELIINSTAGRAM @ASIA_AVELI58

42GROUNDING WELLSPRING PASSIONDIPTYCH “HARMONY”

INSTAGRAM @CLOSE.YOUREYES.ANDSEELONDON, UKAlina R.J is a London-based multidisciplinary artist with a Central Asian background. At the moment,she is pursuing her Master's degree at the Royal College of Art. Alina's current research focuses onEastern philosophies, Jungian psychology – specifically Individuation and The Self – as well as toolsto reconnect with this part of our psyche, including meditation. She had participated in 10+ shows inLondon, had 3 interviews and one in-person artist talk. She is also a creator of art healing workshopseries based on art therapy principles and Reiki energy work.BIOGRAPHYSTATEMENTAlina R.J’s practice is intertwining discourse around social, cultural, psychological, philosophicaland metaphysical concepts to explore contemporary issues through a prism of ancient knowledge,seeking to uncover timeless truths. She works across different mediums, including painting,sculpture, performance and sound, communicating her ideas through symbolism and metaphors,often complemented with the artist’s written reflections.Alina’s ultimate goal is to evoke emotional resonance and provide a space for contemplation andintrospection. In an era dominated by information overload and external distractions, she believes itis essential to highlight the significance of one's internal world and encourage viewers to turninward.‘It is impossible to find oneself externally – all the answers we seek are already within us.’In essence, Alina’s practice is a testament to the interconnectedness of all human experiences andthe profound wisdom that resides within.ALINA R.J60

SEEING THE UNSEEN II, 2024SEEING THE UNSEEN I, 2023

INSTAGRAM @NANCYSHULERFINEARTTROY, OHIOCapturing life's beauty one brushstroke at a time, Nancy Beth Shuler, a full-time professional artist from Troy,Ohio, epitomizes artistic discipline and commitment. Her journey is fueled by a profound passion for expressingthe intricacies of human experience through art, transcending the boundaries of language, culture, andgeography. Nancy's cosmopolitan perspective, shaped by a family that traversed the country, enriches herartistic vision with diverse cultural influences.Transformative experiences, including residing in the San Francisco Bay Area and an artist residency inTuscany, imbue her work with depth and resonance. These experiences reflect her commitment to celebratingdiversity and fostering empathy through art. Nancy has mastered the fundamental skills of a fine art painter andholds a BFA in painting. Her involvement in teaching art workshops and her dedication to fostering creativity inothers exemplify her commitment to educational empowerment and community engagement.She adds value to others through expressing her inspirations, taking the raw elements of life, and turning theminto something meaningful. Nancy is currently showing at the APAC Performing Arts Center in Troy, Ohio, andshe has exhibited her work regionally, nationally, and internationally. As an active member of The DaytonSociety of Artists, she finds camaraderie and inspiration within the vibrant artistic community, contributing herunique perspective to collective creativity.Specializing in portraits, landscapes, and abstracts rendered in oil, Nancy's compositions exhibit a harmoniousinterplay of primal forms and intricate design elements. Her mastery of oil painting is evident in everybrushstroke, as she navigates the nuances of color, form, and composition with skill and exploration. Nancybelieves that expressing inspiration is shared through energy between human beings. She seeks to inspire andencourage on a deep level, fueling one’s respective path and generating synergy. Through her art, shenourishes the senses and creates intrinsic experiences that lead to transcendent thoughts in personalperception.NANCYSHULERBIOGRAPHYSTATEMENTMy paintings are a gift of my inner world to others. Working in oil paint, I build up layers until I have fullyexpressed my vision. This process can take time, but each stroke is a deliberate decision informed by mytraining and exploration in the world of art. To me, fine art is interconnected with all the arts and sciences:design, philosophy, spirituality, geometry, color, emotion, biology, geology, mathematics, poetry, and music.I draw inspiration from composed sketches that I rework until I am satisfied. When I start a painting, my primaryfocus is on the motif and the interplay of light, medium, and dark tones. I then choose colors that convey myemotions and harmonize with each other. Finally, I concentrate on the tactile quality of the surface.I hope my work evokes a deep emotional response and invites viewers to reflect on the interconnectedness ofart and life. I love being an artist because it demands hard work and authenticity. It allows me to offer aheartfelt gift to others. My goal is to continue exploring and pushing the boundaries of my creativity, sharing myevolving vision with the world62

IN THE UNDERGROWTHTRANQUIL WATERSENJOY THE SHOWCREATION SINGS!

BARCELONA, SPAINAsya Aseeva is a multidisciplinary artist born in Moscow, Russia, currently based in Barcelona, Spain.Her artistic practice spans across a range of mediums, including painting, sculpture, and the redefinitionof traditionally "utilitarian" forms such as jewelry, as well as incorporating traditional "feminine"techniques like embroidery and crochet.Asya is also creating video art using AI. With a blend of creativity and technology, she explores theintersection of art and artificial intelligence, pushing the boundaries of traditional mediums. Asya's workreflects the ever- evolving relationship between human expression and technological advancement,offering a glimpse into the future of artistic exploration.Asya has graduated from the Institute of Contemporary Art and has exhibited her works in numerousexhibitions, both nationally and internationally. Her works have been collected by private collectors inRussia, France, and Great Britain.ASYA ASEEVABIOGRAPHY As a multidisciplinary artist, I explore the complexities of fear and anxiety and the courage required toovercome them.Through various physical mediums such as painting, sculpture, installations, and textiles, I aim totransform these intangible emotions into tangible objects. Anxiety and courage are like two sides of thesame coin, and my work reflects this duality. The fear of nothingness, the anxiety of fate and death, andthe threat of emptiness and meaninglessness all find expression in my art as I seek to create a synthesisbetween the opposites.My art captures the essence of our current era of open anxiety, where we are constantly facing theunknown and navigating uncharted territories. In this century of open anxiety, we must navigate throughthe obscurity of the unknown, traversing uncharted territories with courage and bravery, where there areno maps or guidebooks to light our way. Through this process, we take a leap into the future, facing thechallenges that lie ahead with boldness and resilience.The thought of our own mortality can be paralyzing, but by confronting this fear, we can find the courageto take risks, push boundaries, and reveal the hidden depths of the human soul. My work embodies thisjourney towards overcoming fear and discovering the inner strength to face the unknown.STATEMENTINSTAGRAM @DE.MON.AME64

RENEWAL #1 RENEWAL #2WHISPERS OF UNITY #1WHISPERS OF UNITY #2

INSTAGRAM @_FOOTPRINTSOFFAITHGLASGOW, SCOTLANDEva M.V. Hewitt (b.2001) is a fine artist based in Glasgow, Scotland, who specialises in the medium ofpainting. Hewitt launched her first solo exhibition 'Trapeze' at Glasgow's Pipe Factory in April 2023 andhas had her work represented in Rome, Italy, auctioned in Seoul, South Korea and sold in Hong Kong,China. In July 2023, she graduated from the Glasgow School of Art achieving a first-class BA HonsDegree in Fine Art. Following the success of her Undergraduate Degree Show, the artist was awarded theGlasgow Art Club Award as well as The Hunt Medal for her 'Poetic Creativity', which was awarded by theSteven Campbell Trust. Hewitt now continues her studies at Masters level at The Glasgow School of Artand prepares for her final Postgraduate Showcase in August 2024. Her art has afforded her manyopportunities and residencies - most recently, Eva Hewitt has been nominated for the Richard Ford Award2024. As a result, she will complete a residency in Madrid, producing work among the elegant beauty ofThe Prado Museum this Autumn. BIOGRAPHYSTATEMENTEva M.V. Hewitt is a fine artist based in Glasgow, Scotland, who uses painting as her medium of expression. Theartist studied at The Glasgow School of Art, achieving both her Undergraduate degree and Fine Art Master'sdegree. Her artworks explore the delicate and complex relationship between the earthly and the ethereal,presenting a unique perspective on the human condition in our modern society. Inspired by traditional Catholic iconography and the notion of the contemporary Christ, Hewitt explores a plethoraof varying themes and contexts in her art. More recently, Her works have delved into the depths of humansuffering and the intricacies of our contemporary culture and its heaviness. With a focus on biblical narrative anda strong figurative approach, her pieces invite viewers to contemplate the human experience and the fragility ofexistence by often projecting the hardships of the human condition onto the heavenly figure - often the saints andangels, often Christ Himself. Through doing so, she opens a relatable narrative up to each individual viewer. The thoughtful nature of Hewitt's creations evoke a commonality between the earthly and heavenly, providing abridge between the physical and divine, regardless of individual background. The ‘soul’ is important in Hewitt’swork. The artist proudly dedicates her painted creations to the young generation of today as these individuals aretoo often encouraged to abandon the beauty of Heaven, in order to indulge in temporal worldly delights. Sheworks to reintroduce truthfulness back into the narrative.Ultimately, the art of Eva Hewitt celebrates the beauty of the divine at work within the quotidian. EVA M.V.HEWITT66

FIELD OF BLOODMADONNA AND CHILDCIRCUS CHRISTTHREE FIGURES AT THEFOOT OF THE TRAPEZETHE HIGH COMMAND

In the current creative period I'm creating anthropomorphic animals, especially elephants, whose I'dlearned to understand their symbolic meaning linked in some way to the identity of the territory where I'mliving in.I also often give shape to my nightmares, my fears, but also to the positive emotions that often haveinsects as symbolic references.When I draw I mainly use pastels for their capacity to create many nuances simply with fingers; Bic pensboth for their extreme simplicity and effective expressiveness and I would even say their sincerity; ink,since with very few brushstrokes it is possible through fluid lines and flat backgrounds to giveexpressiveness to any two-dimensional creation.For paintings made with traditional mediums I mainly use acrylic for its ability to dry quickly and for theversatile use that can be made of it.I believe that in Art there are no "arrival points", but always and only starting points, where the aim is notto achieve a particular purpose, but where the most important moment is precisely the creative one.HTTPS://LINKTR.EE/MARIACELESTEARENA93Mariaceleste Arena lives and works in Sicily. She mainly painting and drawing fantastic and surrealsubjects, combining traditional and digital techniques and mainly inspired by fantastic animals and theoutsider art.She had exhibited and published in national and international exhibitions and art magazines.MARIACELESTEARENABIOGRAPHYSTATEMENTMESSINA,ITALY68

THE BUTTERPHANTWINGED ELEPHANT

INSTAGRAM @DARTSHINEEMAURITIUSI am Darshinee Choollun, an artist from Mauritius, graduated with a BA(Hons) Fine Arts from the Universityof Mauritius.I have 10 years of teaching experience in secondary/high school, and I am able to help students developtheir aesthetic understandings and appreciations for Art as from the lower classes.I also have over 11 years of graphic design experience in serigraphy techniques and textile printingprocesses.As the artist in charge of my Art brand name; ‘D’ART Shinee’; I do many different commissioned paintingsfor clients. I engage myself in thorough discussions with different clients to understand their vision,preferences and expectations for the commissioned artwork.D’Art Shinee has been the Brand Partner of several local organizations with regards to making CustomizedPortraits to be given as gifts to various personalities ranging from International Artists (Singers, Musicians),Political Figures (Foreign Guests of Honor) and Religious Leaders.I have also participated in many Local & International Art Exhibitions and been featured in Art Magazines.My paintings are normally on the themes ‘inclusion, diversity, unity’ based on local inspirations, childhoodmemories and stories I have heard from my roots. Growing up, I was surrounded by vibrant colors,sounds, and scenes that left a lasting imprint on my mind. Simple moments and vibrant festivities areetched in my memory and often find their way into my paintings.By incorporating these stories into my work, I aim to keep these traditions alive and share their beauty witha broader, international audience and hope to bridge cultural gaps and foster a greater understanding andappreciation of my heritage. My intentions are rooted in promoting harmony, understanding, andacceptance within this modern society. My aim is also to inspire individuals of all ages to embrace non-violence, empathy, and bring people together, regardless of their backgrounds, beliefs, or differences.I believe that Art has the capacity to evoke emotions and cultivate empathy. Paintings can definitely tellstories, convey emotions and provoke thought.I invite viewers to reflect on their own beliefs and biases, challenging them to confront prejudice anddiscrimination and embrace values of tolerance and acceptance for my future exhibitions.With paintings of local Mauritian themes, childhood memories and fantasy spirituality as main subjects, Ipromote and contribute to the cultural diversity of the art world.D'ARTSHINEEBIOGRAPHYSTATEMENT70

ONENESS WITH NATUREVEILED AGONY THE GARDEN OF EDENOLD WOMAN IN SUGARCANE FIELD

INSTAGRAM @LIZAVETA.ANTROPOVALizaveta Antropova – watercolor selftouch artist, born in Minsk, Belarus, in 1985. She is participant andlaureate of more than 50 projects (exhibitions, competitions, biennials, festivals all around the world). In2021 she moved to live in Kazakhstan. Since 2023 – Leader of International Watercolor Society Brunch inKazakhstan. Her artworks are in the fund of The National Museum of Kazakhstan and in private collectionsin different countries. Nowadays she lives in Astana.I`m a watercolor artist. It seems to me that the authors working in this medium have a special vision andapproach, since the artist doesn`t control everything in the process of creating an artwork. It`s impossibleto imitate the freedom of watercolor blur. In life, I often rely on fate. Watercolor gives me this feeling of nonman-made, experiment, chance. In addition to the final result, I`m very interested in the process itself, theinteraction between me and the material, our co-authorship, emotional connection.In my creative activity, I don`t stop at the research the one topic. I usually work in series, reviewing andrevealing issues that are important for me at the moment. For example, the series “Talking Still Lifes”,dedicated to social relations, or “You Always Know What to Wear” - about women, or “There was a Homehere” - about the war in Ukraine in 2022 and so on.I often keep returning to the urban landscape genre. I paint portraits of cities, trying to reveal theircharacter, to capture their uniqueness, to show their mood. In the presented watercolor artworks I researchAstana city from the sight of a stranger, an immigrant, which I am here.I want the viewer, looking at my artworks, to catch something familiar, like déjà vu from their own life.LIZAVETAANTROPOVABIOGRAPHYSTATEMENTASTANA, KAZAKHSTAN72

HIGH RELATIONSBIG PROJECTIN THE MIRRORPARTNERSRHYTHMSBREAK TIME

INSTAGRAM @DEBORAHWPERLMANARTSouth Florida artist Deborah Perlman is a graduate of Boston University (BFA, sculpture) and CranbrookAcademy of Art (MFA, sculpture). After graduate school, Perlman ventured into communications, enrichingher creativity through travel and special assignments. Since dedicating herself to art full time, she has beenfeatured in several art publications and her work has appeared in exhibitions nationwide including threesolo exhibitions from 2023 – 2024. Perlman’s work is held in private collections, and she is a member of regional and national professionalartist organizations. Perlman creates abstract geometric 3-D collage by transforming flat images into raisedarchitectural forms that add depth, texture, and shadows. She cuts, scores, and folds paper to create theforms, then combine them with materials like photographs, wood, and metal. Juxtaposing these forms, shehighlights their points of contact and the shadows they cast. Each piece invites the viewer to travel throughdoorways, walkways, ramps, and passages, leading them on a journey to spaces filled with mystery,questions and the unknown.Perlman finds inspiration from the form, structure and styles of African sculpture; the Constructivism,Geometric Abstraction, and Cubism art movements; the work of Louise Nevelson; the ‘illogicalperspective’ of Giorgio de Chirico and M.C. Escher; Joseph Cornell’s shadow boxes; and Frank Stella’smetal reliefs, among many others. Her concerns for the environment, reactions to global conflicts, andpersonal life experiences contribute to the subject matter she addresses.ENTER A WORLD SOMEWHERE BETWEEN REAL AND IMAGINEDMy artwork transforms collage into three-dimensional sculptures, converting flat images into raisedarchitectural forms that add depth, texture and shadows. By cutting, scoring, and folding paper, I createthese forms, then combine them with photographs, wood, fabric, metal and other materials. Thejuxtaposition of these elements -- casting shadows and highlighting contact points – enhances the intentionof each piece.The forms and spaces in my work exist between the real and the imagined. Each piece invites you to travelthrough doorways, walkways, ramps, and passages, leading you to spaces filled with mystery, questions,and the unknown. These paths may evoke feelings of peace, protection, and a deeper understanding ofyour spirit.My works are visual metaphors for issues that impact me, from environmental concerns and globalconflicts to the quest for inner peace. I immerse myself in this ‘almost-but- not-quite-real’ world and inviteyou to join me. Walk in and ask yourself: What is it? Where is it? What do I see and feel? And ultimately,do I find myself in it, or not?Through these questions, I aim to foster deeper connections and understanding,encouraging introspection and the recognition of our shared experiences.DEBORAHPERLMANBIOGRAPHYSTATEMENTHOLLYWOOD, FL USA74

SCREEN SHOT #12DENIED

INSTAGRAM @SAL.ARTTI'm an artist based in Charleston, SC. I work primarily as a painter, illustrator, and ceramicist, and I'm analumni of the South Carolina Governor's School for the Arts and Humanities. I have aways been able topour unending hours into my artwork, and have been doing so for as long as I can remember. Thegovernor's school allowed me to try out nearly every kind of art making I can image, and it allowed me todiscover my passion for ceramics. I love everything to do with clay, but especially wheel throwing andsculpture, both of which I used to create this body of work. Going forward, I plan to pursue a BFA inillustration at MICA, but I hope to continue my work with ceramics as well.This series is the culmination of a semester of work done under my teacher, Elaine Quave. In it, I use arthistory to bring life and realism to a fantasy world and the narrative that takes place within it: Spellbound,my fictional writing project of five years. My ceramic pieces create a connection between myself, theviewer, my story, and history all at once. They involve an aspect of placing not only my viewer, but alsomyself into this world. At the same time, they are a retrospective. I have a deep affection for the pastcultures of the world; the why and how of art and creation, and the cultural influences that lead to bothstylistic differences and repeated similarities across time and space. Their ideas and beliefs are one of mybiggest inspirations for writing and imagining. My collection of five vessels, a sculpture, and a wall plaqueare displayed along with written plaques arranged in a timeline. This layout mimics a museum, casting mypieces as real uncovered artifacts for an observer to piece together into a story. It allows me to merge mypassion for creative writing with my art, as well as fill in some of the narrative gaps and by providingcontext to the lore surrounding the artifacts. Ultimately, I aim to connect to people with me and my owninterests. I— maybe a bit selfishly— want people to feel what I feel. I think it’s born from that initial passionI have for my ideas. Of course I care about them more than anything, and of course they consume most ofmy life. But if a tree falls in the forest, does it make a sound? If I create and can’t connect, is it enough? Icreate for myself, yes, but I also create to be seen. I need my audience to consume with the same fervor Ido. I need to inspire the same drive to create that I’ve always felt. Spellbound is something that isincredibly real to me, and my goal is to make it just as real to other people by using ceramic to replicate arthistorical styles in a conglomerate way. Basing fantasy in an element of realism grounds the viewer andbrings them closer to a narrative through the basis of familiarity. Throughout human history, ceramic hasserved as a vessel for human connection, and now in the present I’m able to draw from thousands of yearsof art history to take something fictional and immerse my viewer in it by giving it a strong and evocativebasis. My work exists in the hope that through this connection, someone will care even a fraction of asmuch as I do.SALBIOGRAPHYSTATEMENTCHARLESTON, SC76

FERTILE ASHESUNTITLED THROWNVESSELSFROM FLOWING CUP

INSTAGRAM @INDRA.PERSAD.MILOWE"Indra Persad Milowe": A Trinidad born, USA-based, prolific Visual & Public Artist with numerous ArtExhibitions & Press Releases Internationally. During Indra’s first trip to Indonesia, she was invited to atraditional Balinese Wedding, a Baby Ceremony: "Nyabutan", and the 5-day Odalan Festival. Indrarecently returned from her second trip to Ubud, Bali, Indonesia as an "Artist-in-Residence" as well asattending the 10-day Gulungan and Kuningan Festivals. Details and photographs atwww.indrapersadmilowe.com Indra has two other collections: "Festivals & Folklore of Trinidad, WestIndies" and "My Journey to Morocco': She is a regular Contributing Artist to the Rotunda Gallery (in theParliament Building, Port of Spain, Trinidad, West Indies) and to Art Impact International (Washington,D.C.). She recently attended (SIFA 2023) Singapore International Festival of Arts. She was an "Artist-in-Residence" at Mauser Eco House, Parrita, Costa Rica, where she painted a 6 x 6 foot mural on theirentrance wall and donated a painting to a local restaurant: "Mirador y Restaurante Donde Andres" inParrita, Costa Rica. She was voted "Artist of the Month" while there. Indra has created two public artprojects in Salem, MA: "Kailash: The Art Box in Derby Square" and "Mirabai: The 22 Bollards on ArtistsRow". In her studio, she has painted two 6 x 6 foot murals, "Tulsi" and "Rishi". 2 Public Art Exhibitions inSalem, MA, "I am extremely proud to have received 2 Grants from the Public Art Commission".https://www.artworkarchive.com/profile/salemartsma/artwork/mirabai?artist=indra-persad-milowePlease visit my website: www.indrapersadmilowe.com INDRAPERSADMILOWESTATEMENTSALEM, MA. USA.78BIOGRAPHYThere is so much advice out there about all the different skills and qualities folks need to develop in orderto succeed in today’s highly competitive environment and often it can feel overwhelming. So, if we had tobreak it down to just the three that matter most, which three skills or qualities would you focus on?Newly minted artists, just follow my three P’s: Planning, Persistence and Publicity!Planning: I lie on my bed looking at the blank ceiling or on my sofa gazing at the blue sky, with clouds ofevery size and shape dancing across. From this relaxed outer view comes inner pictures that I can use formy paintings. I always have pencils and a sketchpad close by to start the project.Persistence: I must choose forms, shapes and colors to put my inner visions onto the canvas. I constantlyrefine each painting as I go along. My goal is not Perfection; more like reaching a high Peak!Publicity: What is the point of being an artist if I cannot reach out and bring pleasure, educate and eveninspire the viewer. Hence I strive to get frequent press reviews in newspapers and magazines. I also loveexhibitions and my paintings have been seen in public libraries and other public buildings.

FEMALE PROCESSION HOLDING A CLOTH DURINGTHE ODALAN FESTIVALBALINESE FUNERAL PROCESSION BEFORE CREMATION

INSTAGRAM @VANESSAONUK.STUDIOSVanessa Onuk was born and grew up in and around Frankfurt am Main. While she was fortunatethroughout her entire childhood to grow up with an artist as an uncle and to be supported in this areaat school, her professional path initially took her into medicine. In 2022, she began to take her paintingto a professional level. While she had a clear vision from the start regarding the technique of herpictures - using acrylic paint at different levels of wetness to achieve layers in different textures andstrong color gradients and bleeding colors - the question of how to achieve this goal arose early on. So, she began to follow her inner scientist and experimented with different canvas substrates toachieve the desired result. Since then, she has worked almost exclusively on pure, unprimed linen.This allows for the perfect mix of bleeding colors, random gradients and precise applications. Individualdifferences can always be achieved through different thicknesses, resulting in a unique vintage finish. My abstract landscapes are intended to capture a moment in which we want to linger because thesight, the light, the color or the silhouette of an environment captivates us and we want to absorb it. Myown observation of my works is not about subtleties and details, but rather I reduce them to shapes,colors and feelings. The details arise from previous experiences and memories of the viewerthemselves; our minds are always looking for associations and connections with what we have alreadyexperienced, so that looking at the images offers a - sometimes - unique experience for the viewer. Theintuition of my pictures is to give the viewer a framework, the emotions and memories with which theviewer associates them arise individually.”VANESSAONUKBIOGRAPHYFRANKFURT, GERMANY80STATEMENTVanessa Onuk is a self-taught artist living and working in Frankfurt am Main/Germany. Since mychildhood, I have had a great fascination for abstract art with bleeding colors and transparent layers. Inorder to be able to achieve these effects in my own pictures, I started covering my own canvases withorganic cotton or linen and am therefore flexible in terms of the sizes of individual commissioned works.My technique is to apply acrylic paint in layers with different degrees of coverage and pre-watering of thecanvas as well as pre-watering the acrylic paint. This allows unique effects - natural, organic colorgradients, color bleeding and color transitions - to be created in contrast to sharp lines and geometricfigures. I specialize in painting abstract landscapes and figurative representations and am particularlyfascinated by large-scale formats when it comes to landscape paintings. The organic canvas leaves amatte finish, which reveals a unique surface texture up close and creates a beautiful vintage effect as thepaint sinks into the canvas rather than resting on it.

CATARSISGENTLE REDUCTIONDESERT TWILIGHT

INSTAGRAM @KAETLYNS_GALLERYKaetlyn Grogan is a dedicated pencil artist celebrated for her hyperrealistic graphite drawings of birds.With an acute attention to detail and a profound reverence for nature's intricacies, she draws inspirationfrom the delicate balance of the avian realm. Through her meticulous renderings, Kaetlyn invitesviewers to immerse themselves in the beauty and wonder of the natural world, each stroke revealingthe depth of her artistic vision.KAETLYNGROGANBIOGRAPHYMOYOCK, NORTH CAROLINA82STATEMENTThrough my hyperrealistic graphite drawings of birds, I seek to capture the intricate beauty of nature andevoke a sense of wonder and reverence for the world around us.MERGANSER SANCTUARY

Tanya Momi is an inspirational artist whose diverse work spans multiple categories, including realism,cubism, abstract, social realism, and spiritual art. Utilizing oils, acrylics, and sketches as her primarymediums, Tanya's creations are profoundly influenced by her life experiences.Born in India, Tanya graduated with a Bachelor's in Fine Arts from Chandigarh in 1982. She latermarried and moved to the United States. After enduring 9.5 years of abuse in her marriage, shedivorced and never looked back. Busy raising her two kids and establishing her business in SiliconValley since 1989, Tanya didn't paint for 22 years. Encouraged by close friends, she eventuallyresumed painting, finding herself and her voice through her art. Her painful journey became a powerfulsource of inspiration.One of the first series she worked on was centered around the pain and suffering of a single, divorcedwoman. The paintings in this series, such as “When Friends Turn Their Backs,” “Wounded,” “Beatenbut not Broken,” and “Stop the Pain,” reflect the struggles she faced. Motivated by the suffering ofwomen and people worldwide, Tanya paints to help ease their suffering.Through her salon, Tanya has had the opportunity to meet people from many different walks of life.Actively donating her art to various charities, her work has been collected extensively in private andpublic collections worldwide. Tanya's art is not only distinctive but also sometimes controversial,sparking conversation and reflection.Tanya's passion for the messages behind her art has allowed her to connect with many people. Shehas even spoken at the White House about women's empowerment and leadership. Since starting her"second career," she has showcased her work in India, Beverly Hills, Toronto, London, Portola Valley,Los Altos, and other local venues. Her work has been displayed at prestigious institutions such as theTriton Museum and MUNU Museum in Hong Kong, as well as in Washington, DC.Tanya's journey is a testament to resilience and the transformative power of art. Her work continues toinspire and touch the lives of many, proving that out of great pain can come profound beauty andstrength.INSTAGRAM @TANYA.MOMITANYAMOMIBIOGRAPHYUNITED STATESSTATEMENTOne of the most important aspects of my work is to empower women. I observe and paint humanbehavior on the canvas. I want women to regain their strength, power and confidence. And I wantwomen to band together and unite themselves. I use mediums of acrylics and oils in order to conveymy powerful messages as they allow me to paint bold stories with my self expression.I was originally trained to paint with oils when I was studying for my Bachelors. I like its layeringtechniques and thickness as well as its blendability. As some of my paintings fall into the category ofrealism and social realism, I have come to find that realism is better depicted using oils. You can createa lot of texture using oils and that helps when it comes to realism because life can be captured throughtexture. I learnt and adapted to paint with acrylics in 2007. Since I was painting about a 100 paintings per year,I started to gravitate more towards acrylic as it allows me to be able to store my many paintings. One ofmy favorite colors when it comes time to populate my canvas is burnt umber. I really like to startbuilding my canvas with burnt umber. It transforms from light to dark quite easily , My brushautomatically gravitates towards burnt umber. I like to start my work with rag technique, add the brushstrokes and then I start adding colors.

WOMEN DON'T GO BACKWHISPER84

AMERICAN DREAMEACH ONE TEACH ONEINDEPENDENT DAY

INSTAGRAM @JESSICA_ZIEGLERII am a New York City native who left a career in technology in 2016 to become a professional artist. Igrew up in a family of artists, and am eternally grateful for it -- to my mother, the painter, for herwonderful sense of color and light; and to my father, the architect and sculptor, for an appreciation ofthree-dimensional form and of the built environment.I have studied drawing, watercolor, pastel and oil at the New York Academy of Art, The Art StudentsLeague, 92N, and The New York School of the Arts.JESSICAZIEGLERBIOGRAPHYNEW YORK, USASTATEMENTAs a native New Yorker surrounded by the incredible variety and energy of the city, I generally seekout the details and ‘small moments’ when light and shadow reveal unexpected beauty in ordinaryobjects or overlooked landscapes. My paintings often show urban scenes and architecture fromunusual perspectives and with dramatic lighting in order to focus the viewers’ attention on the craftand subtle colors of easily overlooked elements of the urban environment. In addition, I seek outelements of the urban environment where nature and man interact -- neglected corners where naturehas reasserted itself among the steel and stone of the city.One subject that I find myself drawn to again and again is the Henry Hudson Parkway in Manhattan. Itmay not seem like an obvious choice, but it turns out to be a wonderful one: as a source of endlessvariation in color, form and pattern; as the liminal space between the city and its boundary, theHudson River; and as a creative source of creative contrasts between the natural and utilitarian builtenvironments.I paint primarily in oils and frequently make use of layers of thin glazes to achieve the depth of color Iwant. I think this approach is partly informed by the years I spent working in watercolor, wherelayering washes results in beautiful, visually complex colors. I strive to create images that resonatewhen seen from a distance, but also contain enough detail – and mystery – to capture the viewersattention close up and over time.86

WILD GARDEN UNDER THEPARKWAYBIKE PATH UNDER THEPARKWAYPARKWAY CATHEDRAL WITH BENCHES

INSTAGRAM @STILLAROUNDARTAlison Auditore (Still Around) is a visual artist and illustrator. She is inspired by the constant state ofchange in life, and expresses this in her art by using delicate line-work and stippling. Each image ismeticulously designed and hand drawn, enabling her to capture and communicate every detail andfeeling the original subject represents. Alison received her BFA from the Virginia CommonwealthUniversity School of the Arts. She has since participated in several art shows and exhibited work ingalleries across the country, and finds inspiration in the world around her, and sees art as a way tocreate a lasting portrait of the fleeting moments that may otherwise fade from memory. When she isn’tdrawing, you can find her reading, listening to music, powerlifting, or gaming.STILLAROUNDBIOGRAPHYPHOENIX, ARIZONASTATEMENTDisney’s Hercules was a gateway drug. The colorful depictions of glowing graceful deities, each withunique strengths and weaknesses fascinated me. I dove into their stories and realized that thesestories were meant to be more than entertainment, but a means for reflection and representation. Iwas inspired to dive into the myths of other cultures. As I moved from the myths of Jamaica to WestAfrica to India and beyond, I found a comfortable feeling of representation and something more:common themes across the world’s myths. I could see myself and those around me represented inthe themes valued in the myths of every culture. With this realization came a new question; Who arethe modern pinnacles of those timeless traits humanity admires? This series is not just my answer, butan opportunity to focus on what we as humans have in common. Each portrait is a celebration of thequalities that make us great.88

THE ENTREPRENEURTHE TRENDSETTERTHE MOTHER

INSTAGRAM @SHAVEER_WORKSI was born in Israel in the early 90’s- brought into a culture filled with controversy, conflict, and war.Being raised in such a stress filled environment shaped me in ways that I am still discovering. As ascared, anxious and depressed teen, I moved to the United States with my parents and siblings,leaving my extended family behind. Being raised under the influence of one culture while learninganother produced a deeply rooted identity crisis- one that I still struggle with today. As I grew I becameincreasingly frustrated with American culture and the systemic sexism, racism and homophobia thatpermeated within. I found comfort and acceptance in disenfranchised communities while developingan appreciation for people and things that society has deemed as undesirable.NETABIOGRAPHYCALIFORNIA, USA90STATEMENTAs an artist and an educator, I am a deeply empathetic and healing person with the skill to read theenergy in a room and assess the needs of its inhabitants. I was always an artist, but learning to teachart exposed me to many different communities with vastly different needs. This ability to find painwithin others and guide them onto a path of healing crystalized and gained clarity — like blowingpatterned glass.The creation of art is a transformative experience that can act as an avenue of healing and a catalystfor growth. Being immersed in hustle culture just trying to make enough money to live has forced usinto a drab existence. An isolated, single-focus lifestyle has caused us to become disconnected fromour fellow man and our community. I see this in everyone we meet, people desperate for meaningoutside of just survival.I believe that art is the great uniter and can be the vessel for us to regain the severed connection tothe creative energy we share with each other and the universe. A vital key to return meaning into ourlives lies in healing through shared experiences. It is my goal as an artist and an educator to providean avenue for people to find community, connection, and ultimately the sense of serenity and peacethat escapes us in the struggle to survive.

STEADYTHE RIGHT FITDYNAMIC SCULPTURE

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

2024