Mica Bowman and Bowman Sculpture Head of Sales Daniel Pereira visited the graduate shows at London’s leading art institutions including Central St Martins, City and Guilds, Royal College of Art and SLADE, and selected 13 young artists for the graduate exhibition. 

The featured artists represent a diverse range of cultures, genres and sculptural techniques, originating from as far afield as Bahrain, China, Iran and the USA. The Graduate Show at Bowman Sculpture spotlights some of the most promising talent in the world of sculpture and features artists who are pushing the boundaries of sculpture and working in a variety of mediums, as well as those who are reimagining or reinventing traditional methods of sculpture.

Mica Bowman, Director, Bowman Sculpture Gallery explains: “I believe it’s essential to shine a spotlight on artists who have consistently showcased their work and made significant strides in the art world over the past few years. Their perseverance and success speak to the strength of their talent and vision. The more we invest in these rising stars by providing opportunities for exposure and recognition, the more we contribute to a richer, more diverse cultural landscape for both artists and audiences alike.” 

As the Graduate Show opens at Bowman Sculpture in Mayfair, I spoke with artists Lydia Smith, Rufus Martin, Cami Brownhill, Caroline Williams, YeYe, Harrison Lambert, Alex Ford, Naroul, Harmony-Cree Morgan, Isis Bird and Zayn Qahntani about their process and inspirations.

The Graduate Show is at Bowman Sculpture until 22nd November, 2024.

Lydia Smith 

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Lydia Smith: I see my sculpture practice as a conversation between dimensions. While I begin by shaping clay in three dimensions, each piece undergoes a transformation through digital scanning, revealing its unique DNA blueprint. These pixelated scans act as a digital ‘still life,’ preserving the essence of each sculpture in a new form. Each digital blueprint then inspires another physical artwork, establishing a lineage where every piece is a part of an ongoing ancestry, connected through a shared creative bloodline.

Lee Sharrock: Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Lydia Smith: The inspiration behind my work centres on people and human connection. Through a research-based practice, I delve into subjects like technology, science, spirituality, and ancient history, allowing these themes to infuse my creative process. Sculpting in clay becomes a meditative act; as I enter a flow state, the research I’ve absorbed intuitively channels into the form. I let go of any preconceived design, allowing the piece to emerge naturally, guided by the resonance of my studies and the energy of the moment.

Rufus Martin 

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Rufus Martin: Traditional sculpture has been an enormous influence for me; we are after all standing on the shoulders of giants. Rodin, Rosso, Claudel, Michelangelo are titanic figures of emotive, excellently composed, beautiful figurative sculpture, and provide an incredible foundation to learn from and build. 

Like them, I work figuratively but I prioritise the expressive mark in and of its own right. They are vital for the final feeling of the work; the sum of the marks working together to describe something greater. Within the boundaries of the marks in clay, or stone, or wax lies the emotive power of both the artist and their creation, allowing for a dynamic dialogue that connects past traditions with present expression.

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Rufus Martin: I draw inspiration from monumental cultural works, such as Milton’s Paradise Lost, on which my bust of Lucifer was based, as well as the natural beauty of contemporary individuals. My creative process is quick and raw, allowing me to capture the unique character of each subject through expressive marks. Typically, I complete the initial clay work in 4 to 12 hours, before casting it into bronze.

Cami Brownhill 

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Cami Brownhill: I am trying to push the boundary of the abstract figure within sculpture to create unique portrayals of emotions and memories in ceramic form through creating intensely personal designs. I would say that my take on automatism to create works that present my life in this current climate means I am naturally creating sculptures that evolve with me.  My art intentionally shows horror and the potential grotesque which allows my work to be unrestricted by conventions. I feel that my style of sculptural heads is forcing an acknowledgement of distress that viewers try to avoid and at the same time challenging the idea of the beauty behind craftsmanship.

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Cami Brownhill: My work is autobiographical that presents my continuing journey of being trans and the current social climate. Taking influence from artists I admire such as Berlinde de Bruyckere and Otto Dix and with modern writing by James Tynion IV and the horror genre I aim to create impactful works.  My new sculptures are adapted from unintentional drawings which reflect a memory or current emotional stage.   The drawings are then distorted to create a sculptural form with no pre-determined visual end point.  I work in ceramics and other physical forms as I find the taking up of space demands attention from the viewer.

Caroline Williams

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Caroline Williams: As a self-taught stone sculptor, in an era where everything can be done by machine, I am pushing the boundaries of contemporary art by returning to the source of what constitutes, for me, the essence of art. Working with stone and bronze has given me the opportunity to discover the processes and techniques that have made it possible to create masterpieces since the dawn of time. I appreciate this relationship with time and the permanence of these materials to link contemporary art to traditional sculpture.

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Caroline Williams: My work expresses the movement of a fabric created by an invisible air current. Starting with a fabric model dipped in a mixture of PVA and water, I recreate what I call a “static movement”, a movement frozen in permanence. Inspired by the work of artists such as Bernini, Titian, Iris Van Herpen or Alexander Mc Queen, through time consuming craftsmanship, I capture and express the flickering instant where the fluidity and softness of the wind transforms an inert fabric into a living thing.

Alex Ford

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Alex Ford: I’m always trying to question the necessity of material truth in my art, disrupting the boundaries between the physical and digital. We seem to think of sculpture as a physical end product, so I incorporate digital processes as much as I can into the creation of each art-object. What’s the difference if someone sculpts physically with clay, or digitally on a laptop? 

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Alex Ford: My work has been described as ‘Looney Tunes meets Hieronymus Bosch!’ I’m drawn to immediacy, and so tend to utilise recognisable symbols or materials that are preloaded with meaning, combining these features with more corporeal forms to recontextualise the way we encounter ourselves, the world around us and art itself.

Yeye

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Yeye: My sculptures push beyond the idea of sculptures being a single object. They repeat themselves in large quantities, and they are never about a single object, but rather a group entity. Every piece is a representation or an image of a conceptual abstract entity, and this connection does not go away even when one of the pieces is singled out. Just like how people imagine a common daily object, for instance, a piece of tissue paper, they are much less likely to remember a particular piece of tissue paper they saw, but rather an imagined abstract image of a piece of tissue paper.

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Yeye: My metal sculptures are inspired by my imagination of a stereotypical public abstract metal sculpture. I see them everywhere and I can never remember any of them in details, instead they altogether left a vague impression in my head. This ongoing impression can be deconstructed into a reproducible visual language to create individual small pieces of metal that are free to be reconstructed into any new forms. They are always perceived as undergoing the process of formation, there is no end nor beginning of the forms, thus the formless forms.

Harisson Lambert

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Harrison Lambert: My recent wood sculptures are crafted from recycled timber which is planed and laminated to form one solid piece of wood, which is then carved by hand. As an artist making work in our current time of ecological crisis, using salvaged materials makes sense both on an aesthetic and moral level. Our natural ecosystems are slowly but surely breaking down, and using scraps of wood found in a skip seems like a good way of talking about that ecological anxiety without contributing to the problem.

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Harrison Lambert: My work shapes iconic symbols of nature, filtered through history and cultural contexts, into new remixed sculptural objects. My practice is largely informed by the materials- both stone and wood require a time intensive and tactile process. In its slowness, my process is reminiscent of an archaic style of art production, where craftsmanship and skill chase after an aspirational sense of mastery. 

Neal Camilleri

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Neal Camilleri: As a sculptor, I constantly seek new methods and materials to enhance my creativity. By stepping outside my typical routines and embracing new challenges, I can uncover a realm of exciting and innovative ideas that will elevate my creative journey to new heights and expand my imaginative capabilities.

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Neal Camilleri: My work revolves around exploring my past, present, and future, and transforming those experiences into reflective art pieces that resonate with viewers, evoking joy through sculpture. I incorporate colour and form to infuse happiness into the space. 

Naroul

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Naroul: As sociologists like Zygmunt Bauman have noted, the core of modern life has shifted from a solid to a liquid state. Over the past century, the gradual erosion of public space has rendered the traditional concept of the “monument” somewhat awkward within artistic discourse. Modern sculptors, such as Shalev-Gerz and Jochen Gerz, have successfully reimagined the narrative of public spaces through counter-monuments. However, I believe that the shift from public to personal space has become nearly irreversible. In response, our era requires a new discourse from a fresh perspective to reconnect increasingly fragmented communities. Therefore, a hidden thread in my work is the construction of monuments within “non-public spaces.” By strengthening the narrative and personal attributes of my pieces, I aim to offer new possibilities for the concept of the “monument.”

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Naroul: The two works in this exhibition aim to explore how the identity of the “witch” has been constructed for political purposes. My interest in this topic began with Silvia Federici’s discussions on the relationship between witches and social reproduction. In my creative process, interdisciplinary literature and research methods play a significant role. For instance, in these two projects, I adopted an anthropological approach to writing and organization, integrating visual concepts with research. This approach has helped me utilize symbolic imagery within a specific framework. 

Harmony-Cree Morgan

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Harmony-Cree Morgan: In my first year of art school and exploration with this body of work I was often told that I was not attending a design school but an art school. Alluding to furniture in my work which, is inherently anthropomorphic to me, walks a thin and fun line between object and sculpture. I like to challenge the functionality aspect of traditional sculpture that allows the viewer to interact with the pieces as they see fit. A challenge / invitation that is hinted at in some of the titles of the works. 

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Harmony-Cree Morgan: I am inspired by our daily interactions with everyday household objects that go unnoticed. Through touch and ownership, our associated memories of the chair that lived through decades of Christmas dinners or through the sleepless nights of essay writing become imbued with a sense of identity. These objects combined with live casts of my body impart with the viewer the duality of beauty and pain in gestures that I am interested in. To kneel, is not only an act of love but also is one of protest or one of punishment. I subject my own body to these gestural acts in an attempt to embody the life of an object, and so my works are born. 

Zayn Qahtani

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Zayn Qahntani: I am in constant fascination with taking traditional methods of craft and innovating new ways of thinking about them – my sculptures often include cultural elements that link back to the island I grew up on – papers made from Bahraini date palm trees, hammered shell nacre, odes to traditional shapes in architecture and world-building.

I also think that sculpture is traditionally an exploration of the 3d object in space – a lot of my work includes elements of drawing, or sculpting on paper, or wall-based work. In these peripheries of the ‘in-between’ is where I find the most exciting opportunities to express myself with sculpture. 

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Zayn Qahntani: I am inspired by the life that I am living, and the stories I’m narrating could be my own or of the people around me. I find a lot of potency in expressing the more ‘twilight zone’ emotions – ones that we all have but keep to ourselves – such as grief, mourning, yearning, our deepest wishes and wants. I like being able to place these feelings on an altar-piece of sorts, a venerative space, so that they may be viewed in a different light or perhaps with more forgiveness. 

I write a lot of poetry which is usually where my process begins – either with a few words that have been floating in the back of my mind or through something which someone has said – and will go from there. My process also includes equal amounts of pre-planning and intuition – I usually have a loose form indicative of where to start the piece, but more often that not it will take on a life of its own halfway through. 

Isis Bird

Lee Sharrock: As a next-generation sculptor how would you say you are pushing the boundaries of traditional sculpture?

Isis Bird: My work comes from an immaterial space through my dreams, thoughts and poems. I think it’s amazing to see these works exist within the Bowman Sculptue space, a space embedded with so many traditional representations of sculpture. 

Can you summarise in a few sentences the inspiration behind your work and the process of creating it?

Isis Bird: My recent work ‘The heart of the fool’ explores the immediacy of found objects. I was inspired by the historical and personal context that furniture holds. I have an interest in reverse-engineering neglected things: paper, chairs, objects from the street. Inspired by their previous context, I disassembled these furniture pieces, cutting, sanding and filing them to reveal the blueprints of new forms. This led to a reconfiguration process of assembling narratives.

The interplay of each connecting part and joint allows for an evolutionary lens, where both myself and the sculpture are defining our roles within the studio. Play is a key part of my process and has become intuitive. Each wooden component acts as a piece of the puzzle, guiding me towards the final sculpture which resembles an anthropomorphic object, insect-like and alive.  

I’m interested in metal as a material and it appears a lot in my practice. Metal has a memory as each mark made by the artist is recorded in the material and it naturally patinas and ages over time, this reminds me of nature’s state of flux. My work ‘Orchidaceae’ is a magnified view of an orchid, a flower symbolic of sex and female genitalia. Flowers are a recurring motif in my work as a reminder of rebirth and reproduction.

An orchid plant which is found now in nearly every office space and supermarket in London but has a history of manic wealthy Victorians sending explorers to collect and discover new rare breeds of the flower. I was intrigued by this as well as the feminine form –  An orchid represents perceived ideas of women’s sexuality as an equally dangerous and alluring creature. 

I used reclaimed metal pieces to make this piece, using a hydro-forming technique to inflate the stem of the sculpture with high pressured water. Merging both manufactured and found pieces of metal gives this work a quality which feels both assembled and ready-made.  

©2024 Bowman Sculpture Gallery

Lee Sharrock

Lee Sharrock is a global creative PR consultant, curator and writer for publications including; Art Doc Photography Magazine, ArtLyst, Creative Review, FAD Magazine, F22, Runway Gallery Magazine, Soho House Magazine and STATE.

Raphael: Tell us about yourself, your practice, and journey as an artist. How has being based in the UK informed your work and shaped your artistic vision and perspective?

Maya:My name is Maya Simms, and I am an artist based in East London. I graduated from Slade School of Fine Art in 2023 and studied at the Royal Drawing School in 2021/2022.

I am currently working independently. I aim to examine the multidimensional nature of painting, exploring its character in different traditional and non-traditional formats. Having both English and Jamaican heritage and growing up in London fostered a constant search for ways to understand and tackle the layered emotions of the histories that permeate a culture built from prejudices, protests, and pioneers. I try to navigate this wider context through my work, as well as my own personal history.

Raphael: Black History Month UK is a month dedicated to showcasing the achievements and contributions of the UK’s black community. In the realms of art and creativity, black people have long been pioneers and trailblazers. Who are some Black British creatives that have inspired your journey so far?

Maya: Sonia Boyce, Donald Rodney, Benjamin Zephaniah, Claudette Johnson, Simon Webbe, Joan Armatrading, Steve McQueen, Hew Locke, Barbara Walker are a few of the creatives who have inspired me. The whole BLK Art Movement of the 1980s is full of brilliance, collaboration, companionship, and resilience, which has contributed to the opportunities young black artists and British artists of the global majority can draw inspiration from.

Raphael: After many years occupying the fringes of the British art market, artists of black heritage are increasingly gaining recognition for their work and being offered more opportunities and partnerships. What are your thoughts on the state of the British art ecosystem and landscape as it pertains to equity, equality, and inclusion?

Maya: I am really excited about the progress being made to work towards a more equal British art market, especially as an emerging artist. However, I feel there is still work to be done to truly reach a place where the British art ecosystem is inclusive and equal.

Black artists are still being boxed into a corner, where only a select few are pushed. As a Black artist, there is no room for mediocrity—you must shine brighter than bright to even have a chance of being recognized, to have a foot in the room, and to have your work appreciated and seen. We must continue to claim space and make those spaces feel safe and reflective of our society.

Raphael: The UK is known globally for its rich cultural heritage and art institutions. Which museums or major galleries would be a dream for you to show at, and why?

Maya: Mariane Ibrahim, David Zwiener, Gagosian, PM/AM, The Approach, Southbank Centre, Serpentine. It would be an honour to have the opportunity to show work in these galleries.

Raphael: On a global scale, Black British artists have built a reputation for exceptionalism, led by the likes of Lynette Yiadom-Boakye, Chris Ofili, and Sonia Boyce, to name just a few. What do you think it is about the UK that fosters this culture of brilliance among its artists?

Maya: There is no argument that the UK has some of the best schools of art and galleries which generate amazing talent. However, I am unsure that the UK really ‘fosters’ a culture of brilliance. Rather, it is the individuals who are determined to harness their experience of growing up or living in the UK, which nourishes their work.

The brilliance of artists in groups like the BLK Group was in the individual’s own talent and the collective effort to notice the gaps in opportunities for black artists and build a community where work would be seen and appreciated. The continual drive to learn, practice, refine their craft, and ensure they are seen.

Raphael: What have been some of the most memorable exhibitions showcasing Black British artists you have visited in the UK, and why did they leave such an impression on you?

Maya: ‘In The Black Fantastic’ – Southbank Centre, ‘Life Between Islands’ – Tate, Jennifer Packer: ‘The Eye is Not Satisfied with Seeing’ – Serpentine, ‘James Barnor: Accra/London – A Retrospective’ – Serpentine, ‘Entangled Pasts’ – RA.

Raphael: Tell us about your favourite show you have been a part of to date, and what made it so special?

Maya: I am still emerging as an artist and have not currently been in an exhibition. However, I will be in a group exhibition at the end of October! I look forward to continuing to gain opportunities to show my work.

Raphael: Who are your top three Black British artists, living or late, and why?

Maya: Lubaina Himid – A pioneer of the Black Arts Movement. Her sculptural work of cut-out characters really inspired me to explore wood sculpture. It was so striking walking among multiple cutouts of characters in the ‘Entangled Pasts’ exhibition.
Lynette Yiadom-Boakye – An inspiring creative. I love her expressive style of painting; each brush stroke holds life. Denzil Forrester – Pure soul, rhythm, and music. His work feels like a memory of my childhood, of music and dance.

Raphael: What can we expect from you going into 2025? Are there any opportunities, news, or shows coming up that you would like to share?

Maya: I will be in an upcoming group exhibition by RROWM at Copeland Gallery, ‘How Do We Reconcile’ from 25th–27th October. You will be able to see my most recent work, ‘The Moon’s Net,’ in person, alongside the work of talented Black artists.

Raphael: Any final words, shout-outs, or cheeky plugs you’d like to give?

Maya: Thank you, Art Plugged, for featuring me in the Black History Month Q&A! Please follow my Instagram for updates on what I am up to, @msimmsofficial, as well as my website: mayasimms.com.

©2024 Maya Simms

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.

A self-taught artist, SYMBLE‘s work reflects the grit of his upbringing in South London, his life experiences, and a love of animation, forming his visual language that breaks from convention, untamed and pulsating with fragments of personal history and cultural iconography.

SYMBLE presents a world through his uncompromising lens with edgy brushstrokes, where cartoon icons become distorted symbols of resistance that invite us to confront the tension between nostalgia and disruption.

In works like Life Is What You Make It, SYMBLE creates a riot of blues, reds, yellows, and greens that clashes with bold statements like “Life Is What You Make It,” “Everybody has his day,” and “Make it count!” These phrases swirl around Snoopy—no longer the playful beagle from Charles Schulz’s Peanuts, but now a contorted figure that mirrors SYMBLE’s audacious spin.

The South London landscape is the foundation of my work and a representation of where I’m from. South London is full of different cultures that unify through creativity & entertainment

SYMBLE

Above Snoopy’s head floats a Basquiat-inspired crown, as the beagle graff on the wall, paying homage to and critiquing the tension of artistic royalty and the commercialisation of art. His success in the art world has garnered attention, with his work showcased worldwide, most recently featuring in Enter Gallery, sharing the stage with established artists in the group show “The Mix.”

With a growing roster of collectors—including footballer Jesse Lingard and British artist Damien Hirst—SYMBLE is quickly emerging as an unfiltered voice of a new generation, known for his edgy aesthetics and bold, gritty reimaginings. A burgeoning figure in contemporary art, he is undeniably an artist to watch.

Hi SYMBLE, Could you start by sharing your journey into the arts and what inspired you to pursue a career as an artist?

SYMBLE: Growing up, I was always into drawing characters from books & watching cartoons, like the Looney Toons, Simpsons, Ninja Turtles and Snoopy, which led me to draw cartoons. Once I realised what an artist was, I wanted to be an artist. I naturally gravitated towards street and pop art, but my mother wanted me to be an architect because I could always draw.

Your practice reimagines iconic motifs by drawing inspiration from and fusing elements of street art, neo-expressionism, and pop art, all while infusing your work with rich cultural symbolism. Could we delve into the conceptual underpinnings of your practice, the sources of your inspiration, and the themes you explore in your work?

SYMBLE: The South London landscape is the foundation of my work and a representation of where I’m from. South London is full of different cultures that unify through creativity & entertainment, such as Art, Music, Fashion, Sports, Technology, etc

Building on that, you grew up in South London. How have your surroundings and personal experiences shaped your approach to art, especially in terms of the themes you choose to explore?

SYMBLE: I usually paint images we see in our day to day life and things that inspire me. Within each piece of art, I incorporate a message of life experiences. 

As a self-taught artist, how do you define your place within the contemporary art world, which often values formal training? How has this self-guided path influenced your creative freedom and artistic identity?

SYMBLE: Being a self-taught artist gives me space to imagine and create paintings, which should differentiate me from others naturally. However, many artists before me & the internet have created opportunities for emerging artists to study and connect with an audience. 

I’ve been fortunate to have great mentors, such as Damien Hirst, to help guide me through an industry that can be hard to understand sometimes, which I appreciate greatly.

Street art and pop art often engage with socio-political themes. How do you see your work fitting into this tradition? Are there specific social issues or themes you feel compelled to address through your work?

SYMBLE: I believe most creatives carry a socio-political dimension, depending on your life experiences some implicit than others.

Your work is featured in Enter Gallery’s group exhibition, “The Mix,” alongside established and emerging talents like yourself. Could you tell us more about the essence of the exhibition and how it came about?

SYMBLE: I was excited to be asked to participate in this show, and create the works that I did. I like that The Mix is a true mix of artists, mediums, styles and characters. It’s exciting to be featured alongside artists I admire. Enter Gallery is a place I feel excitement around the contemporary art world and I always enjoy visiting.

Many notable figures, including art world heavyweight Damien Hirst, have collected your work. How does it feel to know that your work is part of the collection of one of the world’s greatest artists? And how do you navigate the intersection of artistic integrity and market demand, especially as your popularity grows?

SYMBLE: I’m extremely grateful & I really appreciate that my artwork is part of such a collection owned by a great artist such as Damien Hirst.  At first, I couldn’t believe it!! 

Honestly, I go with what feels right to me. My journey into the art world was non-traditional, and I feel no need to conform to any patterns. If something feels misaligned with who I am as an artist and a person, I’ll walk away.

Looking ahead, what directions do you see your art taking? Are there new themes, techniques, or collaborations that you are excited to explore?

SYMBLE: Currently, I’m focusing on progressing my craft and learning daily; with that being said, I’m also working on a new character that I’ll gradually introduce into my artwork. 

Lastly, could you share the philosophy that guides your art? How do you see the role of art in your life and its importance in shaping your career and broader worldview?

SYMBLE: For me, I would say art is a way of life, so I strongly believe life is what you make it, so continue creating.

©2024 SYMBLE

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

Drawing and painting always felt liberating and magical when I was younger, and it just felt like the best way to describe the things I understood.

Morag Caister

Caister’s practice delves deeply into the intricacies of human nature, exploring its layers through figuration, portraiture, and the nude, with a confessional intimacy, in her sittings, stories are shared, and connections are forged with each painting.

These emotionally charged works bear truth rather than perfection, her sketch-like application of paint renders her figures in a raw, almost skeletal form, echoing the rebellious spirit of Expressionist painters.

Exaggerated lines frame an earthy palette as colors bleed into each other, creating warmth and density that envelop both the sitter and surroundings, disarmed by vulnerability, the subjects appear relaxed and unguarded, surrounded by the subtle objects of their daily lives, as if the world outside the canvas simply fades away.

For Caister, drawing and painting have always been acts of liberation and transformation—a way to articulate what she understands and to bring her imagination to life—a curiosity that has continued to flow through her practice since childhood.

Her latest exhibition at London’s Rhodes Contemporary Gallery, Peacetime, features a series of humanizing portraits set against everyday backdrops, capturing moments of stillness and acceptance amidst the chaos of contemporary life.

Caister speaks to a primal sense of connection, prioritizing emotional resonance over precise reality, balancing vulnerability and trust in a blend reminiscent of the intensity of Austrian Egon Schiele and the emotional honesty of American Alice Neel—yet her expression is entirely her own. The result is introspectively rich, inviting us into the subtleties of human nature in the sense of personal space.

Since graduating from the University of Brighton in 2019, Caister has been on an upward trajectory, receiving numerous accolades and awards.

Now her works are now held in prominent collections like the National Portrait Gallery and Soho House, solidifying her reputation as an influential and compelling voice in contemporary portraiture—definitely an artist to watch as time progresses.

Morag Caister: Peacetime is on view until the 5th of October 2024 at RHODES

Hi Morag, thank you for joining us. To start, could you share your journey into the arts? Were there any moments or experiences that led you to pursue the path of an artist?

Morag Caister: Hello and thank you for having me. Drawing and painting always felt liberating and magical when I was younger, and it just felt like the best way to describe the things I understood. It would feel kind of urgent to share certain stuff that I’d pick up on about someone or something, as if to say, “I noticed this, did you notice it too?” I feel it comes from wanting to have a voice and engage with things. Going to big museums and galleries that were purely there to display art was mind-blowing.

I thought of adults as very serious people, and it was so crazy to me that they had made time and room for art. And not just that, but the people making the art were also adults. I think it made me feel like what I was doing was worthwhile and kind of grown-up. I come from a creative family, and I was lucky to be supported in going in that direction.

You’re mostly known for intimate portrait paintings guided and inspired by your deep interest in the intricacies of human nature. Could we delve into your practice, inspiration, and approach to your work?

Morag Caister: My practice involves painting people from live sittings, using line and patches of colour to build up a composition and working with oils on paper or linen. I feel it’s inspired by a love of experiencing new things and fantasising about the things that can’t be experienced. When I was younger, it would be stuff like flying, being able to breathe underwater, or being able to make sweets appear out of thin air. Then it became a little more existential, and my mind would be blown by the way we could never experience things from other people’s perspectives.

There was a limit there, and painting people felt like a way to overcome that limit. I was close to studying philosophy at uni, and I’m glad it didn’t happen because instead, I was able to put all of the curiosity into my practice, which really is still looking closely at things, ideas, and people. The interest in people and our nature comes from generally getting a lot out of understanding more about where and who we are and how everything works, and painting became the perfect place for me to join these things together.

I value the connection it gives me too. Elif Shafak is one of my favourite writers, and in her manifesto “How to Stay Sane in an Age of Division,” she says that sharing stories brings us closer together and untold stories keep us apart. It was in reference to the emotional distance we can begin to develop when we get used to hearing huge statistics rather than learning about personal stories. When I’m painting someone, I feel very close to who they are, and I get a sense of what kind of life they’ve had.

It’s like I’m witnessing their story. It’s a very moving experience, and it has only ever brought me more compassion and patience for what we’re like as people, and I think the sitters have a similar experience. So, these are things that motivate and inspire my practice.

You describe your portrait sittings as akin to therapy sessions or confessional moments. Can you elaborate on the role of the artist as a confidant or therapist in the creation of these portraits?

Morag Caister: I feel it’s the situation itself that becomes the confidant/therapist, and it allows both me and the sitter to have that special space. Often our interaction becomes frank and simpler, almost like we are both committed to giving the painting the best chance of becoming filled with something truthful, and that reminds me of the kind of upfront honesty people have when they’re hoping to get answers or solutions.

I feel a sense of duty with it too. I only want to paint people when they’re at ease, and sometimes that leads to emotions coming to the surface. However, I don’t feel good about someone being uncomfortable and then painting them in that state of discomfort.

How do you create an environment that encourages such deep reflection and honesty from your subjects?

Morag Caister: I try to make it clear that acceptance and curiosity form the work. I think it’s a relief to be told, “For this, you have to be exactly who you are in whatever form that is in this moment.” The person being there and allowing me to look at them closely is the act of honesty. After that, whether they are more open in conversation or on the quieter side are details of their personality and secondary elements in the work. Firstly, it’s their presence and aliveness.

In addition, the cyclical habits and behaviours of daily life are hinted at in your paintings. How do you decide which aspects of these routines to highlight, and what do you believe they reveal about the human condition?

Morag Caister: It feels important to keep pointing out the things that we all do, as if to point out the things we have always done. I’ll have phases where a particular habit sort of feels like it’s shuffled to the front, and I’ll delve into it for as long as it’s there. Something about people at rest in the home environment is very emotive for me at the moment; in the last few years, I don’t remember not having the urge to draw/paint figures lying down and stretched out.

It’s acknowledging the peaceful side of who we are as people, seeing as everyone has a version of doing this. I think it’s the needing of rest I find so moving currently, because I’ve always been conscious of our capacity for conflict and this other part is evidence of our softness and it represents the possibility of peace. 

Key aspects of your portraits, like the backdrops and the subtle inclusion of domestic motifs,  seem to play an integral part in the storytelling. How do these elements contribute to the overall narrative of your portraits, and what do they signify about the ‘quiet disorder’ of everyday life? What importance do they hold in the overall composition?

Morag Caister: I started including mess in the paintings because it kind of felt like hinting at the chaos that might exist outside the edges of the paintings. I liked the idea of this taking the quiet form of everyday things like crumpled towels or unfolded clothes because they felt like traces of disorder in the home environment, somewhere that we hope is safe. Including them felt like addressing the possibility that hangs in the air that things could go wrong, the sense that we teeter on the edge of chaos a lot of the time. Those things just need keeping in check and staying on top of like laundry. When it accumulates, it feels bad, it taints our space and time for rest.

Your upcoming exhibition, “Peacetime,” at London’s Rhodes Contemporary, explores the dualities of human existence through a series of new works. Could you share more about the exhibition’s essence and the featured works?

Morag Caister: I chose the title peacetime in the sense that when we are peaceful, it’s a temporary state, like the way that we go to bed at night and wake up in the morning, the sun goes up and down, the sea goes in and out. I wanted to recognise the pushing and pulling of stillness vs movement, rest vs action, peace vs conflict. I think I wanted to say something about us being multifaceted and our nature being capable of sliding up and down the scale and for the works to simply recognise that. I’d like the work to encourage imagination and compassion in regard to others and ourselves. 

Having won Sky Art’s Portrait Artist of the Year and received other recognitions, such as Forbes  30 Under 30 Europe: Art & Culture, and inclusion in the Evening Standard’s Art Power List 2023,  do you feel a shift in how you approach your work now compared to before these honours?

Morag Caister: Yes, they have hugely shifted my confidence in my work; it’s been validating for my practice and has urged me forward to paint more ambitiously and accelerated the speed at which I can do it, so it’s gifted me with more time as well as many more opportunities which I’m endlessly grateful for. 

Building on that question, do you think these accolades influence how people interpret your art and your role as an artist?

Morag Caister: It has put my work in front of an audience that it wouldn’t have reached otherwise and I think it encourages those people to give it a chance. 

Looking ahead, are there any particular themes or subjects you are eager to explore in your future work?

Morag Caister: Yes, right now, I’m interested in pursuing these figurative sofa-based works and the threads that keep coming off them, and I am excited for when it will become something else. I have ideas for making a series of miniature works that stay in the home environment centring around themes of childhood independence and imagination, as well as ideas using portraits to celebrate groups of people such as female writers or working with a charity and bringing awareness to a cause. 

Finally, please share the guiding philosophy behind your art. Additionally, could you elaborate on art’s significant role in your life and career?

Morag Caister: When we make art, I think it comes from the purest part of who we are. For me, it has been expressing my inner world, and engaging with art has brought me joy and delight throughout my life. It’s helped me consider things I don’t understand and opened my eyes to the reality that different worlds exist, which makes communicating with someone even more special when it works. 

©2024 Morag Caister

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

Leyland’s practice is a coalescence of expressive forms, where the alchemy of painting and the intricacy of drawing meet the layers of printmaking and the mighty power of pen. This multidisciplinary approach fuels his creative engine and lays a solid foundation for what promises to be an eminent career for the emerging artist.

At heart, Leyland is an artisan, a true painter’s painter. Working in the tradition of figures in landscapes, Leyland’s eye of inspiration is his connection to the blanket of Mother Nature, memory, and the chronologies of the ancient past.

For Leyland paintings begin from his initial drawings, sourced imagery, and even film stills. From here, Leyland teases out his account, as the artist states, “build a world into and around the image,” often portraying these findings in works organised by series.

I’m interested in finding the moment just before something is about to happen. That frozen second before the embrace, the silence before the mushroom cloud envelopes everything

Danny Leyland

In his ‘Commonplace Dramas‘ series, Leyland tackles the mundane experience, revealing the quiet tensions and unspoken emotions that underlie our daily lives, accentuating these moments of drama with a surrealist perspective, emphasising their emotional and psychological effects.

Then we have his burial paintings, a sombre yet intriguing take on a morbid subject. Leyland’s series dives into the dark peril of human fate with unconventional depth, examining his relationship with the dead and the buried, exploring themes of belonging and connection to a place, the last place of rest.

A piece from this series, “Pearly King,” depicts an almost dreamlike situation, showing three figures seemingly sharing a grave, like three in a bed, in various states of repose. Interwoven in the composition are two humans meticulously detailed by Leyland: one gently sleeping, while the other is awake, holding what appears to be a fish. In the middle of the layered composition is a decomposing skeleton, with pearls scattered across parts of its figure, with a green plant running through the layers of earth of the shared bed of death. Through this series, Leyland offers solace, stirring introspection into the shared mortal understanding of the final aspect of permanent rest.

In his latest work, part of his “Predecessor” series, Leyland reaches deep into stories of the past as he approaches the unstable, conflicted, and often bewildering nature of colonialism in an articulated exploration of form, colour, and narrative.

In his piece “Pride of the Vanquished,” Leyland unfolds a socio-political critique of the collapse of authority. At first glance, we see the stamp of power structures dethroned from the plinth it once occupied, capsized by what appears to be the gust of new ideas from a nestled youth. Juxtaposed against rugby players bowed in a position of fatigue or defeat, this adds a coating of realism to Leyland’s otherwise surreal depiction.

A passing bus displays a surreal portrait as it moves along the street, introducing an uncanny element that blurs the lines just a little bit further. Leyland’s critique is dominated by a figure in a red t-shirt, whose facial expression is cautioning, as if warning us of something. The figure’s presence anchors the scene, drawing your eye to what is playing out on the canvas.

There are many ways to interpret “Pride of the Vanquished.” While it reflects the enduring strength of the human spirit, it also offers a compelling redefinition of what it means to be truly noble. This poignant exploration of resilience and inner strength amidst the aftermath of defeat and the winds of victory shows that in battle, dreams can turn to sand, eyes and spirits cast downward. Yet, a fire persists, for within defeat, a silent pride exists, and Leyland seizes it.

Throughout his works, Leyland seeks to apprehend the viewer’s attention like a moment of intense silence just before disaster strikes, or a breath held in anticipation—in other words, simply poetry in motion through painting.

Leyland has exhibited in various international exhibitions held in Australia, India, South Korea, and the UK. Furthermore, his exceptional talent has been recognised through his receipt of the Elizabeth Greenshields Grant not once but twice.

In an age dominated by art installations, digital media, video, and performance, what constitutes an artistic ‘practice’? This question gains new layers of complexity, perhaps more now than at any other point in the history of art.

Within this multifaceted context, Leyland’s dedication to the tradition of figures in landscapes finds its rationale. His adherence is not merely nostalgic; it underscores the enduring nature of painting. Despite the evolution of art forms, the timeless qualities of great painting persist and prevail. I caught up with the emerging artist to learn more about his practice, his sources of inspiration, and more.

Hi Danny, thank you for speaking with us. Could you introduce yourself to those who might not be familiar with your work?

Danny Leyland: I have made all kinds of different work, from performance and costume to video and artist-book work, much of it centred around my relationship to landscape, memory, narratives of the ancient past, and so on. In recent years, since about 2019, I have focused increasingly on painting, and, in a general sense, I might say I have been working in the tradition of figures in landscapes. It’s a tradition that spans from the early depictions of saints in the wilderness, through to the romantics, then Gauguin, Van Gogh, the Francis Bacon responses to Van Gogh, Munch, and, more recently, Peter Doig and Andrew Cranston.

Can you share some early moments from your journey into the arts and explain what inspired you to pursue the path of an artist?

Danny Leyland: I never knew that you could study art at university! I don’t think I’d ever heard of art school. I had originally applied to study geography of all things! And then, one day, my art teacher turned around and said to me ‘have you thought about going to art school?’ and I was like, what’s that? He suggested that I apply for an Art Foundation, to see if I liked it, and I never looked back.

I didn’t set out with something in particular that I wanted to say, just that I knew I loved making things. I was enthralled by the excitement of “thinking with your hands”, or, to put it another way, of creating meaning through the handling of materials. I also loved the freedom of being encouraged to learn about whatever I wanted. And the way in which tutors, expanding on a discussion you had, would lead you down all kinds of weird and wonderful rabbit holes through different references and suggestions.

Your practice involves integrating drawing, print-making, and writing with painting. Can we delve into how these mediums interact with the themes you explore?

Danny Leyland: As an artist, I’ve found I’ve had to be really flexible in responding to my situation. I’ve moved around a lot and, in the “wilderness years” where I didn’t have access to a permanent painting studio, I would continue to work in other ways, whether it was writing short stories on the train or using the print facilities at the college where I worked in the evenings after class.

Different aspects of my practice remain quite separate I think. I don’t write about my paintings or paint from my prints. But I do find that each process allows me to address my interests and interrogate my research in different ways. Painting can feel immensely direct at times, because of its ability to hold the gaze, but it always exists very much within a certain language and tradition.

I find that in my writing, I can be much more personal and allow the imagination to run unchecked, probably because I don’t critically hold it to account in the same way. With print-making, on the other hand, I have found myself extending the way in which I organise and deliver a project, involving collaboration with other artists and writers and considering different ways to interact with audiences outside of exhibitions.

In your work, do you find that one medium influences another more significantly, or do they coalesce seamlessly?

Danny Leyland: I don’t generally make mixed media works, if that is what you are asking. I’m quite a purist in painting, and I don’t tend to mix anything with the paints I use. Other aspects of my practice help support my painting. Most of the drawings I make are kind of plans or compositional ideas for paintings, although I do enjoy sketching for the sake of it, in museums and while travelling especially. I collect objects and photographs, and maintain constant notebooks. Going over these is like curating my own mini-museum. A joyful and often surprising process.

You’ve described moments in your paintings that “promise a sense of imminent eruption or contact”. How do you build this tension within your compositions?

Danny Leyland: I’m interested in finding the moment just before something is about to happen. That frozen second before the embrace, the silence before the mushroom cloud envelopes everything. – What Oli Hazzard called, in relation to Andrew Cranston’s paintings, ‘that sense of emotional vertigo’. Where this may be achieved in my own work, it is all to do with the contingency of selecting and using images, whether from my own collection of photos or from film-stills or reference books or whatever.

In some of the images, there is a transfixed quality to the figures, poised in mid-action, where the immediate past and present of the figures’ actions remain unexplained, caught in a ‘frozen present tense’ – to use John Fowles’ phrase. Elsewhere, I’ve used images in which the figure’s gaze or position interacts directly with the audience. In either case there may be a kind of sympathetic exchange between the subjectivity of the viewer and the figure in the painting.

A great example of where this exchange takes place is Piero della Francesca’s The Baptism of Christ, in which the body, pale and beautifully outlined, steps out from the painting and towards the audience, and you really feel as if you are about to come into the proximity of this person. Above, frozen in suspension, the trickle of baptismal water from the upturned bowl is just about to come into contact with his head.

In front of such a painting we can approach the idea of something like an ecstatic union, an experience which also encapsulates the opposite experience, the destructive potential of rupture or parting. My paintings are not religious paintings, but I guess I want them to operate in a similar kind of way, where the figures are not kept at a distance but appear with all the immediacy and presence of a vision. If the paintings are about closeness and imminence, they are equally about estrangement and disconnection.

How does the concept of time influence your choice of scenes or subjects?

Danny Leyland: At one point a few years ago I studied a short course in archaeology. I volunteered for Archaeology Scotland, and I participated in an excavation on an Iron Age hillfort in North Wales. And so you could definitely say that I’m fascinated by the study of the past! Around the time of the pandemic, I was making these “burial paintings”, scenes of prehistoric burials reimagined in a contemporary environment. I was coming from this place where I was thinking about my relationship with the dead and buried in the landscape to re-conceptualise a sense of belonging to a place.

Part of my own experience of living in Briain’s wonderful layered and complex historical landscape, is this powerful sense of presence and closeness which at times I’ve found to be powerfully moving, the past suddenly making itself felt even in the most mundane and everyday moments.

In my recent work, I have been using images from different sources, combined as part of the painting process into a single composition, bringing together their own light conditions, direction of shadow, their sense of movement and proportion, and also different kinds of clothing or objects from different time periods. As they converge, these shifting temporalities can help to create these slippages, these moments of eruption, where the past coexists with the present.

What reactions or interpretations from viewers have surprised or challenged you, and how important is the viewer’s role in completing the narrative of your works?

Danny Leyland: T.S.Eliot said that good poetry communicates before it is understood. A good painting is probably the same, in that, even if you don’t understand what’s going on, it should still engage an audience through its form, images, colour work, and so on.

I don’t want to give too much or make things too easy for an audience. I’m interested in creating the kind of painted surface which offers a “slow release” of information, requiring a sustained interaction from the viewer. To this end, I tend towards obfuscating and burying forms within the painting to merge together different spaces and perspectives, to fudge boundaries, and mute tonal contrasts. On the other hand, the coherence of the painting as a whole, its central images and so on, need to be allowed the space to cut through the painting and speak directly to the viewer. This is something I’ve been trying to work on across this year at the RCA. – To gain the confidence to realise the potential of the visual material I’m working with.

In ‘You’re the Last’ series, you challenge the nature of reality with hunting scenes interlaced with tactile imagery. What inspired this theme, and what are you hoping to communicate or question about reality through these depictions?

Danny Leyland: Both of these paintings draw imagery from a colonial-era photograph I saw whilst travelling in Tasmania last year. My paintings often expand from an initial drawing or photograph, or film still, a thing chosen for the particular way in which it seems to recall an experience. I subsequently build a “world” into and around the image, adding elements of visual information, being led by the way in which these elements may disrupt or contribute to the composition or narrative, or both.

This photograph of the swan hunters was just such a case. I knew instantly when I saw it that it would make vivid and intriguing material for a painting. The beauty of the black swans, and the heroic poses struck by the hunters against the backdrop of the water, forms a striking contrast with the bleak history of ecological destruction and colonial violence committed against the aboriginal people. The images and stories of the past remain so alluring and beguiling, even when we are trying to educate ourselves as to the damage caused by the colonial project. I’m interested in the place where these conflicting emotions occur.

Hunting scenes often carry rich symbolic meanings. In this series, what metaphorical dimensions are you exploring, and how do the disruptions you introduce play into these themes?

Danny Leyland: Hunting involves an element of ritual, strongly expressed through the costume and garb of the huntsman. In ritual displays, costume allows the participant to remove themselves from normal societal constraints, and so enter into a realm of transformed possibility.

In much of the imagery I use there is a quality of costume and performance, in images of horse-racing for instance, or rugby players, or woodcutters. I’m interested in the possibility that what we are seeing may only be a re-enacted or replica version of events, rather than the real thing.

In mediaeval romance literature, the hunt provides magnificent displays of courtly masculinity, where the knights all get the chance to show off their chivalric virtue and martial prowess. In the Gawain poem, for example, there is a section where the poor hero is dreadfully ashamed because he spends all day in bed being teased by the host’s wife, while his host goes off hunting every day. We are supposed to understand that Gawain is being emasculated twice-over, both because he isn’t galloping around the woods proving what a good sport he is, but also because his manly virtue is being tarnished.

In the mediaeval hunt, masculinity asserts itself through violence and establishes an exploitative relationship with the natural world. It’s broadly understood that the victorians were obsessed with mediaeval ideas of chivalry. They even re-enacted their own jousts and pageants! The men who went on to become army officers and government administrators in the colonial period, were brought up on the same chivalric lessons of violence and exploitation.

You’re the Last, my painting for the RCA show, is presenting these two forms of exploitative activity alongside one another. The model ship in the foreground is a Liquid Natural Gas carrier (it has LNG emblazoned on the hull), a key part of the global system of reliance on fossil fuels. And above the ship there is a band of working settlers from the 19th century, in what was then Van Diemen’s Land, hunting black swans.

The courtly hunting described in the mediaeval romances might have looked like Uccello’s 15th century masterpiece The Hunt in the Forest, but the swan hunters in their shabby coats share more of a resemblance to Pieter Bruegel’s famous hunters, slouching with bent backs through the snow. These are men with hats, toting guns. “Boys with toys”. I’m aware that I am a male-identifying artist, and that my paintings have this interest in masculinity.

Culturally we have been in a transitional period, through which many of the traditional myths of masculinity (including those involving hunting and fighting) have been found lacking and unfit for contemporary society, and, for some men, this has produced a crisis of identity. The title for my painting You’re the last, which comes from a line in the novel ‘Tinker Tailor Soldier Spy’ by John le Carré, refers to this crisis. ‘Poor loves. Trained to Empire, trained to rule the waves… You’re the last George’.

Looking to the future, are there any themes or techniques you haven’t explored yet but are interested in incorporating into future works? How do you see your art evolving in the next few years?

Danny Leyland: Yes, I’m working towards some exciting projects over the next year, including my first solo show in London. And really I would like to focus on creating a full response to the challenge, in a way that goes beyond a body of paintings. In collaboration with technicians and designers, I would like to develop the possibilities of my paintings-as-objects, in ways that might situate the work and the gallery within a domestic and more personal imaginative space.

Lastly, could you share the philosophy that guides your art? How do you understand the core importance of art in your life and career?

Danny Leyland: I think I’ve always had the sense that being an artist is less important or less interesting to me than making art. – In other words, I do not think that artists are necessarily different from other people, or have been singled out as “one of the select”. I’m much more drawn to the idea of the mediaeval artist who is a bit of a journeyman, a travelling artisan. Someone who just puts the hours in, and gets on with the job! In terms of the work itself – well, there was an adage I learned whilst training to be a teacher, and that was that teaching is always professional, personal, and political – and I think the same is very true for art! None of us make work in a vacuum.

@danny_leyland

©2024 Danny Leyland

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

Walking the tightrope between figurative, abstract, and landscape, Paricio’s practice questions the artist’s role and themes of identity and self-representation by blending street and pop art with fine art, all while honouring the great masters of the past, such as Picasso, Magritte, Vermeer, Warhol and Hockney, through his stylistic nods and thematic explorations.

Cultivating a signature style, Paricio adapts familiar silhouettes with prismatic colours and intricate geometric patterns that instantly catch the eye. Throughout his work, he marries the liveliness of street and pop art with classical fragments of art history.

I want my art to be open to interpretation. Whilst at times it can appear as mysterious, it is a mystery that I hope everyone can fit into and take part in

Pedro Paricio

Paricio often constructs alter-ego references, inserting himself into the compositions dressed in a black jacket, hat, and tie—a nod to painter René Magritte, whose works famously feature men in bowler hats. By deconstructing his subjects’ identities and replacing facial characteristics with patterns or geometric shapes of colour, he invites contemplation through ambiguity. In Paricio’s “Bull from Guernica” (2018), we see the artist take on his fellow countryman and iconic artist, Pablo Picasso.

Picasso’s powerful rendition of “Guernica” captures the heart-wrenching realities of war and the suffering experienced by innocent lives. Through a haunting palette of black, white, and blue-scale accents, the work evokes raw emotion and empathetically reflects the starkness and muted agony of these tragic events.

Paricio takes the bull from Picasso’s puzzle and reimagines this classic symbol with a striking juxtaposition full of colour. He presents a vision that is both fragmented and unified, blending surrealism and abstraction while still keeping the underlying essence of the bull’s form in its original offering.

In his landscape works, Pedro Paricio delivers a complex yet aesthetically pleasing visual experience. His use of bold, contrasting colours immediately captures attention, forming a patchwork of angular shapes where mountains, valleys, trees, and the sky interlock like puzzle pieces, creating a sense of depth and movement across his canvas. Once again, we see Paricio reworking the familiar with the fantastical, prompting reflection.

Through his lively renditions, Paricio has cultivated a highly recognisable style by juxtaposing street and pop art with underlying fragments of the masters. It’s clear that Paricio relishes colour and art history, inviting us to relish it too through his surreal and abstract lens of re-imagination. We managed to catch up with the artist during his exhibition at Halcyon Gallery‘s Songs of the Open Road until September 1st 2024.

Hi Pedro, thank you for speaking with us. Could you please introduce yourself to those who might not be familiar with your work?

Pedro Paricio: I am a contemporary artist originally from Tenerife in the Canary Islands and I am now based in Barcelona.

Could you take us on a journey through your early moments in the arts? What unique experiences and motivations led you to embark on a career as an artist?

Pedro Paricio: I became an artist the day I was born as I believe in destiny. I believe that until you find what your calling is you cannot be happy, and for me, since being a really young child I have always been happy and I think that is because I knew I was going to be an artist!

Your practice is deeply rooted in contemporary science, Hispanic folklore, music, and philosophy. These diverse influences are masterfully woven into your work, creating a fusion of street culture and fine art. Can we delve into how these inspirations shape your practice and the themes in your work?

Pedro Paricio: I take inspiration from many places and people. Firstly the world around me; Tenerife is full of vibrant colours and incredible light, which makes my world full of colour. Of course my Spanish forebears, such as Picasso who I owe a great deal to, have also informed my work, as has Spanish culture – I live in Barcelona where it is impossible to deny the influence Gaudi has had on the city. But I also look to the past, to the 51,000 years of art history that have come before us, right back to the oldest cave paintings in Indonesia. In order to move forwards into the future I need to understand the past first. Museums are a great help for this.

Aside from art, I come from a family where literature was very important, so books are a huge influence, as is cinema and film and music – I am inspired by culture in all its forms really.

Drawing from diverse subjects, including music and philosophy, how do these disciplines inform your practice and the themes you explore in your paintings?

Pedro Paricio: Novels make me dream and philosophy makes me wake up… I love to read fiction at night after a long day in the studio. Music, especially opera, is a source of energy, as is every human creative act, every piece of art, of music, of writing. It is like a domino effect, each output of creativity inspiring the other, creating a chain of culture and tradition.

In addition, your exploration of appropriation involves borrowing and adapting imagery from the past. How do you select the elements you wish to appropriate, and what is your process for integrating them into your visual language?

Pedro Paricio: I think it is impossible for painters to ignore the influence of the Masters that have preceded them. Rafael took from Michelangelo, Manet took from Giorgione, Picasso from Velazquez… but I don’t appropriate images, my art is about the soul and the joy of life, for me this is totally intuitive. My art touches classicism, pop, tradition and the past and the future all at the same time.

A recurring theme in your aesthetic is the use of blanked-out faces, prismatic colours, and geometric patterns, which serve as signature motifs. These introduce layers of meaning and play with the identity of the subject and artist. What message or commentary are you conveying through these recurring elements, and how do they contribute to the narrative and emotional impact of your pieces?

Pedro Paricio: I want my art to be open to interpretation. Whilst at times it can appear as mysterious, it is a mystery that I hope everyone can fit into and take part in. Every painting is complete just for a moment, then when a person views it, looks at it and feels it, they make the artwork their own, giving it their own story. My idea of identity relies on this triangle between me, the painting and the person who views it.

With your interest in both historical masterpieces and modern influences, how do you navigate the tension between preserving traditional techniques and embracing contemporary trends in your work?

Pedro Paricio: Human memory is so important to my work, as memory is inside the tradition of painting. Artists are constantly pressured to add something new to the canon that has come before us, but I don’t think you can always completely invent something new. It is more about taking what has come before us and building upon it. It’s evolution rather than invention, and this is what is evident in my work.

You mentioned that “a work of art is not only today, it is simultaneously yesterday and tomorrow.” Can you share with us how you convey this concept of time within a single piece of art?

Pedro Paricio: Art is a time machine, it is the unique thing that travels through time and survives for centuries. When we look at a Greek sculpture we are connecting instantaneously with a human soul from 2,500 years ago. When we really look at a Titian we are observing Venetian life from 500 years ago. But to feel these things you have to really look. Not the type of looking that is seeing and taking a photo and quickly moving on to the next thing. To look is when you arrive at an understanding with the piece, in the same way that when you are listening to music, you close your eyes and you are taken away to another place. That is to look at a piece of art, to give yourself to it.

Looking ahead, what new conceptual problems or cultural elements are you interested in exploring, and are there any upcoming projects or themes you are particularly excited about?

Pedro Paricio: I always create artworks in series so every collection is formed like a story, a complete body of work with its own narrative. When I find a new inspiration I become completely absorbed by it, and at the moment I am really focussing on landscapes inspired by Hockney, one the last great living masters. I share his love for life, his love of colour, the way he recreates the world. He reinvents the way we see again and again, especially with his investigation of en plein air paintings created with his iPad.

Lastly, could you share your philosophy of art? How do you describe and understand the core importance of art in your life and career?

Pedro Paricio: Art is everything for me. 24 hours a day, 7 days a week, 365 days a year. Of course I love my family with all my heart and there are more things which interest me… but I relate all of them with art constantly… I see everything through the lens of art and it is always in my mind, in my heart and in my soul.

Discover Paricio’s new landscape paintings on view at Halcyon Gallery’s latest exhibition Songs of the Open Road, until September 1.

©2024 Pedro Paricio

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

I believe gaming, art, and culture co-exist to help progress our existence in life and evolve the importance of representation in storytelling

NYGILIA

Nygilia’s dedication to representation and storytelling is evident in her African-inspired fantasy character, Alzena, who embodies different cultural elements. Alzena, a celestial being, symbolises the empowerment of a positive Black female lead with her own magical power. This project, which began while she was studying for a Master’s Degree at Northumbria University, first appeared in her short VR film “Vanity.” As Nygilia moved into NFTs, she continued to develop Alzena, expanding her narrative and presence in the digital art world.

This summer, as part of Base’s Onchain Summer campaign, Nygilia has teamed up with NPC Labs to release an NFT honouring the USA Basketball team during the Paris 2024 Olympics. Collectors will be able to redeem their NFTs for phygital products such as jerseys and hats. Additionally, Nygilia will hold an exhibition at ArtPoint in Paris, which will be open to the public for three weeks. She is the first artist in NPC Labs’ consecutive artist collaboration drops that will run weekly.

Nygilia’s work is a vivid blend of Y2K aesthetics reminiscent of early 2000s gaming, intertwined with cultural motifs and folklore bursting with colours and textures. These qualities have propelled her to exhibit at Art Basel with Playboy and Roc Nation, which were both well received. We caught up with the artist ahead of her exhibition and collaboration with NPC Labs.

Nygilia NFT is available for minting on Zora from the 24th July, 2024 – > Mint NFT

Hi NYGILIA, thank you for speaking with us. Could you introduce yourself to those who might not be familiar with your work?

NYGILIA: Hi there! My name is Nygilia, and I am a visual artist who creates worlds based on Y2K gaming aesthetics, mixed-media, and multicultural influences. I am from New York and was raised by family members from Jamaican, West-Indian, German, and Italian backgrounds.

The people in my life inspire me to tell unique stories that immerse people in a new place. Overall, I believe gaming, art, and culture co-exist to help progress our existence in life and evolve the importance of representation in storytelling.

Your journey from basketball player to artist is fascinating. How does your background in sports influence your creative process and the themes you explore in your art?

NYGILIA: I would say that the beauty of basketball and art is that they are so unpredictable. I realized I didn’t want to live a life that was too slow or not exciting enough. I have seen people lose themselves in being too comfortable with not challenging their dreams.

For me, I always have dreams and tell myself that I can fight to be the best version of myself. I fight to build my confidence while remembering that kindness is the best energy. Sports inspire my process because I believe in the power of perspective. Creating something that feels great yet doesn’t always have a linear answer. I want viewers to dive into the surreal and enter an ethereal place. At that moment, you may have learned something you never knew or felt a feeling. I like unlocking those moments with my art and taking people on a journey.

In your upcoming exhibition dedicated to the US Basketball Team, how do you plan to visually convey your passion for basketball? Are there specific elements or stories from your basketball career that you intend to highlight?

NYGILIA: In the artwork “4th Quarter”, I was inspired by myself and other Afro-Diaspora athletes who compete/have competed in the sport of basketball. When it comes to sports in America, it is very competitive and can change your life if you work hard enough at it. However, the stereotypes and mental toughness you need to have speak volumes about the experience. There are layers to this people might not get and that’s why I have the artwork animate in the way it does. Personally, I have faced all kinds of barriers ever since I was young.

One day, I made a wish and had this interview in the newspaper when I was 17. I stated that one day I would go overseas. I had to work extremely hard to get myself there and I am so glad I made it happen. That’s the vision of the 4th quarter. Anything can be done by putting your heart into the unknown. It can be confusing, and strange, but also fulfilling. You have the chance to create a life you never thought possible and I was able to do it because of basketball.

Your work draws inspiration from multicultural influences. Can you share some of the cultural sources that have profoundly impacted your work and how you integrate them into your art?

NYGILIA: Yes of course! So I grew up at my grandparent’s house in the USA. Both of them are immigrants of Italian and German heritage My father’s side of the family is from Jamaica & West-Indian culture so my overall household was filled with many traditions, viewpoints, and stories. When it comes to that, I was always drawn to cultures that embrace ideas for a greater purpose. Alongside my own ethnicities, I am inspired by Asian and African cultures too.

My favorite video game is Final Fantasy because of how much Japan grew a series that elevated its history, combined with fantasy and unique character creations. When it comes to African culture overall, I like to learn about the different tribes, their folklore, and textile patterns too. There are similar visuals that, ancestry-wise, connect back to the Caribbean. For me, it’s a life-long journey of learning and growing with these important identities.

In addition, Y2K aesthetics play a significant role in your creations. What aspects of the Y2K era resonate with you, and how do you reinterpret them in your mixed-media artworks?

NYGILIA: I love retro anime like Sailor Moon and Akira. Also, being a millennial, it’s the most important era to me as it’s a nostalgia that never dies. I loved also Pokemon growing up and even video games such as Sonic Adventure, Kirby, and Legend of Zelda: Ocarina of Time. All those games, styles, types of characters, and textures all contribute to my practice inspirations with mixed-media methods. I use different tools, both fine art and tech, to help develop the world I want to reflect.

You’ve mentioned, “I see life through vibrations… There is no perfect memory. Only beautiful thoughts.” How does this philosophy shape your artistic practice and the themes you explore in your work?

NYGILIA: I would say that you can’t change your mind about a memory, an idea, or an artwork created. Because at that moment, it was something that made you feel special and the action already happened. It is what it is. It’s sealed in time. That’s why I see life in vibrations. You have the right to not like something and/or walk away, but the power of the ethereal is everything in life has a purpose. Whether it stays or not, it is all part of the journey and that is the best part about being an artist. Utilize the past to inspire the future. Most importantly, to heal and grow too.

Can we speak about your project ‘Confetti’ that combines AI, Touch Designer, and machine learning? What inspired you to use these technologies, and how do they contribute to the overall impact of the project?

NYGILIA: Yes, we can! So ‘Confetti’ was a fun project because I wanted to tap into the dancehall culture with a memory from childhood. I remember seeing the Jamaican film “Dancehall Queen”, which revolved around their society and music culture in the 90s. I wanted to recreate the visuals of the dancehall club scenes into disco ball aesthetics using these tech tools. It was a very experimental approach and I liked that about the collection. It’s something I can always cherish and keep the spirit alive.

This project draws inspiration from ‘Dancehall Queen’ and Final Fantasy X. Can you share with us how these sources influenced ‘Confetti’ and the cultural shifts you aim to express through it?

NYGILIA: For both “Dancehall Queen” and “Final Fantasy X”, the combined inspiration comes from the feeling and vibes they resonate. Both have positive and negative tensions happening at the same time. Both have this sort of superpower moment where all eyes are on the main character. So, when creating Confetti, that was the mentality I had in mind. I want people to be drawn in and think “Wow, that looks cool!”.

Your current collaboration with NPC Labs involves creating an NFT of your character Alzena. What is the significance of Alzena in your body of work, and how did you develop her design for this project?

NYGILIA: Alzena is a part of who I am, and I have been developing her look since 2019. She started off in my Master’s Degree project at Northumbria University. I made my first short-film in VR called “Vanity”. It was the first time I created Alzena and made this afrofuturistic storybook experience through 3D painting to show her making life out of colors. Once I started getting into NFTs, I decided to bring her along with me. I was able to evolve her style because of my gaming inspirations with “Final Fantasy” and “Legend of Zelda”.

I wanted to make Alzena into an African-inspired fantasy character with elements of different cultures and galactic embodiment. Her skin is a reflection of stars in stipple form, with white hair to represent the moon. Alzena is created from stars and my symbolism with this is having a positive Black female lead that is her own magical power. I also created her this way as inspiration from Midna, the shadow princess
from “Legend of Zelda: Twilight Princess”. She plays a vital role in the storyline, fighting against stereotypes, and has a brave, beautiful soul.

Collectors of your NFT can redeem it for physical merchandise. How do you ensure that these phygital products retain the artistic and cultural integrity of your digital artworks?

NYGILIA: So with every product and artwork made, I make sure it all exists in the same ecosystem. Alzena is her own story, but she also has friends too. In terms of art direction, I have been really inspired by how versatile Hello Kitty and Sailor Moon are in the commerce world. That is how I want Alzena to be. She can transform, do anything, and exist anywhere.

Your work will be on display at ArtPoint in Paris for three weeks. How do you plan to create an immersive experience for visitors, engage the public with your artworks, and what do you hope they will take away from viewing your pieces, particularly those dedicated to the US Basketball Team during the Summer Olympics?

NYGILIA: I hope that people can get excited about sports overall. The Olympics brings us together and is such a necessary thing when the world goes through so much. It lets us enjoy, compete, and thrive. In the future, I hope to create a type of sports stadium in VR possibly to add to Alzena’s story. She does have a friend who is involved in this type of athletic place, so I am excited to build that, as I wouldn’t have been an artist without the guidance of sport.

Lastly, could you share the philosophy that guides your art? How do you understand the core importance of art in your life and career?

NYGILIA: A personal philosophy that I follow now in life is that “nothing is ever given, it is earned”. As an artist, I was never really supposed to be here. I had to fight to become the artist I wanted to be but also be an artist that is respected too.

I struggled for years in school to find opportunities and work. Now, I feel like I can take on anything when I set my mind to it and believe in that vision. It’s hard but worth it.

IG: @nygi_xxv

X: @nygi_xxv

©2024 NYGILIA

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

Emerging artist Tina Jane Hatton-Gore, from RCA’s MA Painting program, exemplifies these values. Her work delves into themes of life and non-life, as well as the animate and inanimate, reflecting the college’s commitment to experimental and conceptual exploration. Gore’s work is narratively rich, encapsulating paintings and sculptures imbued with symbolic meaning, creating an intriguing and haunting aura that captivates.

My overriding theme is the interface between life and non-life. That elusive space where boundaries blur between the inanimate object and the human enjoying its aura

Tina Jane Hatton-Gore

On her canvas, Hatton-Gore presents a cacophonous array of manufactured artefacts: inanimate ventriloquist dolls, gnomes, marionettes, Toby jugs, and scarecrows, all accentuated with elements of folklore and popular culture. Her cut-out sculptures, posed as strange and mysterious figures, add a physical edge, staring vacantly into space and further conveying her work’s surreal yet imaginative nature.

In her piece, “Life is A Circus, Who Pulls Your Strings,” Hatton-Gore delivers a vivid and thought-provoking commentary on human existence and the unseen influences that shape our lives. The title suggests life’s complexity and hidden control mechanisms. Against a warm ochre backdrop, familiar figures like Frank Sidebottom with his paper-mâché head, the board game Operation’s character, Russian dolls, a jack-in-the-box, action figures, and puppets create a nostalgic yet unsettling scene. The distorted scale and perspective add to the sense of unease, stimulating contemplation.

Hatton-Gore invites us to analyse our yearning for connection with those who share similarities yet possess distinctiveness that ignites inspiration. Her work hauntingly reflects our instinct to gather, archive, and curate—mirroring the natural impulses of building a home or having children. The objects we accumulate evolve from mere collections into companions that fulfil the roles of guardians and friends.

Hatton-Gore’s work elicits fear and unease, tapping into our primal emotions and psychological concerns of connection and relationships. The haunting nature of inanimate figures, with their unblinking eyes and too-perfect features, creates a creepy sensation.

These silent witnesses possess human-like features with eerie distortions, disrupting our expectations of lifelike representations. The best art doesn’t shock for shock’s sake; it engages, provokes, and lingers in the mind long after the initial encounter. Hatton-Gore’s work does exactly this. We caught up with the RCA graduate to learn more about her practice and fascination with life and non-life.

Hi Tina, thank you for speaking with us. Could you introduce yourself to those who might not be familiar with your work?

Tina Jane Hatton-Gore: I am a fine artist based in London and the Isle of Wight. I am currently completing a Masters in Painting at the Royal College of Art, which builds on my previous experience at Central Saint Martins, Goldsmiths and Camberwell: Printmaking, Textile Design and Illustration. All these influences can be seen in my work through inversion, variation in scale, negative space, and paying attention to the edges. I seek to create an immersive, inclusive world in which the viewer feels happy to explore.

My overriding theme is the interface between life and non-life. That elusive space where boundaries blur between the inanimate object and the human enjoying its aura. We communicate with one another through time via these artefacts. Handling a doll, ceramic Toby jug, rusty biscuit tin, we think of previous and future owners, and are the custodians of their safekeeping.

My colour palette and love of folk art has been influenced by my extensive travels, especially in Mexico and South America.

Can you share some early moments from your journey into the arts and explain what inspired you to pursue the path of an artist?

Tina Jane Hatton-Gore: School. I sat in the back of the art class, thinking I wouldn’t mind being an Art Teacher. That’s what I did for twenty years and was constantly inspired by the students. I was lucky enough to be taught by Paul Dash, of the Windrush generation, at Goldsmiths, who told us “You don’t have to give up your practice when you teach.

I used to come home after a hard day in school and paint all evening”. That’s exactly what I did, paint all weekend! I have enjoyed the journey, collaborating with other artists, life drawing, group exhibitions and now Instagram! I am looking forward to having my work exhibited in London’s Mayfair and hope to be represented by a gallery on an ongoing basis.

Through your practice, you frequently explore the boundary between life and non-life using everyday objects like garden gnomes and scarecrows. Could you delve into your inspiration and share any specific influences or events that drew you to this theme?

Tina Jane Hatton-Gore: During lockdown, I was completing a Masters in Illustration at Camberwell and spent five months oil painting, placing my researched scarecrow images into observed corners of my garden. Later, these scarecrows, naturally lending themselves to the theme of isolation and desolation the WHOLE WORLD was experiencing, were grouped together in landscape views close to my home, including a valley, a coastal landscape and a starry night. In this way, the inanimate figures shifted towards a life and a community.

In 2022, I completed the Graduate Diploma at the Royal College of Art. One of the projects was entitled Artefact. I had previously drawn Toby jugs as part of still-life set-ups around the house and realised that I had collected these as a child. There is a fascination with the hollow head and the fact that this one character has been locked in a fixed seated position since the eighteenth century.

Both my partner, Ken, and I enjoy posing as these characters. I then moved on to researching eighteenth-century nautical figureheads, often the last remaining piece of a massive sailing boat, now preserved in private collections or museums. Evidence that the aura of a human lookalike is automatically taken care of by live humans, just in case!

While looking at dolls and ventriloquist dummies more recently, I came across a pair of eighteenth-century nutcrackers, both ugly but touching, bearing a physical resemblance to the more recent ventriloquist dolls, who can speak the truth that others daren’t. I purchased a mechanical and musical clown at a country fair last year, sparking an exploration of clowns and marionettes. Clowns represent a masking of reality with pastiche, while puppets hover between coming alive, and being dead.

I find the slightly taboo nature of garden gnomes interesting. People generally hide these in the back garden, preferring not to broadcast their obsession to those who pass the front of their house. Where is the line delineating acceptable kitsch from bad taste? I like to push the boundaries of acceptability while still making unattractive options more accessible.

You have expressed a deep fascination with the concepts of life and non-life, as well as the animate and the inanimate. What draws you to these themes, and why do you find them particularly compelling in your artistic exploration?

Tina Jane Hatton-Gore: Humans have a natural urge to collect. This becomes socially acceptable when referred to as archiving, less so when seen as hoarding. It is a natural human instinct akin to nesting and even reproducing. Finding more than one vintage artefact with both similarities and differences sparks our interest, just as we are constantly seeking to connect with other people who are like us, but also different enough to inspire and excite us.

On a practical level, still life is a reliable way to practice drawing and painting. Combine this with a love of life drawing, especially portraiture, and the spark to fuse the two genres was lit.

Building on that, what connects these diverse objects under the theme of the animate versus the inanimate in your work?

Tina Jane Hatton-Gore: I see the theme of the interface between life and non-life as an ongoing project with new players in the theatre being added for a season and then being archived. There are always others waiting in the wings for their moment of glory. The concept will hover around in the back of my mind and studio. Once I carry out extensive research, one or two images will excite me with that elusive gut feeling, then I am away.

I like to push the theme into new directions and enjoy both repeating and inverting my characters. The element of narrative is important both across and within paintings. The idea is that the inanimate objects will come alive, and the human can take a step back to reconsider their position and values.

Your distinctive graphic aesthetic is a hallmark of your work. How does this style contribute to or enhance the narrative you wish to convey about life and non-life?

Tina Jane Hatton-Gore: Drawing is at the heart of my work, if that is not right, I will not continue. I always start a drawing of the figure with the face. I start the face with the eyes. This is where life shines through, even in imagery. The idea is to bring the inanimate object to life and allow the human to sit in their world, not vice versa. The trick is to paint just enough to show the life within, not so much that you obscure the aura.

How do you envision the interaction between the viewers and your works? Is there a particular reaction or engagement you aim to provoke in your audience?

Tina Jane Hatton-Gore: My first desire is for the audience to enjoy the work, be fascinated, curious, enthralled. The work is designed to be accessible and immersive. I enjoy interacting with viewers in front of the work, as I see it as an installation. It’s Chile Out There has four cut-out sculptures which have jumped out of the painting, giving a drop shadow effect. My own image appears there too, in the Chile desert with a giant cactus, fifteen years ago. During the Royal College of Art Painting show, I often offered to pose with the work. Bloggers, influencers and children alike shared the illusion that the dolls were alive, humans in their world, not the other way round.

There is a strong undercurrent of loneliness and abandonment in your work, particularly evident in the objects you depict. How do these elements help you reflect on and express broader human experiences of loneliness and abandonment?

Tina Jane Hatton-Gore: The theme of loneliness and isolation began while looking at scarecrows but also refers to Toby Jugs knocking around car boot sales, garden gnomes left out in the cold, dolls exiled to the attic, a ventriloquist dummy with no-one to move his lips. We can all relate to these scenarios, something to fear and avoid. In contrast, these artefacts also keep us company, somehow fulfilling the role of companion or guardian.

Looking forward, are there new themes or objects you are interested in exploring? How do you see your current themes and practice evolving?

Tina Jane Hatton-Gore: My current thought process is developing the theme of inside outside, a wax doll in a box, what else is in there with her, will she ever get out? The interface between life and non-life might include examining cadavers, zombies, taxidermy, topiary, chimeras, ghosts, robots, mechanical toys. Looking at ancient mummies and understanding how a painting can bring someone back to life is another line of enquiry.

I will continue working on linen and enjoy stretching this on stretchers I have made myself. One of the reasons I like to work in this way is that the painting becomes an artefact in its own right. The substrate is two-dimensional, but once that four-centimetre wooden boundary is added, an object is born. I am fascinated by the enduring life within wood and also drawn to wax as a medium for sculpture. Wax is a unique material that always returns its original form. Natural materials speak to the forms they are modelled in. I will continue to add a three-dimensional element to my paintings using these materials.

Lastly, could you share the philosophy that guides your art? How do you understand the core importance of art in your life and career?

Tina Jane Hatton-Gore: Just as I tell my yoga students: “Yoga is magic, it cures all ills”, so too Art is a beautiful experience. To be able to express yourself, and give a bit of yourself to the world, without asking for anything in return is a wonderful feeling and very rewarding. I paint for myself but I am chuffed when other people “get it”!

My main philosophy is that we are all artists, and simply have to go with our own way of working, rather than trying to imitate the work of others. If it feels good, if you feel that you are learning, burning, in the zone, you are onto a winner!

When I see or create an image that makes me laugh, giving me a dancing sensation in my stomach, I know it is right! In a sense, Art is the only thing that matters. Once the painting is on its natural trajectory, everything else will fall into place. There is always a slightly uncomfortable stage, while you work out the direction the work needs to go in. Once that barrier is crossed, the sky’s the limit!

This was emerging artist Tina Jane Hatton-Gore. To keep up to date with her work and exhibitions, head over to the Instagram link below.

@tinajanerca

©2024 Tina Jane Hatton-Gore

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

Sadik’s deeply personal inspiration draws from an eclectic array of influences: the pulsating passion of French rap, the vivid aesthetics and intricate storytelling of Manga, the vast universe of sci-fi, and the interactive nature of video games. Her practice is openly rooted in her personal experiences and cultural heritage, particularly her French Maghrebi culture.

The core of my stories, the documentary side of it, always based on real-life stories and experiences

Sara Sadik

The Maghrebi diaspora, primarily composed of individuals of African descent from Algeria, Morocco, and Tunisia, has been an integral part of French society for decades. Despite their significant contributions, the Maghrebi community often faces persistent stereotyping and de-symbolism, reflecting broader issues of racism, Islamophobia, and social exclusion within France.

The French media frequently portrays Maghrebi individuals negatively, often associating them with crime, violence, and unemployment. The Institut Montaigne 2020 study reveals significant discrimination against individuals with Maghrebi-sounding names in the French job market. The 2021 law against “Islamist separatism,” while presented as a measure to uphold secularism and combat extremism, has been criticised for reinforcing stereotypes, fueling discrimination against the Muslim community, and deepening social divisions rather than fostering inclusivity.

Growing up, Sadik absorbed her community’s experiences, especially her brother’s struggles and resilience as a French Maghrebi man. Through her work, Sadik delves into the experiences of French Black and Brown men, exploring themes of love, friendship, loneliness, and social issues such as racism, Islamophobia, and working-class struggles. Sadik’s groundbreaking work, XENON PALACE CHAMPIONSHIP, which opened at FACT Liverpool earlier this month, takes an innovative approach by transforming the hookah lounge—an often-overlooked sanctuary for men struggling with identity and societal triggers—into a central, magical theme.

The project imagines a secretive hookah lounge where a group of friends escapes the outside world and encounters fantastical Xenons emerging from the smoke.

This immersive installation signifies a “safe space” for individuals facing prejudice and cultural isolation to unite, which is critically lacking for Black and Brown young men today. It elevates the hookah lounge to a cultural and political icon, paying homage to this vital yet underappreciated habitat. It highlights its role as a sanctuary where these individuals can escape, unite, and find solidarity, fully expressing themselves without external pressures.

Sadik’s creative expression is different, fresh, and authentic. She embraces technology’s capabilities to explore notions of brotherhood and belonging, shedding light on the intricate relationship between alienation, ambition, and legacy; their experience becomes the art. It invites, engages, and teaches, illuminating the circumstances of the French Maghrebi diaspora. Her work has not gone unnoticed, with exhibitions in London, Berlin, Paris, Rome, New York, and more.

Ultimately, her work reflects her blend of experiences, unearthing hidden meanings through raw, unfiltered storytelling. Guided by her dedication to upliftment, she taps into the pulse of French Maghrebi contemporary culture, focusing on characters who morph into surreal avatars of self-expression. They strive for personal growth of mind, body, and soul while battling the ironclad challenges of an isolated life. Sadik reminds us that art can be both a mirror and a window regardless of the medium.

We managed to catch up with the Marseille-based artist and director to learn more about her practice and exhibition at FACT Liverpool.

Hi Sara, thank you for speaking with us. Could you introduce yourself to those who might not be familiar with your work?

Sara Sadik: Hi, I’m Sara Sadik, a soon-to-be 30-year-old French artist and director based in Marseilles. I work primarily with video and occasionally with performance.

Can you share some early moments from your journey into the arts and explain what motivated you to pursue a career in this field?

Sara Sadik: I started studying Art in high school, where I earned my diploma in Applied Arts. It wasn’t a field I was into, and being an artist wasn’t something that was in my mind at all at this time. I chose a specific course because it was the only one offered, and it was just a technique I used to gain admission to a great high school in the city centre. The logical follow-up after getting this diploma was to go to the Fine Arts School of Bordeaux, where I was admitted on my second try. It wasn’t until my second year there that I figured out that I wanted to be an artist.

I never felt any connection to the Arts in general, and I was just following a scholarship path a bit blindly, without knowing why I was there until I came across [Mohamed] Bourouissa’s work and something clicked – maybe I can do something in this field, maybe I have a purpose to be here. I felt like my identity, my culture; my story had its place in Contemporary Arts.

From that moment, I spent all four years at the school writing fiction, shooting, and creating so many video works. Video was the thing that was accessible to me because I was able to learn it on my own without any prior skills, thanks to YouTube tutorials. At first, I used a simple camescope from my school and a green screen that I replaced with Photoshop montages. It was such a cheap setup that I used for years. It allowed me to make so many videos without any money. It gave me so much freedom.

Your practice compellingly blurs the lines between digital and real worlds, merging fiction, documentary, video, and performance. Drawing from video games, anime, science fiction, and French rap, your work confronts stereotypes and desymbolisation of the Maghrebi diaspora in France. Can we delve into your practice, inspirations, and central themes?

Sara Sadik: All my works are based on French Black and Brown men, and I like to write based on figures. I worked on the lover figure, the fighter, the lone-wolf. From this, there are many themes that emerge, either straightforward or implied, such as love, friendship, loneliness, or social experiences like racism, Islamophobia, working-class struggles, and everything that arises from these.

This is the core of my stories, the documentary side of it, always based on real-life stories and experiences. Then comes the fictional part, for which I draw inspiration from TV, video games, anime and manga, sci-fi, French rap, and everything that is part of me as a person, but also cultural symbols of the men I work with. Whether it’s for the narrative structures or the visuals that I create, everything is nourished by this and serves as an homage. In my work, I like to add different dimensions, layers and references that can be grabbed in different ways depending on the viewer.

Many of your works construct and deconstruct narratives. How do you approach storytelling in your art?

Sara Sadik: The narrative structure I use in my films kind of follows a similar process to video games and manga. I always begin with a main character starting at point A, and all the writing focuses on character development: what is the goal he wants to achieve and what is the journey towards it. All of my characters experience a mental and/or physical transformation, like a coming-of-age phenomena. Their construction is inspired by the concept of the body-as-weapon and transformation, which is common in anime, often motivated by a wish for vengeance or the need to prove yourself and gain confidence in a world that you feel alienated from.

How does your personal experience as a member of the Maghrebi community inform your practice?

Sara Sadik: I grew up with my little brother with whom I have a strong relationship, so this has helped me become a good listener and understand the difficulties of being a French Maghrebi man in France. I don’t have the exact same experiences, but I have witnessed it all my life. I also share a similar culture with the men I work with. We are French from the African diaspora, having kind of a double culture, and belonging to the Internet and TV generation, so it’s easy for me to create work which is true to them.

How do you see your work engaging with or challenging the broader French and global art landscapes, particularly in their treatment of marginalised communities?

Sara Sadik: The journey I have had regarding my practice has allowed me a lot of freedom in terms of subjects, themes or visuals. The work that I was making while still in school was about stories of people and references that weren’t represented in Contemporary Art. I didn’t have any self-comparison and I was able to do whatever I wanted, to make work without any restriction on what it should look like or what mould to fit into, especially in the French Contemporary Art scene.

I think that to this day that’s something that is the essence of my work, and I’m proud to have kept true to myself during these years, despite some teachers telling me that what I was making wasn’t Art. But it’s still a tricky subject, that is reflected in the way my work is shown and received. My work was first shown in Switzerland, Belgium, Germany, Netherlands and England before I was invited to show it in France. Same with the public commissions, the talks, the institutional solo shows… I think that it says a lot about all of it. 

Your upcoming exhibition at FACT Liverpool, alongside artist R.I.P. Germain, showcases your XENON PALACE CHAMPIONSHIP (2023). Can you tell us more about the exhibition and how it came about?

Sara Sadik: The story of XENON PALACE CHAMPIONSHIP is about a secret magical hookah lounge where a group of friends go to escape the outside world. In this hookah lounge, there are fantastic creatures called Xenons that emerge from the smoke. When you enter the space, you enter the XENON PALACE hookah lounge, you enter a new dimension, a secret space where you are not supposed to be allowed in.

Visitors can interact with the work every 2-3 minutes when the film switches to a video game. It is important for me to «protect» my characters, and to give limits to interactivity. This is why the result of the competition is scripted and the way visitors play has no impact on the story or the characters. But I still wanted to bring interactivity into this film to make it as immersive as possible. I wanted to give the impression of being inside this moment with friends, in this secret hookah lounge, to which we are suddenly given privileged access.

For the hookah controllers, I’ve worked with Google engineers to create them. I wanted to use hookah handles and I chose the Bazooka ones because it was perfect in terms of ergonomy and manipulation. We added a gestures recognition system in them that allows you to control the characters actions with your hand gestures. It’s my most ambitious project and I think that’s why there are so many elements that give life to my worldbuilding within the film and the installation. 

Can you talk us through the essence and significance of XENON PALACE CHAMPIONSHIP (2023)?

Sara Sadik: All my projects are tributes to stories, people, social phenomena. The main theme about XENON PALACE CHAMPIONSHIP is the notion of “safe space”. I think that there is still a huge lack of safe spaces for black and brown young men, and men, in our society and one of them is hookah lounges. It’s both a cultural and political symbol thus I wanted to make a tribute to it and create a story based on it.

I feel it’s so important to create these types of spaces, and that’s also what all my work is about. Create worlds where these mens can be themselves openly, share what’s in their mind and simply exist at their fullest.

Given the rapid advancements in digital media and technology, how do you see your practice evolving in the future? Are there any new themes or techniques you are particularly excited to explore in your upcoming projects?

Sara Sadik: One key element in all my projects is the shooting techniques which are always different and adapted to the story and the worldbuilding. So that’s the thing for which I’m super excited. I always like to find innovative ways to work with new, specific cameras or shooting techniques. I like to use cinema cameras, action cams, thermal cameras, hunting cameras, game engines — you name it, I want to try everything. Technology allows me so much freedom in this production process and I’m always looking for new technology to use.

Sara Sadik’s XENON PALACE CHAMPIONSHIP is on display at FACT Liverpool until Sunday 13 October 2024.

https://www.instagram.com/sarasadikofficiel

©2024 Sara Sadik

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

The intrigue of storytelling through art was sparked when Cánovas visited “The Triumph of Painting” in 2005 at Saatchi Gallery, realising that there was much more to painting. Informed by a confluence of cultural forces such as history, cinema, and popular culture, Cánovas depicts this synergy in rich sensory works through a practice of multi-layering painting, drawing, printmaking, and photography. These eclectic cultural references subtly modulate throughout his works.

I’ve always been attracted to the visual arts, but the turning point to pursue a career as an artist was after I went to see “The Triumph of Painting“ in 2005

Ernesto Cánovas

Cánovas’ execution is nothing short of meticulous, as each piece goes through a rigorous process of sanding, drawing, painting, and varnishing, adding depth to his work and reminding us of the medium. Beginning with an image, whether found or appropriated and then imbuing it onto aluminium or wood, the results are explicitly abstract, conceiving slightly ambiguous yet familiar compositions. This brilliance is evident in Cánovas’ rendition of Stonehenge, a piece I particularly admire for its impressionistic portrayal of the mysterious monument shrouded in the ghostly fog of his layered aesthetic.

The allure of Cánovas’ work lies in his deliberate disruption of imagery, each piece shaped and reshaped as if weathered by time itself, blurring the lines between recollection and reinvention. Is each piece a memory preserved or a reality reimagined? It invites us to question—a recollection, a reinvention, or is it something else? This interplay challenges our perceptions, as Cánovas urges us to witness the fleeting nature of images—those that emerge and those that disappear, guided by a tactile yet intimate connection between him and his works.

The Way to the Top, at Halcyon Gallery’s latest exhibition, Songs of the Open Road, which brings together fragments of an otherworldly landscape, playing on the nostalgic imagery of a quintessential American road trip. Exploring the relationship between photography, history, and collective memory, Cánovas works with a range of vintage sources, digitally manipulating images and transferring them onto wooden panels. The hazy, reworked quality of the images appears as a blurry memory or an ethereal dreamscape.

Hi Ernesto, thank you for speaking with us. Could you introduce yourself to those who might not be familiar with your work?

Ernesto Cánovas: I’m an artist based in London, multi-disciplinary but better known for my paintings created from photography as a starting point. 

Can you share some early moments from your journey into the arts and explain what motivated you to pursue a career as an artist?

Ernesto Cánovas: I’ve always been attracted to the visual arts, but the turning point to pursue a career as an artist was after I went to see “the Triumph of Painting“ in 2005, it made me realise that there was much more to painting than the classical or 20th-century stuff….you could be a storyteller in your own way and that was it.

Your practice raises intriguing questions about societal issues, including social infrastructure and global economic chaos, underpinned by historical and cinematic inspiration. Using a multi-layered technique with found imagery, digital manipulation, and mixed media, can we delve into your practice, inspiration, and the themes within your work?

Ernesto Cánovas: When I was a student at university I had this amazing tutor, she was an artist…but she was also a philosopher in her own way. She used to say that artists spend time in the studio to earn some skills but we also have an obligation to observe, looking around and paying attention.. to the small things, and the big things. Basically, everything can inspire you in some way or another if you pay attention so that is what I’m trying to do.

My work explores the concept of appearing and disappearing images; each piece has multiple stages – starting with a photograph, found or appropriated, which is transposed onto aluminium or wood panels. I love the effect the grain of the wood has on the original image. I then begin the process of sanding, drawing, painting, varnishing to give a sense of depth. I often incorporate flecks of flat colour or 3-dimensional ceramics over the top of the painting to add a sense of energy. But it also disrupts the flow of the composition – reminding the viewer of the medium.

How has your background and cultural heritage influenced your artistic style and subject matter?

Ernesto Cánovas: I have done a lot of traveling and even if my heritage is mediterranean, I am influenced by all sorts of things… my works are sensory, so different cultural influences might affect the sense of the piece, the light, the composition, or expression. 
 
One of my earlier collections was called ‘An American Trilogy’ created in 2014 and of course this is my representation of Americana and its influence on the rest of the world. Many of these works have a cinematic quality, reminiscent of old Hollywood films – it reflects a romanticised ‘Americanness’.

How do you select the images you work with? Is there a specific criterion or thematic focus that guides your choices?

Ernesto Cánovas: No, as I mentioned before, you can get inspired by anything and I’m an artist that uses intuition most of the time – I just start working and see where it takes me. I have a vast collection of old photos, magazine clippings and postcards in the studio – some taken by me, some vintage – mostly found. 

Layering is a significant aspect of your technique. How do you decide the number of layers, and what factors influence your choice of materials such as acrylic, ink, and varnish?

Ernesto Cánovas: Every image has different demands and the process and order of applying techniques changes constantly- there isn’t a formula or a script to follow. In starting with an old photo, it’s like you are being invited into a personal memory – it’s a feeling, a sense of things – which develops as I work. 

Can we discuss the role of colour in your work, particularly the use of bright, abstract flashes that disrupt vintage iconography?

Ernesto Cánovas: A lot of the time the images I use have this nostalgic tone and nostalgia can evoke sadness. One way to avoid that is to balance it with colour and it also makes the whole thing more dynamic. The flashes add energy, and a bit of hope.

You’ve mentioned that the image becomes a “second-generation image” once transferred to the wooden panel. Can you expand on the philosophical significance of this transformation and how it relates to your overall artistic vision?

Ernesto Cánovas: To begin, I use a found image (or one of my own), but I like to manipulate them – this way, they become a ‘second-generation’ image, they get an upgrade… and from there, it becomes something else.

Looking ahead, how do you see your practice evolving? Are there new themes or techniques you are interested in exploring?

Ernesto Cánovas: There is always room for learning new techniques and exploring new themes…. lately I have been thinking of nature and aesthetic control and somehow Ikebana composition – the Japanese art of arranging flowers to convey a feeling or emotion – is now a preoccupation, so future paintings may use this as a starting point.

Lastly, could you share your philosophy of art? How do you describe and understand the core importance of art in your life and career?

Ernesto Cánovas: When people ask me what I do for living…I find hard to said that I ‘work’ as an artist because I don’t consider it a job, for me its a way of life, a way of being. I wouldn’t do anything else – this is just how I am.

©2024 Ernesto Cánovas

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.