Starting as a pointillist painter—an art form that demands patience and precision—these early beginnings nurtured Caesar’s meticulous eye for detail and his reverence for capturing the authenticity of life.

I have always enjoyed working with black-and-white film, particularly 35mm at 400asa for its grain and how it connects with the eye

Pogus Caesar

During his visit, Caesar wandered into a bookshop and discovered a monograph by the late photographer Diane Arbus. Deeply impacted by the unfiltered honesty of her work, Caesar set out with renewed determination to capture fleeting moments and untold stories of the world around him through the lens of his 35mm camera.

Born on the Caribbean island of Saint Kitts in 1953 and raised in Birmingham, England, Caesar’s early life was shaped by the cadences of island life and the industrial terrain of Great Britain. In 1985, a critical point in Birmingham‘s history would change the trajectory of Caesar’s photography.

As the Handsworth riots erupted—a defiant pulse of voices clashing against the weight of poverty and marginalisation in Thatcherite Britain—Caesar was on the ground, capturing events as they unfolded. These moments would become a celebrated documentation of dignity and recognition, a refusal to be silenced amidst societal upheaval.

In addition to photography practice, Caesar’s creative endeavours encompass roles as an author, curator, archivist, and filmmaker. He was appointed director of the West Midlands Minority Arts Service in the 1980s. During this climactic era, he also became the inaugural chairman of the Birmingham International Film & Television Festival.

Caesar’s work has been exhibited extensively, from galleries to cultural institutions worldwide. Throughout the decades, he has co-curated landmark exhibitions including Into The Open with Lubaina Himid at Mappin Art Gallery, Sheffield (1984) and Caribbean Expressions in Britain, Leicester Museum & Art Gallery (1986) with Aubrey Williams and Bill Ming. 

His photographs have explored cultural and social transformation in Britain from the 1980s, and the well-known Handsworth Riots 1985 has been exhibited at the Victoria & Albert Museum, London (2015), ICA, London (2021), Tate Britain (2021/2022), National Gallery of Art, Washington D.C., USA (2023) and Art Gallery of Ontario, Canada (2023/24), showcasing one of the most crucial episodes in post-war Britain.

Recently, he co-curated an exhibition titled The Brighter Flame for legendary author and activist Benjamin Zephaniah, alongside art historian Ruth Millington. The exhibition featured large-scale black-and-white photographs of Zephaniah taken by Caesar himself, alongside a series of poems and photographs by both Zephaniah and Caesar from their project Handsworth 1985 Revisited. Currently, Caesar features in the group exhibition Friends in Love and War – L’Éloge des meilleur·es ennemi·es, showcasing photographs from his Schwarz Flaneur series, taken around the globe over a significant period, celebrating love and friendship.

An astute observer of human experiences, Caesar’s archive stands as one of the most important visual chronicles of Black British history—an extensive body of work that navigates the margins of society, revealing the raw and unvarnished essence of religion, sexuality, history, and identity. By capturing fleeting moments of honesty and emotion before they wilt into the ether of time, Caesar cements his role as a visual griot.

Caesar will be exhibiting in The 80s: Photographing Britain from 21 November 2024 – 5 May 2025 at Tate Britain.

Hi Pogus, thank you for joining us today, to start, could you share your journey into photography and visual arts? How did growing up in the Caribbean and later moving to Birmingham shape your creative vision?

Pogus Caesar: My creative journey really started by looking through my father’s extensive book collection, located in a cabinet at the bottom of the stairs. The images were engaging and transported me to vast and unknown landscapes.

Initially, I became a Pointillist painter, influenced by the work of Impressionist artists Georges Seurat and Camille Pissarro. The notion of painting with dots was enticing and exquisite. At the time, I could not afford canvases, paint, or brushes, so my old school fountain pens, ink, and paper were the alternative. Night after night, I would try and create my paintings; it was labour-intensive – hard on my eyesight – but utterly rewarding. As time passed, I would exhibit the work in local exhibitions at schools, libraries, and community centres. The interest those exhibitions garnered gave me the courage to continue my creative journey.

In terms of my photography practice, the pivotal moment came during a visit to New York in the early 1980s. At the time, I was using a small 110 Instamatic camera, journeying through areas like Harlem, Bronx, and Queens and snapping scenarios as I walked. When visiting a bookshop in Greenwich Village, I came across a book of the late photographer Diane Arbus. Browsing the pages, I was immediately struck by the diverse subjects she captured. However, it was the quality of the photographs that really struck me – the idea that not all images have to be perfect. I purchased my first 35mm camera and began experimenting, learning my craft, and taking those first steps in the world of photography.

Following my visit to New York, I curated a selection of photographs called “Instamatic Views of New York”, which were eventually exhibited in a number of spaces including Midlands Art Centre, Birmingham, Walsall Art Gallery, Walsall, and National Gallery of Film & Photography, Bradford. The support those experiences gave me provided the stepping stones for my personal and artistic growth.

Your upbringing must have had a profound influence on your work. How did these experiences shape the way you view the world and express it through art?

Pogus Caesar: The work is shaped by the diverse communities I have encountered throughout my life and travels. I have no style as each series I create is so varied, from ‘US of A’, ‘Get Naked’ and ‘Into the Light’ to ‘Schwarz Flaneur’ – my series from which a selection of works are currently on display at Ikon Gallery in Birmingham as part of its Friends in Love and War – L’Éloge des meilleur·es ennemi·es exhibition.

One has to stay fluid: challenge yourself, be fearless, and do not become complacent. Artistic mistakes are required and each hurdle provides a fragment of growth.

Your work often focuses on marginalized communities and themes of social justice. How do you balance activism with artistic expression in your projects?

Pogus Caesar: My entire practice involves layering elements that relate to community and social justice whilst pushing my own artistic expression. There is always an imbalance between the two things – life is not perfect!

In your photography, you tend to favour black-and-white imagery. How does the absence of colour enhance the stories you aim to tell?

Pogus Caesar: I have always enjoyed working with black-and-white film, particularly 35mm at 400asa for its grain and how it connects with the eye. Additionally, once developed, you never know how the film will look – that is the ecstasy of anticipation. Although I have taken the photograph, the colours are very quickly forgotten; this lack of information creates a brand new narrative open to further investigation and a deeper spiritual connection.

Many of your photos have a raw, unfiltered quality. How important is authenticity to you, and how do you decide when a shot feels “complete”?

Pogus Caesar: To a great extent, they are raw. If shooting outside, I need the sun, which is the biggest flashbulb. For interiors, one has to find the light source and quickly build a relationship with it. There are so many images I have looked at for decades; some are not meant to be complete. You have to allow the public the responsibility of filling in the gaps.

Your Handsworth Riots series is particularly well-known. What were you trying to capture about the essence of that moment, and how do you view its relevance today?

Pogus Caesar: Regarding my photographs of the 1985 Handsworth Riots, there had been underlying tensions for years and it took a small incident to ignite the community into action. I was trying to capture my truth as I witnessed it. The atmosphere was tense with ever-changing scenarios that were totally out of anyone’s control.

It was an urban uprising, born out of frustration and other factors. Upon reflection, there were no winners, just destruction and a legacy that still resides in the underbelly of Handsworth and beyond. Throughout those few days, my equipment was an AF camera and a pocket full of film.

The plan was to keep moving and shoot what I found relevant, no matter what the consequences were –adrenaline takes over your whole being and propels you forward in those instances. As the decades have passed, those photographic archives have become part of documentation referencing one of the most pivotal incidents to occur within the inner-cities of post-war Britain.

When photographing public events, how do you immerse yourself in the moment while maintaining an objective viewpoint as an artist?

Pogus Caesar: Once a decision is made to photograph public events, I don’t think about it too much. There is no start, stop or rewind – you get caught up in the moment and try to photograph what is relevant. No matter how objective you are, once the work is published and placed in front of the public, it takes on a completely different narrative and is open to scrutiny. You live with the scrutiny as not everyone will agree with your viewpoint or camera angle.

How has your role as a documentary photographer evolved with the rise of citizen journalism and the instantaneous documentation of events by everyday people?

Pogus Caesar: Well, as I am using an analogue camera, taking a photograph and instantly placing it on social media is difficult. Nonetheless, there have been moments when I have witnessed events and used my mobile phone to capture them, sharing the images on a platform for everyone to see and have an opinion on.

What do you hope to leave as a legacy for future photographers and artists, particularly those from underrepresented communities?

Pogus Caesar: Leaving a legacy is an interesting notion, hopefully I can show that a skinny little black kid from the West Indies had a creative dream and followed it. I am still chasing that dream and learning how to create better, worthwhile images.

As an artist who has been active for decades, what changes in the art world have most impacted your work? How do you adapt to these shifts?

Pogus Caesar: As I still use a Canon AF 35mm camera which has 36 frames, film can be expensive and so I have learnt to be selective in what I photograph. I also must work with laboratories and printers to develop the film, which isn’t problematic as I have built up positive and longstanding relationships in those areas.

In terms of adapting, it is much easier to place your work in front of the public’s gaze now. Adapting to shifts is vital; if used correctly, they can revitalise your creative journey. Artistic complacency is not part of my thought process.

What advice would you give to young photographers and artists who wish to capture social justice issues through their work?

Pogus Caesar: Just continue documenting. Create and archive visual personal diaries. We are witnessing times where images of social justice issues will play a vital part in world history. The more photographic images there are, the more future generations can hopefully attempt to piece together a road map of the times we are presently living in.

Everyone has a smartphone camera: you are a broadcaster with two video camera ‘eyes’, two stereo speaker ‘ears’, one microphone ‘mouth’, and a very powerful and complex hard drive ‘brain’. All those elements combined make you and your work an unstoppable force.

In a world saturated with images through social media and smartphones, how do you preserve the power and uniqueness of your work?

Pogus Caesar: Undoubtedly, social media and smartphones are an unstoppable force and will continue to develop at a rapid pace. One has to embrace technology and, when required, use it in one’s practice. While the majority of my photographic work is 35mm film, I am working in a digital timeframe – it is about balance and not allowing the technology to grasp the creativity out of your hands.

In terms of preserving the work, a large percentage of it comprises ordinary everyday moments. To an extent, that is quite mundane. However, the images are also a testament to my life, in which I have had the good fortune to journey into territories and document a broad range of cultures.

Lastly, could you share the philosophy that guides your art and how you view its core importance in your life and career?

Pogus Caesar: There is a simple philosophy I adhere to: try not to worry about the public not connecting with your work and capture what you find interesting as in years to come the images may become relevant.

Every image is a historic document of the era we are living in. In time, the images may accelerate to a position where they achieve cultural value.

Finally, have no fear, as not everyone will understand your vision; if 60% do, that is a start.

Friends in Love and War — L’Éloge des meilleur·es ennemi·es is presented at Ikon Gallery in collaboration with macLYON as part of the British Council’s UK/France Spotlight on Culture 2024, 2 October 2024 – 23 February 2025. ikon-gallery.org

©2024 Pogus Caesar

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.

My work is inspired by a desire to explore different media and environments, and to create generative tools that engage audiences in diverse locations

MAOTIK

Often described as a fusion of art and technology, MAOTIK strives to create an active encounter, not a passive observation, through a pursuit to reveal the invisible. He often incorporates audiences as he stretches perception through the power of generative art, sound, algorithms, and data, fully immersing them in art as an experience.

In Erratic Weather, a performance driven by atmospheric data, MAOTIK explores the intersection of art and science, revealing the beauty in environmental unpredictability; his Sense of Blue, presented at Art Basel in 2021, offered a celestial experience crafted through minimal yet sophisticated tools.

Then there’s his interactive installation, INNER LIFE, which reacts to the movement of the public; the audience generates abstract visual compositions—a blend of watercolour-like paintings and natural behaviours—that trigger soundscapes that shift in response to their actions.

In his latest project at London’s W1 Curates SUPERPOSITION sees him collaborate with DJ Tennis and Ashee in an audiovisual installation designed for W1 Curates’ multi-screen architecture. MAOTIK has earned international acclaim, with his works featured at celebrated events and exhibitions worldwide, from Sonar to Art Basel, Frieze London, and the Miraikan Science Museum in Tokyo, among others.

MAOTIK evokes moments of awakening, expanding the world as we thought we knew it—like the Keymaker in The Matrix, breaking down the barriers between perception, art, and the observer.

Hi MAOTIK, thanks for speaking with us. Could you start by sharing your journey into the arts and what inspired you to pursue a career as an artist?

MAOTIK: I began my career in the arts with my studies in Digital Media Production at the London College of Communication (LCC) while I was living in London. I then went on to complete a Master’s in Digital Arts in Barcelona, which further reinforced my
passion for the field. I am a curious individual, and I am driven by the desire to
explore the intersection of art and technology.

I am committed to pushing boundaries and questioning the role of these two disciplines in our society. By developing my own software to create and perform my work, I merge technical skill with artistic expression. Each project represents a stepping stone for the next, and I am continuously discovering new ideas and techniques that fuel my desire to explore further in my future creations.

Your practice integrates art, science, and technology to create immersive environments, interactive installations, digital architectural sculptures, and audio visual performances. Could we explore your creative process further and discuss the themes that inform your work?

MAOTIK: My main area of focus is the development of real-time systems that have the potential to be applied across a wide range of fields and disciplines. My work is inspired by a desire to explore different media and environments, and to create generative tools that engage audiences in diverse locations. One of the key elements of my practice is the pursuit of revealing the invisible, which I often attempt to do through the analysis of data.

This could potentially involve processing sound frequencies in live performances or utilizing weather data for installations like FLOW.

By integrating these elements, I design systems where I don’t exert full control,
intentionally leaving space for improvisation and unexpected behaviors. This introduces an element of unpredictability, fostering a dynamic interaction between myself and the technology I employ. The result is an interplay where randomness injects life into the artwork, allowing it to evolve organically. This collaborative exchange between artist and machine generates unique outcomes, enriching the experience for both the creator and the audience.

Building on that, how do you see art, science, and technology influencing and enhancing each other in your work? How does this intersection push the boundaries of traditional artistic expression?

MAOTIK: It could be said that technology, much like science, is in a constant state of evolution. Artists have historically been pioneers in exploring new technologies, from the discovery of electricity and photography to other major innovations. Digital media is just the latest in this long tradition.

Every day, I feel encouraged to learn, experiment with, and explore new advancements, given the rapid pace of innovation. I am particularly interested in
exploring the potential of blending different forms of media, such as imagery, sound,
architecture and more, to create immersive and multifaceted experiences.

Digital media, in particular, offers a wealth of possibilities for creative fusion, allowing us not only to combine different art forms but also to explore new frontiers by developing innovative languages of expression. It offers us the opportunity to consider how we listen to music, perceive visual arts, and engage with both in experiential and
transformative ways.

Can we talk about your reality-shifting environments that often challenge the audience’s perception of space and reality, such as in works like Layers of the Earth? What philosophical or scientific questions about reality and perception inspire you when creating these immersive environments?

MAOTIK: The location inspired me for the Layers of the Earth project. Carré Theatre in
Amsterdam has a unique design. It has a traditional stage and a circular floor used for
horse shows. The ceiling height made me think that projecting onto the floor could
create a truly immersive environment. At the same time, I read an article about how the Earth’s inner core had slowed down and started spinning in the opposite direction.

This made me want to learn more about the Earth’s layers. I then came up with a story about going on a journey to the center of the Earth, combining science, music and art. Other projects such as Flow, Light Bearers and Erratic Weather are also profoundly influenced by the natural environment and address significant issues such as climate change, which has a global impact. Although I do not seek to achieve strict scientific precision in my work, I find it intriguing to integrate tangible data, such as meteorological patterns and wind speed, into my systems.

By doing so, I create data-driven experiences that enable the audience to physically engage with these elements, evoking sensations comparable to observing a sunset or walking by the ocean.

In your installation Inner Life, human movement was central to the experience. How do you think movement-based interaction enhances the connection between the viewer and the digital world? What does this reveal about the evolving relationship between the human body and technology?

MAOTIK: Innerlife is a site specific installation that offers the audience the opportunity to engage directly with the artwork. The system is designed to track users’ positions and generate visuals and sound based on their movements and behaviors.

In designing this type of experience, my aim is to provide participants with the freedom to explore and connect with their emotions in their own way. This approach differs from traditional methods, where as a creator, you might anticipate a specific reaction. Instead, I observe a range of responses, some people stand still, others jump, run, dance or simply sit down and contemplate the piece. The multi-user aspect also encourages interaction between participants, fostering a sense of connection much like what we experience in public spaces.

Collaboration plays a key role in your practice, spanning multiple disciplines—from music and dance to architecture and science. How do these collaborations inform your creative process? Are there any particular challenges or Insights that arise when working across such varied fields?

MAOTIK: I have a deep appreciation for all forms of artistic expression. I am always interested in the practices of other artists and enjoy merging different creative worlds together. My focus is on the project, not my individual role as the artist. I am convinced that each project is enriched by the contributions and inspirations of everyone involved.

The result is something unique that is not solely a reflection of one artist’s vision, but a collaborative creation shaped through study and collective effort. I also love
collaborating with scientists and researchers. I have learned a great deal from them
and find that our approaches are quite similar. Both fields involve experimenting,
rapidly prototyping, and refining ideas to achieve meaningful results.

Your latest collaboration, SUPERPOSITION with DJ Tennis and Ashee at London’s W1 Curates, is an audio visual installation specifically designed for the multi-screen architecture of W1 Curates. Can you tell us more about the project, how it came about, and what visitors can expect to experience?

MAOTIK: A few months ago, DJ Tennis reached out to me with the idea of collaborating on an immersive experience inspired by a music album he had been working on with Joseph Ashée. I was immediately drawn to the concept of creating an audio-responsive architectural installation, especially in a venue like W1 Curates, known for its world-class screen quality. This project is a collaborative effort between myself, DJ Tennis’s new project, Teenashee, and W1 Curates.

It merges visuals, sound, and architecture into one cohesive experience. The audience will be immersed in a responsive environment, embarking on a sonic journey through a unique space filled with luminous screens and a state-of-the-art sound system.

Looking ahead, what new themes or projects are you passionate about exploring? How do you envision the evolution of your work in the coming years?

MAOTIK: I want to explore narrative and storytelling within the realm of digital media. As I’ve already stated, I’m driven by a passion for researching new forms of expression and telling stories that transcend the limitations of linear time, unfolding through events. My work is defined by its generative aspect, which I achieve by using algorithms that change the content with each exhibition. This approach gives the system a sense of life, creating an evolving piece that I never tired of, because it constantly iterates and adapts.

I view it as a living organism. I’m also intrigued by new game engines like Unreal, which allow creators to produce cinematic experiences from home. Currently,
I’m exploring collaborations with filmmakers to develop fully immersive experiences that are grounded in strong narratives. I’m trying to create deeper, story-driven engagement, while also inventing new media support to experience it.

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

MAOTIK: I believe that our character is shaped by our life experiences, the environment in which we grew up, and the depths of our unconscious mind. Having spent my childhood in the countryside of Brittany, surrounded by nature, I think these early experiences have had a significant impact on my work. The natural world I was immersed in during my formative years has deeply influenced my artistic perspective and creative expression.

I am interested in exploring physical experiences in sound and immersive environments. I find that sound is a remarkably powerful medium for conveying emotions, and I believe that combining it with imagery within these new immersive spaces can enhance its impact even further. This fusion of sensory elements creates a richer, more profound experience, allowing for a deeper connection with the audience and a more powerful emotional resonance.

©2024 MAOTIK

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.

Originally hailing from Connecticut but now calling Atlanta home, Mike’s creative energy is fueled by his work in design and a cultural cocktail of graffiti, skateboarding, and street culture. Regular trips to New York sparked this fire, immersing him in the pulse of the streets, witnessing the power of art had on the urban landscape. These experiences laid the foundation for his path, where art in public spaces became inseparable from his creative identity.

I was heavily influenced by skateboarding, graffiti, and the vibrant street culture that shaped my early creative identity. These worlds introduced me to bold visuals, self-expression, and the idea of using art as a form of rebellion

Greg Mike

From that point on, the rest, as they say, is history. Mike paints in various scales, from canvases to large-scale murals, as he reimagines the comforting edge of nostalgia. Once symbols of childhood innocence, these characters now portray the paradoxes of the modern world. In one of his paintings, Disney’s Goofy is duplicated, stripped of buffoonery and transformed into a cyclops, churning out drawings of Mike’s signature LOUDMOUF icon. Next to him, a mischievous, three-eyed Bugs Bunny grins—a visual paradox that defies the very logic of their animated essence.

Bugs is holding a smiley motif, perhaps a nod to pop culture or an emoji—depending on what year you were born. In addition to a flourishing practice, Mike also runs a successful agency and an art gallery. In his upcoming project, he will transform an 8,500-square-foot church into a new home for his agency, gallery, and art studio.

Under Mike’s influence, the visual language of nostalgia becomes richly exaggerated, fractured, and expanded as characters shed their original narratives and merge into a hyper-saturated synthesis of cultural mythology. In our conversation with Mike, we explored his creative process, vision for the new space, and more.

Hi Greg, thanks for speaking with us. Could you start by sharing a little bit about your background and journey into the arts?

Greg Mike: Absolutely. I’ve been involved with art in some capacity for as long as I can remember. Growing up in Connecticut, I was heavily influenced by skateboarding, graffiti, and the vibrant street culture that shaped my early creative identity. These worlds introduced me to bold visuals, self-expression, and the idea of using art as a form of rebellion. After studying graphic design in college, I moved to Atlanta, where I continued to evolve my craft, eventually founding ABV Gallery and my creative agency. It’s been a journey fueled by passion, constant learning, and a desire to merge different aspects of culture into my work.

Your work is known for its vivid Surrealist Pop Art aesthetic, fused with the energy of street culture, skateboarding, and bold design, featuring distinctive and often mischievous characters. Can you delve into your practice and the themes you explore in your work?

Greg Mike: My practice revolves around blending high-energy elements with a sense of nostalgia. Street culture and skateboarding taught me to view the world differently and that shows up in the surreal nature of my characters. Themes of duality, like chaos versus control and the exploration of bold design, are constantly present. My characters, like LARRY LOUDMOUF, serve as exaggerated representations of those ideas—expressions of a world where curiosity and absurdity are celebrated. I enjoy creating work that challenges perceptions, plays with boldness, and taps into a primal form of communication.

Building on that, what are the origins of some of your most iconic characters, such as Loudmouf? Are they a form of self-expression or a commentary on broader cultural themes?

Greg Mike: LARRY LOUDMOUF started as a personal form of self-expression, but he has grown to represent a broader commentary on communication in our noisy, chaotic world. Through the Loudmouf Says contest, he has become a voice for many, celebrating diverse perspectives and encouraging everyone to be heard.

Larry embodies the idea that no matter how loud or quiet our voices are, they all contribute to the larger conversation. He emerged during a time when I was deeply interested in how we connect and communicate, and he’s evolved into a character that both engages and amplifies the collective voice of the community.

Colour plays a significant role in your work, with “vivid explosions of incandescent colour” becoming a hallmark of your artistic identity. Could you speak to the role colour plays both thematically and emotionally in your art? How do you decide on the palette for each piece, and what significance do the colours hold for you?

Greg Mike: Colour is everything in my work—it’s how I communicate emotion, energy, and narrative. I often start with a feeling I want to convey, whether it’s intensity, playfulness, or chaos. From there, I build a palette which reflects that mood. Neon hues, for example, embody the excitement and rebellious spirit, while contrasting bright and dark tones can evoke the duality I often explore. The colours in my work aren’t just aesthetic choices; they’re an integral part of the story, guiding the viewer through the emotional journey of each piece.

In addition to being an artist, you also run ABV Gallery, which you founded in 2010 as a space to showcase a vast range of contemporary artists. Can you talk about your curatorial approach and how you select the artists and works that align with your gallery’s mission?

Greg Mike: ABV Gallery was born out of a desire to create a space where emerging and established artists could share their voices within the New Contemporary movement. My curatorial approach is very much aligned with showcasing work that’s bold, innovative, and taps into the cultural pulse of the moment. I seek out artists who are pushing boundaries, whether through their medium, subject matter, or creative processes. The gallery’s mission is to amplify those voices that reflect the energy of contemporary art, while also contributing something new and exciting to the conversation.

What trends do you see emerging in the New Contemporary movement, and how do you think they reflect the broader cultural or artistic shifts happening today?

Greg Mike: One major trend is the intersection between digital and physical art, which has completely shifted the landscape. Artists are exploring new ways to blend traditional mediums with digital platforms, and that hybrid approach is becoming a major part of the New Contemporary movement. There’s also a growing emphasis on narrative and storytelling, where art is less about aesthetics and more about creating an experience or message. This mirrors broader cultural shifts, where people are increasingly looking for authenticity and deeper meaning in everything they engage with, including art.

As the founder of both ABV Gallery and a creative agency, how do you balance the commercial aspects of your career with your personal artistic vision? Additionally, how do you navigate the pressures of running a business while staying true to your creative process?

Greg Mike: It’s definitely a balancing act. Running a business comes with the need for structure, deadlines, and financial sustainability, while my personal artistic practice is more about exploration and pushing boundaries. The key for me has been finding overlap between the two—building a commercial platform that supports my creative vision while also allowing me the freedom to experiment. There are challenges, of course, but I’ve learned to set boundaries and prioritize my personal art in a way that fuels both sides of my career. It helps that both my agency and gallery are centered around creativity, so everything stays in alignment.

Your latest project involves reimagining a church into a contemporary gallery and event space. How did the architecture and history of the building influence your vision for its transformation, and what message do you hope the space will convey to visitors?

Greg Mike: The church building has a deep history, and I wanted to honour that while bringing something new to the space. The architecture itself—its high ceilings, open floor plan, and natural light—played a huge role in shaping the vision for the gallery. It’s almost like the building has its own personality, and I’ve worked to ensure that the design allows for a seamless dialogue between the art and the space. My hope is that visitors feel a sense of awe and inspiration when they step inside. It’s a place where creativity and community come together, and I want that to resonate with everyone who walks through the doors.

With the opening of the new ABV Gallery space and the ongoing evolution of your personal work, where do you see your art heading in the next decade?

Greg Mike: With the new ABV Gallery space opening up and my art evolving, I’m diving into a more abstract approach over the next decade and look forward to exploring how forms and colors can blend to spark emotion and imagination. It’s all about creating visual experiences that invite viewers to dig deeper and connect with the art on a more intuitive level. I’m excited to push boundaries and craft pieces that inspire a fresh perspective and engage the imagination.

Lastly, could you share the guiding philosophy that has shaped your career and your understanding of the core importance of art in your life?

Greg Mike: The core philosophy that’s driven my career is simple: Create Fearlessly. Art has always been a way for me to express myself without limitations, and I believe in the power of creativity to transform not only the individual but also communities. Art is about communication—it’s a universal language that transcends barriers, and it’s something we all need to tap into in order to better understand ourselves and the world around us. Staying true to that belief has been essential in shaping both my career and my approach to life.

©2024 Greg Mike

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.

My work often starts with the body, with lived experience

Adham Faramawy

Faramawy’s work encourages reflection and awareness of the interplay between these elements, highlighting their impact on those often left at society’s margins and their broader societal implications. Their creative process is deeply personal, often starting with their own body and experiences, thus grounding their work in personal sentiment.

These consequential connections manifest in various forms of art, such as writing, dance, video, sculpture, and painting. This variety reflects the complexity of their experiences and aims to foster a deep emotional connection with the audience. Art, culture, and creativity have always been integral to Faramawy’s life, woven into the fabric of their lineage. Their father, an artist, while their mother, a journalist, explored feminist thought and women’s experiences. These intellectual and creative foundations are evident throughout Faramawy’s practice.

In his latest project, ‘Daughters of the River,’ created in collaboration with Serpentine, Faramawy incorporates dance, sound, and spoken word. This work explores the romantic and toxic associations with rivers and waterways, drawing inspiration from Alexander Pope’s poem ‘Windsor-Forest.’ The performance takes the audience on a fluid journey, exploring the porous borders between purity and impurity. Faramawy traces the imperialist roots of these waterways, highlighting their roles as both life-giving forces and symbols of historical exploitation.

Faramawy has exhibited his work at prestigious institutions, including the Guggenheim Museum in New York, Tate Modern, Tate Britain, and Serpentine Gallery. Recent exhibitions have featured his work at Buffalo University Gallery, Somerset House, and Goldsmiths Centre for Contemporary Arts. Notably, they recently reimagined the Pride Flag, which was displayed earlier this year in London’s Piccadilly.

Faramawy’s performance pieces are influential; the body becomes a vessel for unheard voices’ theatrical performance of sensory engagement. Creating spaces for alternative narratives can flourish, fostering dialogues around gender, colonialism, and identity, encouraging a reexamination and reimagining of these matters. We had the opportunity to speak with Faramawy shortly after his performance to delve deeper into his practice.

Hi Adham, thank you for speaking with us. Could you introduce yourself to those who may not yet be familiar with you and your work?

Adham Faramawy: I’m Adham Faramawy. I’m an Egyptian artist based in London. I work in a wide variety ways thinking about materiality, touch and toxic embodiment to question ideas of the natural in relation to marginalised communities.

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

Adham Faramawy: My father was an artist working in paint, drawing, assemblage and ceramics. He was a musician, a poet, a playwright, an actor and a broadcaster. My mother is a journalist focused on feminist and women’s interest subjects. Art, culture and creativity have always been close to home for me and my sister.

Given your diverse use of media how do you maintain a cohesive narrative or thematic continuity across such varied forms as moving images, sculpture, photography, and painting? Are there particular narrative techniques or thematic elements that you find particularly compelling in bridging these different media?

Adham Faramawy: I think that for me, in a lot of ways the medium is secondary, maybe even tertiary. My work often starts with the body, with lived experience, and I’ve spent the last few years writing, making dance, video, sculpture and painting as a way to tell non-linear stories to explore and share my experience.

As an artist of Egyptian descent, your personal experiences and cultural heritage undoubtedly play a significant role in your practice. Are there any specific cultural or historical references that you draw upon to inform and enrich your artistic exploration?

Adham Faramawy: Being Egyptian is important to me, but I was born in the Emirates and grew up in England, spending only one year at school in Egypt. This left me with questions around cultural identity and belonging. What is it to belong to a culture? Which experiences or forms of heritage shape how we identify and behave?

“Daughters of the River” traces the imperialist roots of popular waterways and identifies them as sites of ecological collapse. How do you fuse historical, mythological, fictional, and queer narratives to expose these colonial undercurrents? What message do you hope to convey about the relationship between colonial history and contemporary ecological issues?

Adham Faramawy: I understand European colonialism and empire-building as the foundation of contemporary capitalism, an ideology that relies of exploitation and extraction with the goal of endless expansion and amassing of wealth. But exploiting people comes with cruelty, and exploiting natural resources is killing the planet we live on.

Our resources are finite and maybe looking to the past might help us to understand how we got here, to denaturalise the ways we behave and make decisions. Maybe in telling stories, we can learn together that we haven’t always prioritised money over life. Maybe this might help us find our way through the human-made collapse of the ecologies we live within and depend upon.

What drew you to Alexander Pope’s poem “Windsor-Forest” as a source of inspiration for your performance? How do you reinterpret or subvert its themes to align with your exploration of ecological and colonial issues?

Adham Faramawy: I drew on Alexander Pope’s poem ‘Windsor Forest’, for my live performance ‘Daughters of the River’, which I performed with two dancers and a flautist, first in 2022 for the Serpentine Gallery’s Queer Earth and Liquid Matters symposium, and then again in 2024 in a more developed form for the Serpentine Infinite Ecologies Marathon. One of the etchings that illustrates the poem depicts a group of water nymphs frolicking in the Thames, and this is where I drew the title of the work.

Alexander Pope was an English poet of Catholic faith, living at a time when people of his denomination were persecuted by the government and there was legislation preventing them from attending university, teaching, voting, holding public office or living within 10 miles of Westminster, the seat of power in England. So his family moved to a small estate near Windsor where he wrote the poem, parts of which glorify the ruling class of the day and celebrate the treaty of Utrecht, a political agreement that undermined Spanish and French economic superiority in Europe and laid the foundation for the building of the British Empire.

Though Pope was part of an oppressed minority, he still allowed his art to be used to celebrate his oppressor, and his complicity in celebrating the founding of systems that we still live under and are oppressed by today makes him an interesting figure for me.

‘Windsor Forest’ focuses on the Thames as a political and economic tool, but also as a site of mythology and wonder. It uses a medieval reimagining of the story, which explains the root of the word Tamesis, one of the early names of the river Thames, saying it was the result of the marriage of Old Father Thame, the god and personification of the Thames, to the Egyptian goddess Isis, whose tears flood the river Nile. Parts of the Thames around Oxford are still called the Isis even now. This gave me a route into exploring ancient attitudes to water and the sacred river Nile, as well as the British colonial project in Egypt.

Looking to the future, how do you see your work evolving? Are there new media or techniques you are interested in experimenting with to investigate further the relationship between materiality, the body, and marginalised communities?

Adham Faramawy: Currently I’m doing a lot of painting and sculpting. I’m working towards a solo show at Focal Point in Southend opening in September 2024, as well as a show at Niru Ratnam Gallery, London, in 2025.

I’m working on two videos. One is a work titled ‘Birds of Sorrow’ commissioned by Create, which looks at bird life and air pollution around the Thames in Barking and Dagenham in east London.

The other video titled ‘The Cyclamen and the Cedar’, is the culmination of my ‘UAL 20/20’ residency focused on decolonising art collections of national significance. I’ve been a resident at Kettle’s Yard, the house museum in Cambridge and I’ve been reading up on the house’s original owners’ Jim and Helen Ede’s time spent living in colonial Morocco. On and off for twenty years, the Ede’s lived in a Modernist house called ‘Whitestone’ near Tangier, where they hosted European and American dignitaries and the cultural elite passing through Tangier between the 1930s-1950s, as well as their long-time project of inviting British service men based in barracks in Gibraltar, to stay at their home each weekend sharing their art and their lifestyle at the house which was a kind of blueprint for Kettle’s Yard.

The Ede’s are well known as hosts whose close friendships with artists helped them become collectors of important British Modernist artists. The Ede’s lived in Morocco at the height of Arab Modernism but made no connections with North African artists and collected no Moroccan art, focussing on earthenware, rugs and furniture.

I’ve been learning about the significance of the cut flowers in the house, as well as researching plants and flowers depicted in the permanent collection as a way to start work on a performance for camera piece exploring the complexities of the relationship between the host and the guest, thinking about the racialised hierarchies evident in the Ede’s time in Morocco, but also what it means for me as a North African to be artist in residence there now.

What happens when a private space, a private collection of works, becomes a public gallery? Who is the work for, which parts of the community are welcomed and who gets erased?

Lastly, could you share your philosophy of art with us? How do you define and appreciate the fundamental significance of art in your life and career?

Adham Faramawy: I’m not sure if I have a philosophy exactly. I know that I find rules upsetting, that the culture I live in wasn’t built for me. I know that I want my work to make space to resist and to be available to anyone that wants to experience it. I want to tell nuanced stories from my own perspective, and I hope that telling stories the way I see them might foster more kindness in the ways we treat each other and the other living things we share the land, the water and the air with.

©2024 Adham Faramawy, Serpentine Galleries

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.

Born in London in 1958 and raised in Oxford, Opie attended The Dragon School before moving on to Magdalen College School from 1972 to 1977. He then studied at Goldsmiths’ College (now Goldsmiths, University of London) under the tutelage of conceptual artist and painter Michael Craig-Martin, graduating from the institution in 1982.

I play with what I see in nature and culture, in my own and other artist’s work. I gather and mix, trying out possibilities in my head. I can build works and whole exhibitions in my head. It’s a gift.

Julian Opie

Opie made his art world debut in 1983 with his first solo exhibition at London’s Lisson Gallery. This milestone marked the beginning of his successful career. Closely associated with the New British Sculpture movement, Opie was recognised as the youngest of the ‘New British Sculptors.’ During its peak in the early 1980s, this movement embraced a more traditional approach to materials, techniques, and imagery in response to minimal and conceptual art.

Opie’s practice is characterised by his use of new technology, fascination with the human body, and engagement with art history. This combination of interests empowers his challenge to traditional ideas of representation, as he delivers commentary on contemporary life. As technology evolved during the 1980s, he began integrating movement into his art, progressing from early computer monitors to wall-based flat screens and onto LED public signage. Utilising digital processes to manipulate photographs and videos into stylised representations has become a signature of his work.

Best known for his striking portrayal of walking figures, Opie reveals the human condition of movement in a simplified form. His figures, often in motion—walking, dancing, or blinking—are captured in looped animations that highlight the repetitive nature of modern life. Walking is elevated from a routine of physical activity to a subject of analysis, a motif symbolically abstract yet universally recognised. Opie renders these figures in various mediums, from tubular steel sculptures to beads and wood, digital screens, and paintings.

When I view Opie’s walking figures, especially his digital editions, they encourage me to pause and reflect. As my eyes follow the looping animation back and forth, my thinking begins to mirror what is before me, prompting me to ask myself, “Where am I going?”

Opie has exhibited worldwide, with solo shows at the National Portrait Gallery in London and MoMA in New York. Notable projects include his album cover design for the Britpop band Blur in 2000, which reimagined the band through an uncomplicated lens. This series of portraits became iconic in their own right and is now located in London’s National Portrait Gallery. Another influential piece is his “Walking in Melbourne” series of sculptures, life-sized figures encapsulating motion in stark, linear forms. Some critics argue that Opie’s work lacks emotional depth and is too focused on aesthetics and form.

However, what I find most compelling about Opie’s work is its accessibility. Its beauty lies in its ability to communicate universally, extending beyond the confines of gallery walls to public spaces. Installed outdoors, his art interacts with its environment and the people, bringing art into everyday life.

This July, Opie’s sleek-lined pedestrians were Walking in Milan as the artist opened his new exhibition at Portrait Milano, creating eight new public sculptures caught in motion. Piazza del Quadrilatero is located in the heart of Milan’s Quadrilatero fashion district. With a vast courtyard of approximately 32,000 square feet, it is the largest public square in the district. Opie’s sculptures will inhabit its courtyard, engaging with passersby as they walk between the neighbourhoods two main streets, view its architecture, or staying at the decadent Portrait Milano. Once a seminary hidden away behind closed gates, Piazza del Quadrilatero is the ideal stage for his figures’ ritual of walking.

Opie’s ability to distill subjects from ordinary life into vivid symbols reflects society’s connection with digital media and streamlined communication, making his work more relevant than ever in this ever-evolving digital terrain. We managed to catch up with the British artist ahead of his exhibition at Milan’s Portrait Milano to learn about his practice, inspiration, and more.

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

Julian Opie: As a child my family had paintings on the wall, mostly reproductions of English post-war art, and I remember staring at these and imagining myself in the spaces depicted. I grew up in Oxford, and at secondary school, I would wander the amazing and famous local art museums, both historical and contemporary, with headphones on. There was also an anthropological museum in Oxford that fascinated me, full of objects and statues from around the world. I did not really think about creating art; I just drew things all the time. It was a habit and a way of thinking and having fun.

Your minimalist-style portraits and animated walking figures, which seamlessly blend new technologies with art historical themes and utilize the human form as a muse, have garnered international acclaim and offer commentary on contemporary urban life. Can we delve into your practice, creative process, sources of inspiration, and the themes in your work?

Julian Opie: I play with what I see in nature and culture, in my own and other artist’s work. I gather and mix, trying out possibilities in my head. I can build works and whole exhibitions in my head. It’s a gift. I get very excited and start lots of projects gathering technologies and resources. Then I usually get scared and often panic, but out of the scramble to save the project – the compromises and last-minute inventions – comes a new solution. Seldom quite what I had wanted, but a small step from where I can often see more possibilities. 

Additionally, your use of minimal detail and black line drawing is quite distinctive. Can you describe your process for deciding how much detail to include or exclude in a piece?

Julian Opie: There is an element of mechanical process in all drawing, of flattening out what you see and developing a language to translate the endless complexity of reflected light into an adaptable set of signs. By placing a photograph of a friend over a shop-bought lavatory sign, I was able to adjust the universal symbol for man or woman into a symbol for a particular individual.

I reused this process and “zoomed in” on a face. I aimed to make a kind of rubber stamp for every face, a universal logo for each person I saw. I may have drawn hundreds of faces, but I still look at people on the subway and want to draw each face using the systems I have developed.

Animated walking figures are a hallmark of your style. What inspired you to explore this form, and how do you approach capturing movement with such simplicity?

Julian Opie: I have made a lot of artworks of people walking, it’s true. I keep thinking I should stop, and then something else occurs to me to do. Back in the 1990s, I found a way to draw people, but it was people standing like statues. Like posed photos, I drew everyone I knew like that. One day , I was sitting in my car waiting for one of my children to come out of school in a bored semi-trance when I saw the people passing by as a kind of picture, like a classical frieze of dynamic bodies that flowed endlessly like a river. I imagined drawing the individuals and combining them into crowds.

There is an endless supply of people walking past me to draw, and I have used pedestrians from many countries, including Japan, Korea, Australia, America, India and Belgium. The way I draw the people renders them fairly roughly, using a limited vocabulary of line and form like hieroglyphs, but I think they remain individual, each person particular and connected to reality like a shadow relates to an object.

In describing your approach, you have mentioned that striving for realism serves as a fundamental criterion, along with considerations such as whether you would like to display the piece in your own room and envisioning if it would be worthy of presenting to God for judgment. Could you elaborate on how these benchmarks influence your creative process and decision-making?

Julian Opie: A shadow is basically the same as a photograph; if you see a shadow at night of a tiger or advancing robber, your body jumps as it reacts to the image that is itself an extension of reality. A drawing can have the same quality. I collect child sized Indonesian wooden statues, and in my peripheral vision, they make me react as if a real person was present. We are hardwired to respond to the visually perceived world.

IF I TYPE IN BOLD, it feels different from the softer words written in italics. It’s not really possible to predict exactly how these things work. I have tools such as materials and scale, colour, movement and reference that allow me to play and experiment with subject matter to see what is possible, what feels right and exciting.

Warhol once wrote of making art: “If you have to make a decision then something is wrong.” I think he meant that each step should come as a logical and inevitable result of the previous premise. I hate arbitrary decisions and am always looking for that hidden logic. I work most days and have a system of testing and trial and error. These days I use VR goggles to be able to look at works in real space and time and to create the layouts for exhibitions.

Designing an album cover for the Britpop group Blur was a significant commission, initially as a CD cover and later as a set of portraits in the National Portrait Gallery. What was your approach to this project, and how did you ensure it captured the essence of the band?

Julian Opie: Doing projects like this is an exciting step out of the usual museum and gallery shows that I am lucky to do. I make public projects quite often and I also value the way these allow me to expand my vocabulary and engage with other kinds of spaces that are outside what is called the Art World. 

Looking ahead, given your extensive career, how do you see your practice evolving? What new directions or mediums are you excited to explore in the future, and how do they differ from or build upon your past work?

Julian Opie: As I said, large scale interests me a lot at the moment, and also using raw materials to draw with, like steel or concrete, rather than covering the structural material with a skin of paint. I try to break free from my own look and way of reading the works, but in the end, I keep circling back to similar conclusions. Perhaps now I have more experience and certainly more resources.

It’s a fear that it gets harder to break away from territory you have established, but it’s also a good thing I think to make full use of what you own. I work in quite an instinctual way following my interests. Currently I am working on a series of sprinting athletes borrowed from the GB Olympic team and a group of some 20 children ranging from 4 to 8 years old.

The sprinters move on a brilliant flowing motion that is barely possible to capture, and the children, by contrast, walk in a very idiosyncratic way full of character. Once I start such a project with models and cameras and repeated sessions, I let things develop as they will. As I work certain things seem possible, and I start to experiment with paintings, sculptures and films. I even have been experimenting with VR environments and automatic drawing programmes.

Looking back on your career, which spans four decades, you have achieved a lot with your work. How do you wish to be remembered in the art world? How do you envision your work and impact influencing future generations of artists?

Julian Opie: I tend not to look back and have no pretensions as to influencing others. I hope I have managed to provide some entertainment and maybe some sense of communicated thought-process and outlook.

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

Julian Opie: This is a very grand question and not one I can come at directly. I don’t have a set rule book or map. I could use a favoured quote of Shakespeare. A character claims, “I am not an honest man but am sometimes so by chance.” I could change the word honest for clever. I work hard most days to set up situations where that element of chance might outpace my limited thinking and catch some fleeting truth about what it’s like to be alive.

https://www.lungarnocollection.com/piazza-del-quadrilatero

©2024 Julian Opie

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 aim to share the sense of immersion and wonder I feel by creating large-scale prints that draw viewers into the scene, almost as if they are flying alongside me

Donn Delson

Soaring up to 10,000 feet and embracing the euphoria of the moment, Delson leans out of the doorless helicopter, maintaining composure to capture brief moments of magnificence through fortuitous encounters. Through his lens, these unexpected moments transform into something entirely new.

Each capture is christened with a name that whispers what might be seen from the heavens and masks its true essence. The helicopter’s agility allows Delson to rest in a state of vigilant suspension and swoop in for more intricate compositions, offering fluid exploration of the earth’s vertical and horizontal dimensions. Each movement provides Delson with a constant flow of opportunities to frame split-second happenings as masterpieces of photography.

With a keen eye for symmetry and patterns, Delson turns these unexpected moments into abstract art, making us reconsider the familiar from a fresh perspective. An exceptional example is Delson’s “Xylophones” from his Points of View Collection, captured in 2016 as he flew over the Port of Los Angeles. The image depicts a parking area filled with horizontal rows of colourful containers that, to Delson, resembled the musical bars on a xylophone.

Delson has dedicated more than 300 hours to observing the world from a bird’ s-eye perspective. His passion for aerial views has led him to witness stunning landscapes and cityscapes from across the globe. Among many once-in-a-lifetime moments, he found himself in the middle of a rare double circular rainbow while flying over the Hawaiian Islands, a moment that went viral.

Flying along with Delson, there is an immediacy to the sights and sounds; the landscape we witness is not just viewed but felt, the wind’s whisper and the rotor’s hum creating an exhilarating and meditative soundtrack. The entire sequence, from takeoff to flight to hovering, makes you both an observer and a participant in the unfolding spectacle of Delson’s practice and invites deep introspection on our existence.

The unparalleled agility and control of the doorless chopper as it manoeuvres through the air with effortless precision, making sharp turns and sudden stops that seem to defy the laws of physics blend beauty with human ingenuity in a way that captivates.

Seeing the world from up there is just different. Delson’s work prompts reflections on our environment, urbanization, and the delicate balance between nature and human activity. Delson’s images, with their immense beauty and scale, can be humbling, inspiring appreciation for the planet’s grandeur. After witnessing him capture London from divine heights, we had the opportunity to catch up with Delson to learn more about his practice, inspiration, and more.

Hi Donn, thank you for speaking with us. Please introduce yourself to those who might need to become more familiar with your work.

Donn Delson: I’m Donn Delson, a fine art aerial photographer. My work seeks to capture the world from a bird’s-eye view, revealing unique patterns, symmetry, and textures that aren’t visible from the ground. My photography seeks to transform natural and urban landscapes into abstract works of art, photographic homages, as you will, inspired by the styles of artists like Piet Mondrian, Paul Klee, Mark Rothko, and Annie Albers.

I’m intrigued with how looking at things from different perspectives and angles often yields an entirely different impression, in essence appearance versus reality. What I hope to accomplish in my aerial photography is to give the viewer the opportunity to see things through a different lens.

Donn, we’re interested in hearing about some specific early moments from your journey into the arts. Could you share a couple of these moments and what motivated you to pursue a career in this field?

Donn Delson: My journey into the arts began at a young age. I held my first Brownie box camera when I was ten years old and was instantly captivated by the ability to capture moments. In high school, I graduated to a Rolleiflex film camera and took sports action shots for the school newspaper.

However, it wasn’t until I retired in 2010 that I had the time to fully immerse myself in photography. My first focus was on landscape, industrial laser, and long-exposure photography. A significant turning point came in 2015, during a trip to New Zealand, where I had the chance to shoot from an open-door helicopter.

The experience of seeing the world from above, combined with the creative challenges it presented, inspired me to pursue aerial photography. The ability to blend my passion for photography with the hunt for abstract patterns and forms, often titled for what they look like from above, has been a driving force in my work for the past nine years.

Your approach to photography is intriguing. You’ve mentioned that many of your images are serendipitous sightings rather than planned captures. Could you elaborate on how you balance the spontaneity of these moments with the need for technical precision and composition?

Donn Delson: Balancing spontaneity with technical precision is a delicate dance. While I briefly use tools like Google Maps and satellite imagery for initial planning, relatively close-up scanning across wide stretches of land doesn’t usually offer me, except from the broadest standpoint, the ability to see something I know will result in an image that excites me. The most captivating shots are usually discovered in the moment. Once in the air, I rely on my instincts and experience to spot intriguing compositions.

However, capturing these moments flying in a “doorless helicopter with the wind rushing in and the inherent vibration from the rotors and turbulence requires meticulous attention to technical details—shutter speed, aperture, and stabilization techniques are crucial to overcoming the challenges of capturing tack sharp images that can be enlarged to as much as twelve by eighteen feet. My smallest size limited-edition piece is 32”x48” (81cm x 121 cm) and the average piece size is 48” x 72” (121 cm x 183 cm)

An example of a serendipitous sighting would be when I was in Japan in 2018 to shoot the cherry blossoms over the mountains east of Kyoto. I’d always seen lots of pictures of cherry blossoms from the ground, but never from above. We were returning to the helicopter base having had a successful flight, when in the distance, I spotted a little tiny rectangular purple patch.

We flew over and discovered the most beautifully manicured, strategically planted rows of blossoming cherry trees in various stages of growth. As I looked down from about 3500 feet, the image below could only be that of the rows of beads on an abacus, and hence it was aptly named.

Donn, your unique perspective of viewing the world from a bird’s-eye view provides an immersive experience for you as an artist. How do you aim to convey this sense of immersion and wonder to your audience through your photography, and what kind of impact do you hope it has on them?

Donn Delson: There are few things I’ve done in my life that I’ve found to be more inspirational than looking out and down on the beauty of our world from a “doorless” helicopter with no window to encumber or distort the view. I aim to share the sense of immersion and wonder I feel by creating large-scale prints that draw viewers into the scene, almost as if they are flying alongside me.

The detail and scale of my shipping container artwork, with a reverent nod to Mark Rothko, invites viewers to wander through the blocks of color. My solo show in Phoenix next January will be completely focused on container art. I hope my photographs inspire people to see the world from new perspectives, to appreciate the beauty of our world from above, and to be open to rethinking their assumptions about what they are seeing.

How does the aerial perspective change the way you perceive and capture symmetry, patterns, and textures? Can you discuss a particular instance where this perspective revealed something unexpected or transformative?

Donn Delson: As I mentioned, things look very different from above relative to what they may be in reality on the ground. With respect to things built by man, I’m fairly certain the original architects had no idea, nor did they likely plan for, what things would look like from above. The aerial perspective dramatically alters how I perceive symmetry, patterns, and textures. Everyday scenes can transform into abstract compositions.

One instance in 2016, was when I flew over a series of freight containers at the Port of LA. I was excited to spot six symmetrically positioned horizontal rows of shipping containers that looked like the tonal bars on a musical xylophone. My excitement increased as a single, white semi-tractor-trailer began driving from the right between the rows.  Getting the pilot to quickly maneuver me around to take the shot, I accomplished it no more than three or four seconds before it drove out of the frame. Xylophones in my Points of View collection has become one of my favorite images. People first seeing it often mistake it for a xylophone or bookshelves until they see the truck.

Your travels have taken you from Japan to The Netherlands, England to Israel, and the United States. How do different cultures and landscapes influence your work, and do you have a favourite location that continually inspires you?

Donn Delson: Traveling exposes me to diverse landscapes and cultural aesthetics, each offering unique visual elements. In Japan, the delicate beauty of cherry blossoms and the serene landscapes are in stark contrast to the urban density of cities like Tokyo.

The Netherlands, with its meticulously planned tulip and agricultural fields and canals, presents a fascinating interplay of human intervention and nature. England’s blend of historic and contemporary architecture is endlessly inspiring, especially London’s skyline. While it’s hard to pick a favorite, I find myself continually inspired by the dynamic contrasts in cities like New York and London, where the past and present coexist in a constantly evolving urban tapestry.

The story of capturing a double circular rainbow over Molokai is fascinating. How do you prepare yourself to seize such rare and fleeting moments, and what do you feel when you manage to capture them?

Donn Delson: Capturing rare moments like flying into a double circular rainbow requires a mix of preparation and readiness to seize the unexpected. I always ensure my equipment is in top condition and my settings are optimized for quick adjustments.

It was about 8 o’clock in the morning, and we were flying at about 3000 feet when we were surprised by a sunshower. As we flew through the downspray, I suddenly found myself physically entering into a double circular rainbow, the first I had ever seen. I’ve been told that we don’t normally see them because, on land, we are only able to see 180° due to the horizon.

Luckily, my photographer friend in the front seat was able to turn around and capture a quick video and shot of me shooting through the double circular rainbow. That video has now been seen across social platforms by more than five million viewers. Again, it’s a gift when these serendipitous moments present themselves. It might be akin to the thrill an artist feels feel when a spontaneous brushstroke perfectly completes a canvas. These fleeting moments remind me of the magic and unpredictability of nature and the privilege of being able to capture and share them.

Your tools of choice include an open-door helicopter and the Fuji GFX 100 camera, which has high-resolution capabilities that are crucial for your practice. How do you stay updated with the latest photographic technology, and what role does it play in pushing the boundaries of your expression?

Donn Delson: My go-to cameras are the Fuji GFX 100 and the Nikon D850. The Fuji’s 100+ megapixels allow for incredible detail and large-scale prints, while the Nikon D850 is a powerhouse for low-light conditions. I use a variety of lenses, stabilizers, and filters to ensure I’m able to enlarge and offer the highest-quality images. Shooting in raw gives me the flexibility to fine-tune details in post-production to make the image most like I am viewing it.

Advances in AI now allow me to remove a lot of the noise and artifacts from low-light images that would previously have made some images incapable of proper enlargement. As camera companies continue to evolve their equipment, staying updated with the latest photographic technology is essential. There are new bodies and/or model updates for some of what I use. I regularly follow industry news, attend photography expos, and engage with other professionals to stay informed about new advancements.

With a diverse and loyal base of private, corporate, and commercial collectors worldwide, how do you view your legacy as an aerial fine art photographer? What impact do you hope your work will have on future generations of artists and viewers?

Donn Delson: I hope my legacy as an aerial fine art photographer will inspire others to see the world from new perspectives, knowing that everything may not always be as it seems at first glance. I hope my work encourages artists to explore the intersection of art and technology, push boundaries, find beauty in unexpected places, and appreciate the complexity and interconnectedness of our world.

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

Donn Delson: My philosophy of photography centers around the idea of seeing the world from different perspectives and finding beauty in the unexpected. Art, for me, is about exploration and expression. It’s a way to communicate emotions, ideas, and perceptions that words may fail to properly convey. Large-scale photography, by its scope, hopefully allows me to share my vision in a way that connects with others.

At seventy-five, the importance of art in my life lies in its ability to inspire, challenge, and transform the artist and the viewer. Annie Albers once said, “You know it’s great art, if it makes you breathe differently.” I know I’ve found a magical shot when it makes me catch my breath, and then I’m inspired to be able to share it.

https://www.instagram.com/donndelson/

https://donndelson.com

©2024 Donn Delson

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.

Many have stood before Rankin’s lens, including cultural icons such as the late Queen Elizabeth II, Madonna, Lebron James, David Bowie, Britney Spears, Helena Christensen, and Naomi Campbell.

I’m happiest when I’m using photography to help me understand myself and the world around me

RANKIN

Fearless compositions and relentless experimentation characterise Rankin’s distinctive aesthetic as he blends high fashion with raw, unfiltered realism. Guided by his philosophy of connecting, he crafts photographs that stir the soul and spark contemplation. His photographic eye spans various categories, including documentary, commercial, and editorial work. This creative versatility and vision have empowered him to remain relevant in an ever-evolving industry.

In 1991, a fusion of passions set Rankin on a monumental journey that would become a significant piece of the British visual culture puzzle. Co-founding Dazed & Confused (now known as Dazed) alongside Jefferson Hack, they aimed to share a multitude of ideas and critiques of society. The magazine quickly became a pioneering force, offering incisive cultural commentary on fashion, art, photography, music, youth culture, and social issues, encouraging readers to think deeply about contemporary issues and their impact on society.

Dazed & Confused became the flagship for cutting-edge content, showcasing emerging talent and amplifying the voices of underrepresented groups, including LGBTQ+ communities and people of colour. The magazine’s commitment to relevant social issues made it a significant cultural force, influencing and reflecting contemporary youth culture and solidifying its status as a symbol of diverse creative expression.

Born in 1966 as John Rankin Waddell in Glasgow, he experienced several relocations during his early life. His family moved to Yorkshire in 1976, where he attended Thirsk School, and later to St Albans, where he continued his education at Beaumont School. At 21, Rankin worked as a hospital porter while studying accounting at Brighton Polytechnic. However, he soon discovered his passion for photography, prompting him to abandon accounting. He enrolled in a BTech course at Barnfield College in Luton and later a BA course at the London College of Printing. Though he did not graduate from either institution, these experiences laid the groundwork for his contributions to contemporary art, photography, and culture.

Rankin’s prominence rose in the 1990s during the “Cool Britannia” era, a period referencing the British patriotic song “Rule, Britannia!” He captured a revitalised British cultural scene marked by irony and nostalgia, featuring Britpop music, British art, fashion, a booming economy, and political shifts like Tony Blair’s New Labour.

The Britpop movement featured bands like Oasis, Blur, Pulp, and the Spice Girls dominating the charts. The rivalry between Oasis and Blur epitomised the era’s competitive spirit. British fashion blended 1960s mod, 1970s punk, and 1980s new wave, with designers like Alexander McQueen and models like Kate Moss defining the look.

The Young British Artists (YBAs), including Damien Hirst, Tracey Emin, Sarah Lucas pushed the limits of British contemporary art with daring and controversial works.  Hirst’s formaldehyde-preserved animals and Emin’s unmade bed became iconic, sparking debates about art and morality. The YBAs were closely tied to the era’s commercial success, with advertising magnates like Charles Saatchi championing their work. This intersection of art and commerce reflected a society where cultural production and consumerism were intertwined.

British cinema also experienced a renaissance, with films like Trainspotting, Lock, Stock and Two Smoking Barrels, and The Full Monty gaining international acclaim. These films were noted for their gritty realism, dark humour, and distinctive British identity, highlighting social and economic issues.

Amidst all this Cool Renaissance, Rankin captured the culture and ensured it was seen and heard. His retrospective exhibition, “Back In the Dazed: Rankin 1991-2001,” which opens on the 28th of May and runs until the 23rd of June 2024 at 180 Studios, revisits the iconic era of Cool Britannia and 90s style, offering a comprehensive look at his groundbreaking work with the magazine.

Rankin’s captivating imagery has appeared in over 40 monograph publications and has been exhibited internationally at institutions like V&A, London, MoMA, New York, and The National Portrait Gallery, London. Rankin’s impact on contemporary photography, fashion, music, and culture is undeniable. His work in publishing with cultural commentary media sites and magazines such as AnOther Magazine, AnOther Man, and Hunger embodies his relentless pursuit of spreading creativity, culture, visual arts, diversity, and inclusivity. Rankin’s forays into music video direction speak for themselves. 

Versatility, keen cultural insight, and a fearless approach to image-making have defined a career and has influenced a generation of creatives, making Rankin a pioneering force in visual culture. As we caught up with the iconic photographer ahead of his retrospective, he reflected on his journey and the enduring impact of his work.

‘Back In the Dazed: Rankin 1991-2001”, is on display May 28th – June 23rd at 180 Studios, London. Tickets available from 180studios.com/rankin

Hi Rankin, How are you doing? Thank you for taking the time to speak with us. Please introduce yourself to those who may not know you or who might not be familiar with your work. 

RANKIN: Hi, I’m Rankin. I’m perhaps best known as a portrait photographer, photographing famous people including the late Queen Elizabeth II, The Rolling Stones, and Kendall Jenner to Madonna and David Bowie. 

Back in 1990 I also co-founded Dazed & Confused, acting as the first creative director of the magazine and also as the main photographic contributor for most of the first decade. Since then my work has spanned three decades and includes portraits, beauty photography, and editorial work. I’m happiest when I’m using photography to help me understand myself and the world around me. 

Could you share with us the early moments of your journey into photography, what motivated you to embrace a career in this field, and how these experiences led you to become the co-founder and first photographic editor of the celebrated publication Dazed & Confused? 

RANKIN: My journey into photography began at college, I was initially studying accountancy but realised that was never going to fulfil my curiosity and how inquisitive I was. So I started again and reapplied to do photography as art. I was definitely drawn to the power of imagery and its ability to communicate beyond words and languages. 

When I got to photography college, at the London College of Printing (now London College of Communication), on the first day, I met the editor of the student magazine, titled Succession, and from there on I worked on student magazines in parallel to my photography courses. These joint passions led me to pursue photography more seriously and working on magazines eventually led to the creation of Dazed & Confused with Jefferson Hack.

Not a lot of people know that the original intention for Dazed was to be a platform, which would include an art gallery, a record label and a whole host of other things. So if you look at the old issues of the magazine, try to think of them as a Trojan horse, using the medium of a magazine to get across a multitude of different ideas.

Your work often touches on themes of celebrity, fashion, and identity. Within this context, could you discuss one or two pivotal projects that really embody these themes for you? 

RANKIN: From Dazed, I would say that the series “Blow Up”, was really the first pivotal piece of work I did and really stays with me. The idea was to create a portrait of nightlife at that time, by taking pictures of clubbers at nights all over London. In a lot of ways this was the first iteration of my RankinLIVE project, where I take pictures of the public, not models or celebrities.

What role do you believe photography plays in shaping or challenging cultural and societal norms, and how do you handle the responsibility that comes with creating images that can influence public perception? 

RANKIN: Photography is a powerful medium that shapes societal views and challenges cultural norms. As a photographer, I feel a deep responsibility to consider the impact of my images. My approach has always been to provoke thought and push boundaries respectfully. Plus I’ve always used photography to turn a critical eye on culture and critique society. For me, the nature of media, and the medium of image creation and dissemination, is a discussion we can’t afford not to be having.

Building on that, how has your background and personal history influenced the thematic focus and aesthetic style of your photography? Can you discuss the evolution of your artistic voice over the decades? 

RANKIN: Growing up in a working-class environment in Scotland, I always considered myself a bit of an outsider looking in. Also my parents encouraged me to ask questions, which eventually turned me a bit of a contrarian.

This perspective has profoundly influenced my work, driving me to explore themes of identity, belonging and to some extent trying to have fun with the very medium of photography and what it presents and represents. Over the decades, my style (and ability) has evolved but most of my important artwork has an idea or a concept as its basis, and my portrait work attempts to reveal the character of my subjects. Both approaches are based on that inquisitive and questioning, contrarian nature. 

What philosophical principles guide your approach to photography, particularly in how you engage with and represent your subjects? In addition, how do you balance the intrinsic voyeurism of the camera with respect for your subjects? 

RANKIN: I believe in authenticity and vulnerability in photography. My principle is to see the person, not just the subject. Plus, when I photograph people, I try to make a photo, not just take it. And I do that through collaboration. What I mean by collaborating, is making the picture together, with my team and most importantly the subject I’m photographing. 

Every subject is very different, in fact a lot of people hate having their photo taken and are visibly uncomfortable when they first come to set. So a big part of my job is to make them feel at ease. That’s why I allow the subject to select the final shot, so we are both happy with their image.  Balancing the voyeuristic nature of the camera with that respect means creating a space where the subjects feel part of the process, allowing themselves to be seen and their personalities to be reflected in the final images.

Continuing on, can we discuss your collaborative process, particularly in editorial or fashion photography? Could you provide an example of a notable collaboration and explain how you balance your artistic vision with the inputs of designers, stylists, and other creative professionals? 

RANKIN: I also love to collaborate in fashion, beauty and art. Probably my favourite collabs are my series of beauty books. The most collaborative being the one I did with Marco Antonio, who is Fashion & Beauty Director for my current magazine HUNGER. 

For me, beauty photography is like using a face like a canvas. It’s the perfect combination of portraiture and fashion. It really plays to my strength of lighting but also being able to elicit an emotional performance from my subject whilst working with the artistry of the makeup artist and glam & styling team. With Marco those ideas can come from either of us and really can be surprising and sometimes provocative or challenging.

This May, you will open your first retrospective exhibition, ‘Back in the Dazed: RANKIN 1991-2001,’ at 180 Studios. Can you tell us more about the essence of the exhibition and what we can expect to see? Why was this particular decade chosen to be showcased? 

RANKIN: The upcoming exhibition, ‘Back in the Dazed: RANKIN 1991-2001,’ at 180 Studios, focuses on that formative first decade of my career. This period was when I defined my approach and early style and when Dazed & Confused first made its mark.  It is quite unusual for one photographer to be the main photographic contributor to a magazine for that long, plus that period, the 90’s, is one that a lot of people are fascinated by. 

Visitors will get to see some of my favourite images from that time and immerse themselves in the magazine contents through my eyes. I work with a curatorial team who have done my exhibition and book projects for years. They know my work inside and out, and it’s always interesting to see how other people respond to what I was doing and how my work impacts them. It was such a pleasure to go back and reminisce about that period that defined a generation.

What current trends or technologies in photography excite you the most, and how might they influence the direction of your future projects? Are there new genres or techniques you are particularly interested in exploring? 

RANKIN: I’m excited by the potential of digital, augmented reality and artificial intelligence in photography. These technologies open up new realms for creativity and interactivity in all our work. I’m particularly interested in exploring immersive photographic experiences and different approaches to making and viewing work.

Contrary to some other photographers I see these new techniques and technologies as just tools. Resources to help me tell my story better to different audiences. 
Recently I’ve also been trying to use photogrammetry, or creating photographic based sculptures, which I have to say I’d love to do lots more of. I love the idea of taking the digital and from that creating a bronze that will literally last for thousands of years. There’s something oxymoronic and subversive about it. I’ve always wanted to push boundaries with my work and that includes exploring new mediums and what photography really can be.

Looking at the broader scope of your career, what do you hope your legacy in the world of photography will be? How do you want your work to be remembered and studied in the context of photographic history? 

RANKIN: As a photographer, time’s always on your shoulder, it is inherent to the element of the medium where you are capturing a fraction of a second. Which of course is then representative of a slice of time that as the photographer, you hope will then last forever. So consequently, I am kind of always thinking about time and my image being a kind of portal through history and space. 

But contrary to that, I’m not really personally thinking about legacy. For someone like me, the next shot is the real buzz. Even as thousands of my previous images grace magazine covers, fill books, and become embedded in the cultural consciousness. As a creator, my momentum is forward thinking and looking, my mind is always scanning for new ideas. So legacy isn’t something I dwell on too much; I’m more focused on the now, and on what comes next.

Wrapping up, could you share your philosophy of photography? How has it evolved throughout your career, and how do you describe its core importance in your life and career? 

RANKIN: Throughout my career, my philosophy has always been to try to connect with an audience – to make photographs that make you feel and think something at the same time.

Back In the Dazed: Rankin 1991-2001, opens on the 28th of May and runs until the 23rd of June 2024 at 180 Studios

Tickets available from 180studios.com/rankin

@rankinarchive

©2024 RANKIN, Waddell Limited

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.

Born in 1971 in Belgium, Quinze currently lives and works in Sint-Martens-Latem, a town near the Belgian city of Ghent. Since his nascent days as a graffiti artist in the 1980s, he has questioned the role of our cities, searching for ways to turn them into open-air museums. This dichotomy reflects his desire to escape the disheartening cityscape. Graffiti became his lifeline at the time, as he strove to maintain his creativity and existence within the stifling, oppressive grey monotony, rebelling against rigid, colourless edifices and transforming them into a lively canvas.

In my work, I am exploring human interaction and the impact of urbanization on nature, reflecting on our estrangement from our roots

Arne Quinze

As Quinze continued to sharpen his craft, he evolved from graffiti to the immersive world of three-dimensional sculpture, driven by a passion for agency, social engagement, and meaningful impact. His journey was not without its critics. One of Quinze’s most notable pieces, “The Sequence,” is a monumental installation in Brussels. This sprawling, bridge-like structure of interwoven wooden planks symbolizes the connection between people and institutions.

At the heart of Quinze’s practice is his wildflower garden, a sanctuary and muse to Quinze, yet also a critical piece in the puzzle of his creative process. In his approach, we witness Quinze embodying the spirited energy of the nature he strives to reconnect us with. Quinze states he is “no eco-warrior”; he is an artist mesmerized by nature’s equilibrium of power and fragility, contrasting sharply with the stark realities of human society.

His latest exhibition at MARUANI MERCIER, ‘The Forbidden Paradise,’ explores the preservation of nature through documentation. It reveals deeper layers, extending our gaze beyond the earthly realm into a broader universe. Additionally, Quinze’s recent exhibition “Are We The Aliens_” in Venice, a collaboration with award-winning music producer Swizz Beatz, continues this exploration.

Quinze thrives on the tension between chaos and order, producing harmonious works that are visually arresting and conceptually rich, where explorative expression collides with the unpredictable flow of human activity. Spanning multiple mediums and materials, from oil paints and organic forms to industrial materials, Quinze has created many epic projects. Notable among these are ‘Uchronia,’ a large sculpture at the Burning Man festival in Nevada in 2006, and ‘The Visitor,’ a striking installation in Beirut, Lebanon, in 2009. We caught up with Quinze to learn more about his practice, his sources of inspiration, and more.

Hi Arnie, How are you doing? Thank you for taking the time to speak with us. Could you please introduce yourself to those who may not know you or who might not be familiar with your work? 

Arne Quinze: Growing up in Belgium, my artistic journey began amidst unspoiled natural landscapes, which has profoundly shaped my vision. In my work, I am exploring human interaction and the impact of urbanization on nature, reflecting on our estrangement from our roots. My wildflower garden is an essential part of my practice – it is both a sanctuary and a muse, inspiring my oil paintings and sculptures. I seek to capture nature’s delicate balance of power and fragility, embodying the Japanese concept of “Mono No Aware.” 

Could you share with us the early moments of your journey into the arts, including how you transitioned from being a graffiti artist to creating large-scale installations and what motivated you to embrace a career as an artist? 

Arne Quinze: I grew up in a rural home surrounded by a beautiful garden. At age 9, my family moved to Brussels, where the urban monotony was in stark contrast with my love for nature. In rebellion, I turned to street art to add colour to the city. Inspired by the obscure vibes of the ‘80s experimental electronic music, the art scene, and Manga Anime culture, I began merging the new digital era’s energy with nature’s diversity, actively aiming to transform urban spaces into vibrant, diverse canvases. 

Your practice is multifaceted, encompassing various mediums, from sculptures to drawings and paintings. Yet, you are well-known for your sculptures, which often incorporate wooden planks and recycled materials. Can we delve into your practice, inspiration, and the themes you explore, such as social interaction and urban environments? 

Arne Quinze: For me, the medium doesn’t matter as much. I employ various disciplines, from traditional painting to spatial sculptures in ceramics and aluminum, glass sculptures, to video creation and the exploration of AI. Wood, however, I no longer use. It was a material I employed for a while with the sole purpose of introducing the aspect of transience.

All mediums serve the purpose of conveying my narrative — a narrative that delves into why we, as humans, have become so alienated from our natural origins. My storytelling is rooted in researching what we have lost, looking back into nature and its diverse spectrum. I am constantly in awe of nature; I simply open my eyes and observe, whether it’s the flower blooming in my garden or mesmerising sunsets. I invite people to join me in rediscovering nature because I truly believe that many of our current human problems can find solutions by reconnecting with nature. We are the only species on this Earth that takes without giving back. This imbalance must end; we must find harmony with nature once again. 

Environmental themes are evident in many of your works. How do you address environmental issues through your art, and what role do you think artists should play in advocating for environmental sustainability? 

Arne Quinze: I’m not an eco-warrior; I’m an artist. It’s quite simple: I look to nature and see its beautiful diversity, witnessing the delicate interplay between power and fragility. Yet, when I glance around at human society, I see the opposite. I grapple daily with humanity’s dual nature, recognizing our tendency to exploit nature while retreating behind the four walls of modern existence. 

From cradle to grave, it feels as though we’re confined by a ‘Four Walls Religion’—born within the sterile white walls of hospitals, educated within the enclosed boundaries of classrooms, confined by the concrete barriers of offices, enclosed within the brick walls of our homes, and ultimately laid to rest within the four walls of our coffins.  In essence, my art seeks to challenge these confines, to break free from the monotony and alienation they foster, and to reconnect us with the vibrant, diverse beauty of nature.

Building on that, how has your background in graffiti influenced the conceptual and aesthetic aspects of your public installations? 

Arne Quinze: Escaping the reality of a disappointing cityscape, graffiti painting became my lifeline. The once-promising city of my childhood revealed itself as a monotonous grey mass governed by outdated rules, leaving me suffocated within its gloomy walls.

The relentless uniformity of the city fueled my defiance. I couldn’t fathom how people existed in identical rabbit hutches devoid of creativity or vitality. Thus, I embarked on a mission to inject colour and provoke reaction through graffiti, often venturing into illegal territories. One memorable project involved transforming an entire train during the inauguration of a new metro station, eliciting a range of reactions from disgust to admiration. That moment ignited my passion to awaken the city from its lethargy. 

Determined to infuse cities with vibrancy, I embarked on a journey of self-discovery and collaboration, working alongside renowned graffiti artists in Amsterdam and immersing myself in the electric hues and bold shapes of the 1980s. As my artistic evolution progressed, I transitioned from 2D graffiti to 3D sculptural works, driven by a desire for social interaction and meaningful impact. 

The transition wasn’t seamless – my early commissions often met resistance and criticism. However, these setbacks fueled my determination to create meaningful change. I decided to step away from illegal interventions, and sought partnerships and legitimacy, advocating for my vision of urban transformation. 

Despite initial scepticism, perseverance paid off. By constructing works in three dimensions and engaging with municipal authorities, I began to shape urban landscapes in a more organised and impactful manner. Each challenge, each rejection, fuelled my resolve to redefine urban spaces and invite viewers into my immersive universe. 

Your installations often become landmarks within their locales. How do you consider a location’s cultural and social context when planning and constructing your installations and sculptures? 

Arne Quinze: For my public interventions, I prioritize a thorough understanding of the environment in which I work. My creative process begins with meticulous exploration of the cultural and demographic milieu that surrounds the project. Collaborating closely with my team, we delve into extensive research of the cultural context and physical environment before embarking on the creation of the artwork. I firmly believe that a public intervention must engage in a meaningful dialogue with its surroundings. Therefore, conducting in-depth studies of the context is paramount.

By immersing ourselves in the unique characteristics and nuances of the environment, we ensure that our work not only harmonizes with its surroundings but also contributes to and enriches the cultural fabric of the community it inhabits.

Your latest exhibition at MARUANI MERCIER, ‘The Forbidden Paradise,’ delves into the concept of preserving nature through documentation. It unveils deeper layers that extend our gaze beyond our earthly realm and into a broader universe. Can you tell us more about the works in the exhibition and its essence? 

Arne Quinze: It’s not merely about painting pretty flowers; it’s about unveiling the raw essence of life and its profound significance in the cosmos. I strive to capture the intricate interplay between strength and vulnerability, the very forces that have engendered the astonishing diversity surrounding us. Consider me an archivist of sorts entrusted with the task of safeguarding this diversity. 

In my recent works, I’ve expanded the scope beyond a terrestrial lens to include alien celestial phenomena such as meteor showers and distant galaxies. By investigating a cosmic narrative, I seek to underscore the extraordinary rarity of life in the universe, shedding light on the alien facets of human nature capable of disrupting Earth’s delicate equilibrium. 

In addition, you recently collaborated with the award-winning music producer Swizz Beatz on the ‘Are We The Aliens_?’ exhibition, which opened at the historic 16th-century Scuola San Pasquale, Campo San Francesco church in Venice. This exhibition fuses sonic soundscapes with sculpture. Can you tell us more about the essence of the exhibition, how the collaboration came about, and what it was like working with Swizz Beatz? 

Arne Quinze: In ‘Are We The Aliens_,’ I wanted to challenge the notion of our human presence on Earth. As we increasingly detach ourselves from nature, this exhibition prompts us to consider whether we are, in fact, the true aliens on this planet. 

Through six distinct works, I delve into our human impact on Earth. I question our species’ role, vividly portraying it in pieces like ‘Impact Glass_‘ and ‘Six Testimonials_,’ which depict the arrival of our alien-human DNA on Earth and its evolutionary transition from biological to digital forms. 

I grapple daily with humanity’s dual nature. Recognizing our tendency to exploit nature and retreat behind the four walls of modern existence, I take on the daily role of being a gardener, functioning as a protector of nature and nurturing my large wildflower garden around my atelier. I strive to research and capture the splendor of unspoiled nature in works like ‘Sonic Levitation_‘ and ‘Murchison Garden_,’ seeking to preserve nature’s unbridled diversity. 

Swizz Beatz and I share a deep reverence for the natural world. ‘Sonic Levitation_‘ is an immersive installation that delves into nature’s boundless, diverse architecture. From the outset, we were captivated by the essence of this project. Our objective was clear: to craft an immersive sculpture that captures the pure essence of nature’s awe-inspiring beauty. Despite our diverse backgrounds, our fundamental goals align — to bring forth beauty and share the unique grandeur of life. 

Striving to reshape urban landscapes and cultivate a harmonious dialogue with nature, artworks like ‘Ceramorphia_‘ and ‘Bronze_‘ signify nature’s resurgence. As vibrant sprouts reclaim urban spaces amidst concrete jungles, my works set out to represent a return to nature’s harmony—a journey towards equilibrium between humans and nature. 

Looking ahead, are there specific social or cultural issues or artistic methods you are particularly eager to explore? If, so, how do you see these themes evolving in your future projects?

Arne Quinze: There is still so much to do and stories that I want to tell. As I always say, it’s only the beginning. I’m currently working on several major public installations in South America and Asia, where I aim to push even further with the immersive light and soundscape sculptures that I develop. 

Right now, I’m fully focused on my solo painting show. My upcoming solo show, ‘Secret Beauty,’ will be on view from September 22 to November 24, 2024, at the Ludwig Museum in Koblenz, Germany. The show will feature a projection of my urban projects in conversation with a series of large-scale oil paintings. 

Can we discuss your legacy? As an artist whose practice has impacted society at a cultural and social level, how would you like to be remembered? 

Arne Quinze: I aspire to be remembered as a gardener whose passion and dedication inspired to rediscover and reconnect with the boundless diversity and majestic splendour of the natural world. 

Finally, could you share your philosophy of art? How do you describe and understand art’s core importance in your life and career? 

Arne Quinze: Art has been ingrained in my life for as far back as memory serves. Since childhood, I was driven by desire for a creative expression beyond any boundaries or rules. To me, art acts as a transformative lens, shaping my perception and interactions with the world. Through this lens, I endeavour to translate my personal experiences and insights, providing viewers of my artwork a glimpse into my interpretation of nature’s beauty. 

To keep update with Arne Quinze and his work head over to his website link below

©2024 Arne Quinze

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.

Dobreva’s paintings explore the geographical and cultural obstacles faced by hundreds of thousands of migrants around the world who are forced to flee their home country by war, climate change, political unrest or persecution. Dobreva herself is a migrant, born in Bulgaria where she studied classical painting, and now living and working in London after a period in Munich where she studied at the Academy of Fine Arts (Akademie der Bildende Kunste Munich).

During her time in Munich, Dobreva spent 8 years working with refugees of many nationalities, teaching them German and helping them to resettle in their new home.  Dobreva got to know the refugees and hear the stories, often traumatic, of the journeys they undertook to escape their country of birth and find freedom or a better life.  She made sketches of the refugees and remembered their narratives, using them as inspiration for the exhibition at Fiumano Clase, which seeks to elevate the people she met and engage with their narratives in the form of vast abstracted figurative canvases.

She creates contemporary history paintings depicting tales of journeys endured and futures yet to be realised, such as ‘Field work II’, a large scale oil on canvas depicting a figure seen from behind embracing an abstract anonymous form, inviting the viewer to imagine their story. Her dramatic brushstrokes, abstracted figures and use of impasto lends the canvases a visceral feeling that evokes the drama of Gericault or Delacroix, with the primal undercurrent of Francis Bacon. 

Andreana Dobreva was born in 1982 in Sliven, Bulgaria. Her solo exhibitions include; “Persephonium”, Lachenmann Art, Frankfurt: “Recent Paintings”, Emanuel von Baeyer Cabinet, “Against Nature” Heldenreizer contemporary, Munich. “Cancelled the Birds and Kept the Waves” , Heldenreizer contemporary, Munich. Her work has been featured at both TEFAF Maastricht and Frieze Masters London.

Lee Sharrock spoke to Andreana Dobreva at Fiumano Clase.

Lee Sharrock: The exhibition is a comment on the migrant crisis title is inspired by Georgian author Eteri Nozadze’s Dadaist book ‘Giganbishe Trauben’, which straddles art and poetry and is full of absurd words and grammar. Is ‘Public Grapes – Anonymous Meat’ a quote from the book, and is your art often inspired by literature? 

Andreana Dobreva: All of my titles have been inspired by literature and initially I wanted to become a writer. Eteri Nozadze is a friend of mine. The somewhat meaningless title of the exhibition was meant to reflect those many narratives, that are simultaneously going on in my work. There are several paintings on this show, where you can find mentioning of migration. But other themes are present as well and they may not make a lot of logical sense. So, I decided for a title, that leaves the broadest possible range for interpretation.

Were you inspired by Vanitas paintings?

Andreana Dobreva: Yes. When I prepared this body of work, I was looking at Flemish still life paintings of the 17^th Century a lot.  Some of them were in the Wallace collection. It is inspiring how, despite all the display of opulence, riches and abundance, Flemish painters managed to insert a layer of deeper, philosophical meaning and find an interesting narrative. I think of Jan Weenix – his still Lifes are displaying dark themes, and the compositions stretch far beyond the still life.

‘Public Grapes – Anonymous Meat’ is your comment on the absurdity and tragedy of the migrant crisis. You worked with refugees in Munich over a period of 8 years and depict their journeys in your paintings. How have you translated the stories of the refugees into your paintings?  

Andreana Dobreva: I used to work with migrants from 2012 until 2019. Before I was admitted into the art Academy in Munich, I studied psychology. And I was particularly interested in migration. At the beginning I went to the shelters with a charcoal and paper and simply asked the people to sit a portrait for me. And this was our means of communication to begin with, because of a language barrier. As we got to know each other, I heard many stories, which were quite shaking for me. By the time those stories were still fresh in my head, I couldn’t reflect upon them. It took me years before I found a way to integrate them in my painting. Yet, the works in the exhibition combine many different narratives, not necessarily in a linear way.

The theme of the 2024 Venice Biennale is ‘Foreigners Everywhere’ and it’s been curated to include many migrant artists and artists from minority groups such as indigenous artists. So I think your exhibition has a relationship to the Biennale theme.  Did you know the theme of the Biennale when you were making these works? 

Andreana Dobreva: I wasn’t aware of the Biennale theme, when I’ve been working on this show. But it’s interesting to know that. When I see images of migrants in the media, it does something to me. It draws my attention stronger than any other topic.

You said you are inspired by Flemish Old Masters, but the drama of the paintings such as the sea crossing paintings remind me of Delacroix. Your paintings are really passionate and visceral, and the story behind them gives them a sense of urgency and pathos, in particular ‘Inverted Roots’ which tells the story of migrant sea crossings. There are hints of the Romanticism of Delacroix (‘Christ on the Sea of Galilee’ (1853) comes to mind) and influences of Dutch Golden Age painter Rembrandt (for example his ’The Storm on the Sea of Galilee (1633)). Yet you combine the influences of Old Masters with a bright contemporary palette and inject them with a hint of abstraction.  What artists would you say influence you the most? 

Andreana Dobreva: Every time I visit a new city, I would first visit the historical art museums and second the contemporary ones. But I look at everything. So, art history is simply part of my language. Besides that – I love Delacroix and Gericault. I have been also strongly influenced by Oskar Kokoshka, Karel Appel (Dutch) and many others.  

You had a classical training and studied painting in Bulgaria and in Munich at the Academy of Fine Arts. Do you always work with oils and what’s your process – do you make preparatory sketches before painting, and do you work from source material or from your imagination?  

Andreana Dobreva: Yes, I usually work with solid preliminary – a long way of composing and searching for the image. the painting process is full of unpredictability.  Oil is unpredictable and unfathomable medium. Just the physical part of it – the amount of impasto and how it behaves on the canvas.

Another interesting thing for me is how to implement the narrative. Because in art school in Munich, narrative was somewhat taboo. You could depict people and situations but please don’t tell us stories. Well, initially, I wanted to become a writer. And besides, I love taboos. So, it became my theme, how to make a narrative that isn’t telling a story.

Andreana Dobreva ‘Public Grapes – Anonymous Meat’ is at Fiumano Clase until 24th May: fiumanoclase.com

©2024 Andreana Dobreva

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.

Ahead of his debut group exhibition, Creating Beyond Sickle Cell, curated by Akanji Studio to offer a platform for a collective of creatives with sickle cell disorder to showcase their artistry, I caught up with the AI artivist to learn more about the purpose behind his movement.

Raphael: Having recently come to learn about Akanji Studio, and the moving story behind it, I am very keen to hear more about how it all came about. What inspired your artistic journey?

Rizzy: My artistic journey is deeply inspired by both my personal experiences living with sickle cell disease and the broader narratives within the sickle cell community. This defining aspect of my life has shaped my digital art practice from the very beginning, infusing each piece with personal battles and the collective stories of resilience and struggle from the community. In my creative journey, I also fuse Afro-futurism and Afro-surrealism to envision a future where African voices resonate globally.

Drawing from my Yoruba heritage and ancestral wisdom, I infuse storytelling and poetry to shape immersive worlds and narratives. Utilising modern digital tools like machine learning, I amplify the voices of underrepresented communities, weaving their stories into the fabric of tomorrow. Through digital art and poetry, I have found powerful mediums to express the nuances of these experiences and emotions. Each artwork reflects not only my own resilience and hope but also the collective strength and challenges of the sickle cell community.

My digital canvases and poetic verses serve as platforms for storytelling, advocacy, and community-building. This fusion of technology, creativity, and shared experience allows me to transcend physical limitations, connect with audiences globally, and foster deeper empathy and understanding. Ultimately, my artistic expression is fuelled by a mission to raise awareness, inspire change, and spark meaningful conversations that resonate with and represent the sickle cell community at large.

Raphael: How would you describe your art practice, and what do you think the future of AI, tech and art holds?

Rizzy: My art practice is a dynamic blend of traditional digital graphic skills and innovative AI technologies. I engage deeply with each piece, using my expertise in illustration, Photoshop, and Adobe Lightroom to curate and enhance AI-generated images. This process ensures that my personal touch and creative vision are imprinted on every artwork, distinguishing my pieces from purely AI-generated art. The use of AI technology has significantly expanded my creative capabilities, allowing me to explore new forms of expression and bring intricate visions to life.

Collaborating with AI is an empowering experience; it combines the precision and efficiency of technology with the nuanced insight of human creativity. This partnership is not just about using tools, but about engaging with them in a way that respects ethical considerations, ensuring that my artistic processes contribute positively to the broader discourse on technology and creativity. Looking forward, I believe the intersection of AI, technology, and art holds tremendous potential.

We are just scratching the surface of what’s possible when human creativity collaborates with robotic precision. As we continue to explore these realms, I anticipate more beautiful and ethically minded collaborations between artists and AI, further enriching our cultural landscapes and expanding the boundaries of traditional art practices.

Raphael: AI has proven to be a very topical subject. Some argue it is a potential force for good, others are concerned about its potential to replace humans altogether. How would you respond to your critics who suggest that AI or digital art isn’t real art?

Rizzy: In addressing the critique that AI or digital art isn’t “real” art, it’s crucial to reflect on the core definition of art itself: it’s the expression or application of human creative skill and imagination, typically appreciated for its beauty or emotional power. In my practice, I integrate AI as a tool to extend my creative capabilities, not to replace them. I actively engage in curating and enhancing AI-generated images using my digital graphic skills, such as illustration, Photoshop, and Adobe Lightroom, ensuring each piece is imbued with my personal touch and vision.

The impact of my artwork on the community, especially those affected by sickle cell, emphasises the profound emotional and social influence of digital art. My works foster connection, raise awareness, and offer emotional resonance, thus validating their authenticity and importance as art. Through blending technology and human creativity, my art practice not only adheres to traditional art definitions but also expands them, demonstrating that art created with AI can evoke deep emotional responses and inspire change, just as conventional art does.

Raphael: For those unfamiliar with sickle cell disorder and its implications, can you please share what it is like living with sickle cell, and what do you hope your exhibition will achieve for you and your fellow artists?

Rizzy: Living with sickle cell has been a journey of both resilience and challenges. Each day brings its own set of hurdles, from managing pain crises to navigating healthcare systems. Through my art, I aim to shed light on these experiences, offering a glimpse into the reality of life with sickle cell. My exhibition serves as a platform to amplify the voices of not just myself, but also fellow artists who share similar journeys.

By showcasing our creations, I hope to heighten awareness and understanding of the complexities of sickle cell disease. Moreover, I want individuals living with sickle cell to feel seen, loved, and heard—to know that their stories matter and that they are not alone in their struggles. Ultimately, I envision this exhibition as a catalyst for empathy, sparking conversations and fostering greater compassion towards those affected by sickle cell.

Raphael: What more can we expect in future from you and your artists, and how can we support your movement to drive sickle cell awareness?

Rizzy: In the future, you can anticipate our continued efforts to amplify sickle cell awareness through art. We aim to expand collaborations with institutions, fostering greater support and understanding for the sickle cell community. Expect more exhibitions, projects, and initiatives delving into the multifaceted experiences of individuals with sickle cell. To support our movement, engage with our exhibitions, share our stories, and advocate for increased resources and awareness. Together, we can drive meaningful change and create a more inclusive society for those impacted by sickle cell.

Akanji Studio, Creating Beyond Sickle Cell was on view May 3 – 5 2024. Stay updated with Akanji Studio’s future artworks and projects by visiting their website here and on instagram

©2024 Rizzy Akanji, Akanji Studio

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.