Great Love – Victory!

Sophie Chang

Oil on canvas
115 x 182.5 cm




The texture of deep-dark subjugates O’er the suffering red raises Victory emerges and triumphs Great Love is the deacon in waves.

Sophie Chang, born in Taiwan. She works and lives in Taipei.

Sophie Chang’s profound, artistic style has evolved from many years of meditation. This meditative process has focused her mind on nature and manifested in her unique ‘inner landscapes’. 

Interview of Sophie Chang

By making the Great Love series, what kind of message were you trying to convey, regarding borders such as class, race, gender and religion?

I can only speak according to my personal view, as I do not think I am capable of representing the whole world. Even though from a religious angle, we should be equal, in practice there are not as ideal. Nevertheless, if we believe in equality, we should respect everyone regardless of their race and class. We are all humans.


Has the pandemic influenced your art-making?

During the pandemic, I was in self-isolation. Now I think of it, different regions have reacted differently. Many countries in the West were not used to wearing masks, while in Taiwan we wear masks and minimised the spread. Even so, we show respect to the different regions. During self-isolation, my life became simpler, and we reduced direct contact related charity activities because we also need to protect the volunteers. The pandemic will change and is changing the world and people. It let people more worry about self and surroundings. It was also war, as it is a punishment from the almighty.


As a well-known philanthropist, what is your aim and how do you express the charitable spirit through your visual work?

I never thought myself as a philanthropist, because when I was outside communicating with people, I was not helping, instead, it was the other’s experience helped us to learn that different people in a different environment, are having different feelings. We are blessed and feel grateful for what we have. I have always felt happy and positive in making art because I know the collector will have them, and therefore I put a lot of blessing and love in my art, hoping when they view the work, they will be delighted. Consciously and subconsciously, I still hope my little love can bring happiness to people, even though it is not as big as the religious love.

As a Chinese, do you think the ecology of contemporary art is related to your cultural identity?

I do not contact the art world that much but did view a great many artworks by the other people all over the world. Despite that, I was deeply educated by traditional Chinese culture, especially Confucianism and Buddhism. Therefore my ideas will get into my work through my hands, and Chinese culture is evidently seen. Nevertheless, I feel being an artist is a pure experience, my Chinese identity is one aspect, and the most essential thing is being a pure artist.


How has the pandemic influenced you, and what is your vision for the future?

It is hard to describe how exactly pandemic influenced me. But what I can say is that we will be more cautious. The world will treat the invisible virus as an enemy, while we will be careful treating each other. I will be more peaceful in making art, whilst in the past, I was more irritable. The one whose heart is full of love, should be confident and treat people equally.

Interview of Sophie Chang















Shoran Jiang

Ink on silk
90 x 110 cm




There are so many uncertainties about our lives as human beings – we are vulnerable, just like the unpredictable form of smoke.

Shoran Jiang is an artist specialized in Chinese painting and Chinese Calligraphy. She began to learn Chinese painting and Chinese Calligraphy when very young. After studied Chinese painting for six years in Nankai University, then she came to the UK to study fine art in Chelsea College of Design and Art. Now she also devotes her time to art education and art publication.

Interview of Shoran Jiang

When you created Destiny, what do you personally make of borders in our civilisations such as class, race, gender, belief, nation?

Borders appear in many places, and because of them, there are nations and people, especially various individuals. Every individual is different, and due to the variety and dynamism of the individual, this world has become so interesting.

However, as human beings, apart from those borders, we share the same nature or property, for example, no one can escape “Destiny”.


Do you think there are new possibilities in abstract art and ink painting, and what is the particular area that you try to breakthrough?

Ink is only a medium of creativity, and abstract art is a way of expression. To be honest, many forerunners had explored so many possibilities, so that if there is any particular area to work on, I think it is to relate art with the “present”, expressing the “current” feelings.


Under the shadow of the Covid-19 pandemic, the world is reshaping, in this case, can you talk about how is the artwork made before the pandemic related to the Post-COVID Era?

Before the pandemic, the world was shaped mainly through connection, however, due to the rapid spread of COVID, we are forced to obey social distancing rules. I was surprised to witness that in my life, within a deeply globalised milieu, the disconnection of borders of countries is happening. Isn’t this what Laozi said: “And even though the next country is so close that people can hear its roosters crowing and its dogs barking, they are content to die of old age without ever having gone to see it”?

After the spread of the pandemic, a lot of places have decreed lockdown and many galleries and museums have been forced to suspend operating. Thereafter, people are not able to appreciate and enjoy art at an intimate distance. Exhibitions are converted to the online format. How to present art and express ideas and emotions has turned out to be urgent and practical matter in making art.

Regardless of the Pre or Post COVID era, art-making has always been expressed from the inside to the outside for artists. The pandemic has made me feel more deeply that when humans confronting destiny, how fragile and uncertain life is.

As a UK based Chinese, do you thin your identity is somehow related to the ecology of art?

The materials that I use are very Chinese, for instance, ink, brush and silk, and I feel they are part of my identity. I was born and raised in China and formed my way of thinking by Chinese education, it is also part of my identity. The longer that I live in the UK, the more I love Chinese culture, which defines who I am.

Contemporary art is about expression, about how to express, through what and with what content to express. The materials that I use is my identity, nevertheless, no matter what materials I use, as long as the artwork contains good ideas, and can convey the message with which the audience can more or less feel and understand, that is good enough.


How has the pandemic influenced you, and what do you make of the ideal future art-making and exhibitions?

The most inconvenient part is the physical relocation–we cannot return to China, and practically cannot go to any other place. I have profoundly realised the hopelessness and fragility of human beings.

Of course, it also enables me to think about alternative ways to present my art.

I think in the future, the online and offline exhibitions will occur simultaneously, and they will supplement each other, perhaps, the online exhibition will become an independent way of exhibiting. Due to the changes in exhibition methods, art-making will adapt accordingly. There will be artists who would like to explore how to suitably express and present art exclusively online.





















Traces of Ebony

Julisiah Toney

Mixed Media Archival Pigment Print
Approximately 4 1/4″ × 3 1/2″


This series is a tribute to black women and the beauty and virtue in our hair. The imagery is inspired by a 19th century tradition, that excluded women of color; Carte de visites in which women would adhere pieces of their hair to the card for a loved one or others to receive.

By creating these images, I hope to honor those women whose beauty was not acknowledged, as well as express the magnificence that is black women.

Julisiah Toney obtained a BFA at Savannah College of Art and Design, major in Photography, and minor in Business and Entrepreneurship. A Chicago native, she feels most at home in the city and is currently located in Atlanta. She loves to create using her hands (i.e. collage, mixed media, and alternative photography), but also is skilled in computers arts as well, incorporating Photoshop and other programs to enhance her craft. Most her of her work is introspective, but she uses this theme to create connections to women of color. She works freelance, plans on becoming an educator and ultimately own a gallery that supports and focuses on the works of people of color.

Interview of Julisiah Toney

From Chris Rock’s documentary Good Hair (2009) to Solange’s song Don’t Touch My Hair (2016), we understand that hair for the Black community is more than just appearance. It is a multi-million-dollar industry, a struggle in disrupting euro-centric beauty standards, as well as a declaration of self-loving pride. Your work, Traces of Ebony (2017), tells a similar story, can you tell us how this project come about? What were the materials that you used in these works, was it a complicated process?

The origins of my work have always been self-rooted. I was and continue to question why and how I move through the world the way I do, and being a Black woman is the foundation. I didn’t grow up around seeing many women or peers with the same kinky curly hair as mine, that comfortably and confidently wore their hair naturally. I did not begin to dissect why I didn’t feel comfortable wearing my hair in its natural state until I moved Atlanta. Here all of my friends wore their natural hair, and I began to notice and admire their confidence. As I tried to come up with the roots of why I felt I couldn’t be as confident as my friends were in their natural state, I thought of my experiences growing up and wanted to blame it on my ignorance. However, I was influenced to dig deeper, because that mindset I had come to adopt, had to come from somewhere as well.

Looking at media, ads, and other dominant portrayals of beauty, it is easy to see that black women aren’t shown as the most desirable. Being a young Black woman trying to figure out this influence of lack of self-love for my hair, I soon realized it was due to comparison to White/Euro beauty ideals, not on a conscience level, but one that was subconsciously rooted over my lifetime then.

As I was exploring how to portray my new-found dignity, I began adhering hair to portraits of Black women. While further exploring this process. My attention was brought to a “custom” or trend as we may call it today, from the Victorian era called carte de visites. These were small calling cards that people would share and became in circulation in Europe and the United States. As you can image people in these photographs portrayed the ideal beauty standards at the time. Taking the trend a step further, women started to adhere hair to their calling cards. Carte de visites in this fashion with black women’s hair was not seen. After discovering this historical trend and realizing that this was one of the roots to the lack of black beauty portrayals, I decided to remake this trend to include black women to celebrate our beauty and especially our hair. The style, tone, hand colored portions as well as the hair adhered to the portraits of my friends, are to evoke the memory of black women from that time. To remember that their presence and beauty existed, and that it still exists today.

In contemporary art photography, we are seeing a rise in the portrays of bodies of colors; how do you understand this phenomenon? Why is it important for people of color to be shown through the lens of art photography?

Touching back on the point of the start of the carte de vistes, photography has had a hand in shaping our lives in society. When photography began to be redistributed and became representative of portrayals of idealism, you can see that Black bodies and bodies of color have been misrepresented as well as under-represented. Although the concept of equality should be easy to grasp as a human right, that right has been withheld from people of color over the course of history. I think photography as well as other media is a tool to relay messages to people. Therefor the rise in the portrayal of bodies of color is to show their existence, show their experiences, show their ideals of beauty, and anything else that is true to them; To no longer be seen through a White/Euro gaze then regurgitated as truth.


During this pandemic, have you able to produce any new work? What have you learned, as an artist, to face a global epidemic like this? 

Interestingly enough, this pandemic has caused me to be able to begin creating work again. As the pandemic progressed, and things became more out of my control, I found time as well as a will to create, without having a clear goal or message prior. I’m still not sure what to make of, or what the project I created during this time is saying, but I’m ok with that right now. For me as an artist, this time has shown me that you might not know how or why you are creating something at the time, but this is ok. Life has a way of taking you out of your comfort zone either way, so just do what you can in the moment.


In the wake of Gorge Floyd’s death, most non-Black Americans have finally joined the Black Lives Matter movement to demand justices and defeat systematic racism. As an artist of color, how does this rise of BLM movement nationally, even globally, affect your art practice?

Honestly it doesn’t really change much for me and the work that I do or will do. I hope that people continue to fight and seek justice for the death of George Floyd, Breonna Taylor, and the heart-breaking number of Black women and men who have lost their lives as a result of systemic racism, and not let the cycle continue and begin to undo it.

I hope my work can aid in the true and positive representation of Black women, and ultimately spark a change in mindset to those who don’t know of the Black experience, and/or have been given a false and warped depiction of what it is to be Black.


Peng Si

Oil on canvas
50 x 40cm




I paint figures not for the sake of portraiture, rather it is about my pursuit for the ineffable, therefore it is developing and uncertain, like an adventure. The awe-inspiring views are the correspondence between the picturesque and the spiritual.

Peng Siwas born in Hunan, China, and studied at the Central Academy of Art. He is a figurative painter who sought to combine ancient Chinese images with classical temperament. He continues to explore the possibilities of portraiture.

Interview of Peng Si

Q1: To what extent are your recent works different from your previous ones?

A1: Recently I focussed on facial features, which is a closeup view of my past portrait. Regarding forms, the element of uncertainty became apparent, however, my idea is still evolving in the process, which corresponds with the status of my recent work. 


Q2: Can you talk about how the pandemic affected your art-making and life?

A2: Because of the pandemic I profoundly re-examined the problems in my life and art-making: significantly losing focus. Also because of the pandemic, I underwent self-isolation in Beijing, adjusting the balance between life and work, and the result turns out to be great. It has improved the realisation of my current paintings.

Q3: American scholar Richard Vinograd in discussing ancient Chinese portraiture used the term “the boundary of the self”, do you think your portraits entered some sort of boundaries? 

A3: Yes, I somehow can feel a complicated and careful selective process. For example, sometimes within a glance, I would know what to depict. What is my first sight impulse? Even Though I do not have a clear demand, but some of the figures (for instance, the elders) are ruled out by me subjectively. I wonder if this can be called “the boundary of the self”. Meanwhile, I am not definitely certain that I can recognise my boundary in art-making immediately, but looking forward to its self-growth. 


Q4: Could you talk about the advantage and disadvantage of presenting your works online?

A4L I personally think there more disadvantages, because the original painting can convey more sensitive elements, while if it is online, the authenticity would appear blurry.












Space Baby
Space Baby
space baby II HQ

Space Baby

Juan Pablo Bohorquez

Acrylic on masonite


(New York)


Space-Baby is a very important piece in my work because it has opened up a new gateway to explore in relation to our subconscious mind and the new world we are living today. While there is change and destruction all round us, a seed, a new way of being is also coming to be full of potential in a deeper consciousness.

Juan Pablo Bohórquez is a New York born and based artist whose surrealist paintings sink into the unconscious of the viewer. His life experience growing up in a Latino immigrant family in the USA is his greatest influence. Drawing from his past, Bohórquez exposes what he considers inherited senses of fear and displacement, while unravelling his relationship to identity all within his work. He explores this “inherited” psychology using symbolism and a visual language that entices the viewer to find meaning beyond what is just literally depicted and superficially obvious. 

Interview of Juan Pablo Bohorquez

Your work Space-baby is not only masterful executed in terms of its technicality, but also suggests playful wisdom. In a time of global crisis, it seems more important than ever for us to find that inner child, can you talk a little bit about this work?

I first want to thank you for having me participate in this show. It’s so important during these difficult times. Space-Baby has become a very important symbol in my work representing a new awareness of ourselves and how we see the world. As a Latin American artist, I work with inherited cultural imagery to explore issues that are important to our time. Today we live in a globalized world that has us face issues of identity and representation that must be challenged and redefined. A son of immigrant parents like so many around the world I’ve had to reimagine what culture, ethnicity and nationalism means to me. Space Baby symbolizes that newfound awareness of ourselves in a globalized context discovering the strength and value of our individual stories. Everyone has a story to be told.


Is it fair to say that your work suggests a lot about your Columbian heritage? If so, can you talk a little bit about why is your cultural heritage vital to your artmaking?

Yes, my Colombian heritage is very much a part of everything that I do because it is one of the lenses with which I see the world. My sense of self was formed in an environment of cultural preservation where memory and language were of utmost importance. Not only knowing but expressing oneself correctly and effectively in another language really shapes how one sees and relates to the world. Growing up in NYC among so many other cultures cemented my feeling of otherness propelling me to dive deeper into the story of my culture and ethnicity. There are few things more intimate and fulfilling than the connection, understanding and acceptance of our past. Good art comes from the act of self-discovery and my work reflects this.


As a transcultural artist, what is your take on globalization? 

“Globalization” is a term that can be used to express many things whether political, cultural or economic in a negative or positive fashion. I feel that globalization is the natural progression of civilization on this planet and it’s been going on the moment humans left Africa. We are all a product of globalization and myself as an artist is no exception. In accepting this reality however I do believe there is a struggle to be had. History is written by the powerful with culture and influence being no different. For better or worse the story at large has been told through a European and North American narrative. As a Latino artist my view of the world comes from a different story with a different sensibility that needs to be told. The struggle to include stories of all kinds and from all corners of the world needs to be had and Artists are an integral part of this.

Your work also possesses the traits of Surrealism, can you talk a little bit about your understanding of this important artistic movement and its place in today’s art world?

My attraction to Surrealism is a very effortless one starting early in my work. There is an intrinsic familiarity and understanding of surrealism and metaphysics in Latin culture. Whether through Mediterranean, indigenous and African cultures the concept of the “spirit of things” is extremely important. In Surrealist and Metaphysical art there is a belief of things being much more than what they appear. Whether it’s an object or a dream serving as a catalyst to a truth to be discovered or unveiled. This philosophy of “the spirit of things” is one that I hold dear in my work digging deeper to explore the unconscious. Artist like Di Chirico, Magritte, Frida Kahlo, Dali and others reminds us what this search can look like but I feel that this method of discovery and understanding should be more present than ever. Art has had an integral function ever since humans started to have the cognitive ability to make it. Art has always served as a portal to a world where part of us all reside. Artists like priests or shamans have been the Gatekeepers of the unconscious helping to decipher and understand our history and present experiences. However, in modern times through a European and North American lens I mentioned earlier art has come to be at service to itself. We became fascinated with a more scientific approach to art breaking it down to its more basic building blocks. Color, texture, line, sound and any other aspect of art have been studied and explored but consequently disconnecting us from meaning just beyond its own physical attributes. To be clear I’m not rejecting any school of art because it’s all necessary and valid but I do feel that this “purification” of art has sacrificed its role in society. My hope is that in this new world where many stories are told we rediscover the surreal and metaphysical aspects of art connecting us back to the “spirit of things” where truth and meaning lies just beyond our conscious reach.

KM Series

John Zhang Long

Multi-media on paper
50 x 80 cm


(Las Vegas)


The ineffable moment in creating enables me to free from physical restrictions. The picturesque sublimates the imaginative to soar beyond the space, and the soul can find the myth from afar.

John Zhang Long is a Los Angeles-based artist. He has been a leading avant-garde art practitioner since the 1980s. His abstract series KuangMo has been well received internationally and now is in the collection of the Art Institute of Chicago.

Interview of John Zhang Long

Your KM series consists of abstract lines; are these lines at some level symbolises the vivacity of borders? What do you make of borders, such as class, race, gender, religion and so forth?

Borders do exist objectively in real societies, the recent conflict in the US is one of the evidence. The hatred between white and black peoples has never been eased out. Since Obama was elected as the president, the situation had changed, meanwhile, white people feel being depressed. The borders between races and religions are hard to go through, perhaps this is a conundrum left by god to humans. The borders between classes are even more evident, even though earning money and education can improve the issue, the confinement of race and religion is inevitable. Race and class form most social borders, and people live in their own world when transgressing, it will cause conflicts.

Art brings Hope to us, nevertheless.    

Elon Musk recently gave a thumbs-up to an image which I like. The image shows: The “EARTH” without “ART” is just “EH”. Without art, the earth becomes meaningless. The nature of art is to create, and liberty is the foundation. Artists should transgress all kinds of confinement between borders, being free from specific forms and contents. Crossing the borders of knowledge and experience, between history and the future, the present shines. KM series is trans-cultural, which is not only based on my personal experience living in both eastern and western coasts but also my absorption between two cultures. Subjectively I do not distinguish borders, it is part of my good trait, very natural. If you like both cheese and stinky tofu, for you they are compatible. A lot of people who are against the other culture lack the patience and time to understand the other culture. You cannot learn only through books, you need to feel. A lot of scholars they only wander around like Flâneurs, who alienate themselves from reality, only treating views as spectacles.


Due to the pandemic, the world is changing, can you talk about how is it related to your thinking?

Pandemics are not permanent, the current one is the same. All will end.

The changing of the world is according to the progress of human society, and one becomes stronger, it is natural to gain a larger space for survival, which influences from trade to ideology.

During the pandemic, people are more relying on the internet, and through the internet, museums and low images can all present to you. Artist will post their latest work instantly on the social media. The way of promoting art has changed, including art-making itself. I have recently reduced my work, adding more paper-based paintings. Compared with the last year big paintings, I am more obsessed with drawing on paper, which is an extension of my 1988 artworks. My art has always focused on three themes: Wasteland, KM and POP-R. POP-R was formulated last year, it means a pop revolution. Each time has its own popular sign, especially the symbols and images in daily life.


For you what is the possibility in abstract art in contemporary time, and what is the particular area you want to tackle?

Abstract art liberated artists from traditional representationalist approach, and it is a natural cause. It is not difficult to see the outlook of the locations of abstract artists and collectors. Abstract art is active in developed countries and regions, especially in the US, UK, France and Germany. Abstract art dominates the art world in those places. If one is familiar with Western art history, the historical progress is very clear. Social media such as, Instagram, Facebook, Pinterest are the major players promoting abstract art, however, it is a shame that still many people cannot see. Contemporary art is inseparable from the globalised social network.

As Chinese American, do you think your identity is more relevant to the ecology of contemporary art?

Artists of the older generation tried to localise abstract art in China, however, the result is not ideal. When Takashi Murakami studied in New York, he realised that Japan did not have contemporary art, the manga is good enough. Therefore he changed himself, not promoting Western contemporary art in Japan. He has become a successful manga artist. The dissynced information between the West and the East made it difficult to discuss art in the same realm.

My abstract works are mostly in KM series. I prefer using multi-media to paint, especially the ones I have not used before. To break away tradition, changing the media is a primary approach. I am satisfied with my recent abstract works, hoping they will be maturer. I am trained with academic protocols and gradually become an abstract artist, thereafter unconsciously the brushwork contains traditional footmark. If I cannot kick the bottleneck, then I will be following the black mountain school or New York School. I have got full scores for representationalist work at the university and was an outstanding art student. But I think I cannot be an artist, if only following the academic teaching.


How does the pandemic affect you and what is your vision for future art and exhibition?

I was not affected by it that much, even though at first I was a bit nervous. It is new to experience such a thing in the US. But now it is fine, facing real works of art, it makes people want to live.

The future is probably relying on online exhibitions, while the crucial thing is to find a good solution about digital representation. Now people are more interested in photoshop, and I saw many ugly photos seem to be very popular. Bad art dealers enlarged photos and print on canvas and sell them as oil paintings, they are the so-called zombie oil paintings. In offline exhibitions, viewers can see the original work, and it will satisfy our desire to respect the original and prevent bad photoshopping. It is hard to photoshop abstract art, as artists use the improvised brush to create, even artists can hardly repeat themselves. This particular aspect is also convenient for collectors, and most highly valued contemporary artworks are abstract.

Interview of John Zhang Long




Elon Musk 最近点赞一图我很喜欢,图上写着 The “EARTH” without “ART” is just “EH”. 意思是:如果地球没有艺术就什么都不是!艺术的本质是创造,自由是创造的基础。艺术家应该跨越各种边界的约束,不被特定的形式和内容所局限。跨越所有的知识和经验边界,在历史与未来之际只闪耀于现在。狂墨的创作是跨越文化区域的,这除了我生活在东西两岸的特殊境遇之外,还有对这两种文化的同时吸取。我没有主观区别这些边界,这可能是我的优点,水到渠成。如果你对奶酪和臭豆腐都很喜欢时,它们对你来说是没有相互排斥的感觉。很多人把不同文化对立起来是因为对另一种文化缺少足够的时间去理解,看再多书也没有用。很多学者是旅游加访问走马观花地去接触另外一种文化。





疫情期间人们更加依赖网络,伴随网络的发展世界各博物馆和民间土画都能够展现在你面前。艺术家的最新作品会在第一时间展示在社交媒体,作品的转播方式已经发生变化,包括艺术创作本身。我最近的作品缩小尺寸,增加了纸本。相对去年的大幅作品而言,我更加迷恋纸本创作,这是对1988年创作的延续。我始终围绕三个系列进行创作:荒原,狂墨和POP-R。其中POP-R是去年开始创作,POP是流行的意思,R 是英文 Revolution (革命)的开头字母。每个时代都有其流行符号,特别是日常生活中最能够影响我们的那些符号和图像。其它荒原和狂墨是大家熟悉的两个系列。



抽象艺术是艺术家从传统写实中解放出来奔向自由的必然结果。不难看出从抽象艺术家和收藏家的分布情况,抽象艺术活跃于发达国家和地区,特别是美,英,法,德这几个国家抽象艺术站有主导地位。熟悉欧美艺术历史的人都可以清晰地看到这些演变。instagram, Facebook, Pinterest 等主流社交媒体都是抽象艺术传播者,可惜很多人目前还看不到。当代艺术已经离不开全球化社交网络。










David Paul Kay

Mix media on canvas


(New York)

Contact is a part of the “Underdog” series. It talks about intimacy issues as well as the struggle of finding the right measure of physical and emotional interaction. In order to exist we need to coexist. The piece represents the phenomenon of coexistence.

David Paul Kay is a New York City-based American contemporary artist & muralist.

Originally from Eastern Europe (former Soviet Republic of Georgia) David migrated to the United States in 2008. As a self-taught artist, Kay has always experimented with various different techniques; though his career evolved soon after moving to New York City early 2009 and developing his signature black & white style. Throughout the past decade Kay’s work has been exhibited and included in private collections all over the United States, Europe and the Middle East, including artist residencies in Los Angeles, London and South of Spain, solo and group exhibitions in New York, Los Angeles, London, Paris and Dubai. David has created numerous large-scale interior and exterior murals in major cities of the US, Europe and Africa, including the recent “Mona Lisa V” in Wynwood Art District for Art Basel Miami 2019.

Interview of David Paul Kay

Contact (2020) is under the series titled Underdog, can you talk a little bit about the significance of this project?

This was one of my first series that started in the early stages of my career. Looking back at my upbringing I saw injustice and insecurity almost everywhere. I believe regardless of your status there are times we find ourselves in a position where we think of ourselves as lesser. Some of us are there all the time. This work speaks about us overcoming our insecurities and focusing on overcoming the fear of being incomplete, inflicted on us by the society we live in. We are all underdogs; it all depends on the perspective.


Contact (2020) is finished during this global pandemic, if I understand it correctly, can you tell us what was going through your mind during this creative process? Did the quarantine assist you in any way to complete this work?

The piece was completed right before the pandemic, the timing was very peculiar. We need each other to protect each other from each other. This piece speaks about the distance we keep, or we don’t keep from the ones around us. In order to exist, we need to coexist. Though the fear of getting too close and letting your guard down is encrypted in our DNA. It’s ironic yet very significant that I painted the piece and the world’s number one priority became the issue of how we distance from others while trying to stay as close together as possible. 

Because of this global outbreak, our world has fundamentally changed. Different industries are finding ways to adapt to this new reality, do you think the art world is in need of some innovation as well? What will be your innovation as an artist?

Nothing stops existing, it’s all energy, it changes shapes and forms, it is something and it becomes something else. From this point of view, I want to believe that this could bring good to mankind. It’s an awakening of sorts. Innovation is essential to our existence, and every civilization known to us thrives because of those innovations, and most importantly art is the pillar of innovations. Artists not only depict what we have and what we are, but they imagine and show what we can have and what we could be. Darkness pushes us towards appreciating the light.


Do you see this paradigm-shifting as a challenge or an opportunity?

Both, it’s a challenge to handle and keep the peace required to imagine the unimaginable but it’s an opportunity to observe, learn, analyze, and then create. I try not to get overly dramatic and see things as they are. There is nothing new about what’s happening, it has happened before, it will happen again. How we approach is what can and may change. More of us are realizing the fact that there is no “WE” or “US”. It’s all part of the universe, the universe that has its own beautiful way of finding the balance. This will help us find that balance within us and therefore project it and create the balance around us.