Driven by an innate passion for art and music, Natasche has crafted a unique space where each brushstroke and doodle tells a story of colour and creativity. Her work, infused with the boldness of Frida Kahlo and the infinite curiosity of Yayoi Kusama, challenges norms and celebrates the beauty found in imperfections.

Through her vibrant palettes and intricate designs, she not only captivates the eye but also touches the soul, using her art as a medium for social commentary and personal healing.

Join us as we explore Natasche's artistic vision, her commitment to inspiring change, and her belief in the profound, wordless communication of art. This interview promises to be a captivating glimpse into the mind of a visionary artist who lives to inspire.

SAH: Can you share with us the origins of The Pink Hound Atelier?

NN: My whole life, I have been drawn to art and music. I have always wanted to inspire people through my talents. But as we know, life happens, and we tend to put our dreams on the back burner. Until one day ＃ early morning in a foreign country sitting behind my desk got me thinking ＃. There must be more to life than this!

It was at that moment I called my father and told him we will open an Atelier. Not knowing how ＃ or when but we are opening an Atelier. 

The dream began with a massive vision board and gazillions of posts.

My motto was from the words of the legendary Freddie Mercury ＃ ※I am going to go out and do what I was born to do§.

I envisaged an art space that represented both sides of the brain. An art space challenging the norm, fun and artistic exploration.

It was crazy ＃ and literally, the first place I googled to rent was available and then just like that a vibrant little corner of the world ※The Pink Hound Atelier§ opened its doors the 15th December 2017.

Gallons of paint and tons of glitter ＃. But we did it. 

SAH: Acrylics and doodle art are central to your practice. What draws you to these mediums, and how do they allow you to tell stories within your art?

NN: Acrylics and doodles are my favourites because of my love for colours. You can never have enough colour lol !

For my doddles, I love the intricacy and detail I can add to my paintings and that you can tell a story within a story. If you turn the canvas around the shape you thought was a fish could be a flower or paisley. 

SAH: How has your artistic style evolved over the years, and what key experiences or influences have contributed to this evolution?

NN: I think that evolving is paramount for an artist - this was my challenge to go beyond my comfort zone. Exploring mediums and new textures are exciting and a must. In my endless pursuit perfecting of the human face I have learnt that there is beauty in imperfection.

The art I now produce with faces is my art - abstract and vibrant. Frida Kahlo is one of my muses but also Yayoi Kusama. Both of them have helped me to explore themes of infinity, self-identity and learning to love my art just the way it is. 

SAH: Your art is described as having ※inspiration deeply rooted beyond man＊s perception.§ Can you elaborate on the kinds of inspirations that fuel your creative journey?

＆＊inspiration deeply rooted beyond man＊s perception.§

This is our slogan and is derived from a bible verse in Ephesians. However, the concept of inspiration deeply rooted for me encompasses a variety of sources including faith, nature, emotions, spirituality and the subconscious mind. These sources of inspiration often intertwine, leading to a rich and dynamic creative journey that transcends the ordinary and connects with the deeper aspects of human experience.

To me, art speaks to you without saying a word. 

SAH: As an artist striving to inspire change, how do you define and measure success in your artistic career?

NN: How I measure it is by sharing my inspiration with others or inspiring them through the experience of the atelier and my art, for an example: a client before tells you ＃ I have not touched my pottery clay in the last 5 years, but now after visiting your atelier - this is the first thing I will be doing when I get home. 

SAH:  What are some of the changes you hope to see or inspire in society through your work?

NN: Increased awareness; Raising awareness about important social issues such as mental health, and environmental sustainability. 

SAH: The Pink Hound Atelier is described as a celebration of colours, love, and diversity. How do you approach these themes in your artwork, and why are they important to you?

NN: These themes are more than just visual elements, the evoke emotions and set the mood, using vibrant pallets I aim to express joy, energy and positivity. Each colour tells a story and can connect with viewers on an emotional level inviting them to experience the artwork in a personal way.

SAH: The Pink Hound Atelier is described as a celebration of colours, love, and diversity. How do you approach these themes in your artwork, and why are they important to you?

NN: So, we have been working very hard on ＆＊ restoration of the soul ＆＊ addressing trauma, brokenness, storms of life and other facets of when life destroys your being through different circumstances. There will be 5 art installations that will clarify the following stages storm, broken, re-engineer, blank canvas and new bloom and blossom. 

SAH: For those who wish to support and view your work, what are the best platforms or venues to connect with The Pink Hound Atelier and discover your latest creations?

SAH: As an artist committed to making a difference, what advice do you have for emerging artists who wish to use their art to inspire and bring about change in their communities?

NN: As an artist dedicated to making a difference, I believe our creativity holds incredible power to inspire change. Here is some advice they could harness. Find your passion, tell your story, engage with your community, experiment boldly, be open to feedback, stay committed, and stay motivated. Just be authentically you. 

More information about the artist:

Profile on SAH

Simone's journey into photography was sparked by an inspiring visit to a Vivian Maier exhibition in Amsterdam, where she discovered a deep connection with Maier's narrative-driven portraits. This transformative experience, coupled with her rich background in the performing arts, has profoundly influenced Simone's photographic style. She masterfully weaves stories into her portraits, revealing the psychology and essence of her subjects with an elegance that is both timeless and captivating.

Renowned for her ability to create strong and evocative images, Simone specializes in crafting personalized sessions that truly reflect the individuality of her clients.

Join us as we explore Simone Gablan's artistic journey, her inspirations, and the unique approach she brings to the world of portrait photography.

SAH: Can you share with us when you first discovered your passion for photography?

SG: When I visited the Vivian Maier exhibition Foam in Amsterdam.

I found the story so cool, a nanny who went around New York the whole day with her analogue camera, dragging the kids along, only to make portraits of eccentric people she saw on her way. I used to be an actress and I think the whole story of her life made everything more special to me.

Her portraits are amazing. She was never well known, she did not have money to make prints of her work. I think she died on a bench somewhere in New York. Somebody discovered her work on the market. And that＊s how it got out into the world.

Well, it＊s an amazing story; her portraits were her absolute obsession. A remarkable story of, a remarkable woman. 

SAH: How did your background in the performing arts influence your photographic style?

SG: I quit being an actress after four years. I didn't want to depend on people telling me whether I could work or not. But I love stories of people and especially the psychology behind it.

My interest in people and incorporating their stories into my art stems from my background as an actress. Maybe, I hide behind the lens sometimes, rather than in front of it. I feel more comfortable directing an image instead of being part of that image myself. I don＊t know＃I think it＊s the trauma of being an actress in the past. 

SAH: Can you describe any specific creative rituals or routines that help you maintain your artistic momentum and inspire new ideas in your photography?

SG: I watch a lot of films and stories. It inspires me to think differently. There is not a ritual, but I have these waves of creativity, they come and go. When they come it＊s almost an obsession. I cannot stop. My productivity is huge when I am in those waves. When I am in the moment of creating, everything just flows and I have no criticism towards my work, which mostly comes later＃haha. I think every artist can relate to that.

SAH: Storytelling seems to be a key element in your work. How do you decide which stories to convey through your portraits, and what impact do you hope these narratives have on your audience?

SG: I love the images of Gregory Crewdson, because of my love for film and acting. Telling a whole life in one image.

I wish I was so far in my arts. I could be more of a storyteller by utilising my past as an actor. Mostly I just see something in my head, it just pops up. I have that all the time. And when I have a model in front of me, I just look at her or him and see whatever comes up, like an organic flow of creating, it always is there and works for me.

I hope my art creates an impact on my audience.

Sometimes they have a connection with a story from their past, I don't know about＃

And they feel a connection because of that. I think my work could be named as scattered dreams and not very definite or concrete, although it＊s not abstract as well. That could move someone on that level. Maybe.

SAH: Growing up in a creatively rich environment, what specific influences from your childhood have had the most significant impact on your work today?

SG: I think both of my parents just did whatever they wanted to do. My father made sometimes four paintings a day and my mother was more controlling in her work as a dancer and ballet teacher. Those two components I find within myself. Controlling and directing versus letting everything flow without any criticism.

Interestingly, by answering this question and formulating the answer, I never really thought about it that way. Although, I do think that my father＊s way was more relaxing ( the creating part). Just do whatever comes up, and be a bit impulsive in creating. The way children do, I love that. I want to maintain that.

Later on the adult way; criticism and sabotaging yourself, will come up. That kills everything and makes you doubt yourself.
Not so constructive. My father did not have that although he was always afraid to expose his art. I don＊t have that. I want people to see it. 

SAH: What role does digital manipulation play in your art?

SG: I am also a video editor and the fun thing is; the video in the edit is created all over again! Because by cutting video parts, a whole new storyline emerges.

I like that a lot. The same goes for Photoshop or any other software. You bring two components together and make a whole new thing. I am not working with AI yet, I am not against it I love the craftsmanship. However, I also love computer technologies and I am good at it I think. I use the computer and the software to bring two pieces of art together. Like I do with the photography art. For the normal fine art portraits, I am pretty old-school. Just tweaking the colours a bit.

SAH: How do you balance creating portraits for clients with pursuing your personal art projects, what do you find most rewarding about each?

SG: The balance is no problem. I am a highly productive and energetic person. That＊s my luck, haha. Portraits for clients, like lawyers have to be made faster, they don＊t have so much time. So that＊s a challenge. In these moments I focus on doing a good job because money is involved and expectations by the client.

My most rewarding work is with clients, I like to make them happy and confident. I always make them part of the process. Always.

I don＊t believe in it; I am the photographer and you are just my object. It does not work for me. The feedback is always rewarding, the money is as well.  I love being in the flow and doing whatever comes up, that＊s very rewarding. 

Not thinking about daily life and all the struggles and worries about this planet and all the sick things happening. I am also a surfer and riding a wave is the same; you don＊t think about how to do it because then you will get wiped out, you have to act, paddle and take that time to ride the wave. A bit cheesy maybe, but that＊s the way it is and is supposed to be, is my opinion.

SAH: Looking ahead, can you share any upcoming projects or exhibitions?

SG: I just made my whole webshop myself, months of work. Pretty intense. Now, I am learning about marketing. It＊s a new world to me. I am from the pre-internet generation. No exhibitions yet, because that is always also a financial investment. I might be focusing now on making new art and portraits.

SAH: What advice would you give someone wanting to have a photography career?

SG: Don＊t think too much, just start. Don＊t think in impossibilities but in possibilities.  And keep learning, online and from other people. 

More information about the artist:

Their approach to art is deeply rooted in the notion of a symbolic system of self-organisation, where traditional systems dissolve, allowing for unconditioned energy flow.

Comprising Dimitra, with a rich background in linguistics, and Enrico, versed in digital media, oito harnesses their diverse expertise to craft a unique dialectical identity. This identity not only shapes their creative process but also manifests in their compelling works.

Their ongoing exhibitions, "Surfing on Life" and the virtual showcase "Twins," encapsulate their philosophy by exploring themes of energy, waves, and shared spaces.

Their interdisciplinary approach invites audiences into a shared space, transforming exhibitions into experiences that transcend geographical boundaries. Join us as we delve into the world of oito, where art, language, and life converge in a harmonious dance of colours and ideas.

Read the full interview to uncover their unique philosophy and creative journey.

SAH: What initially sparked your collaboration as the artist duo "oito"?

oito: It just happened. Not planned nor discussed theoretically. At some stage, it appeared obvious that we could organise some artistic realm, where things could happen by letting the flow of our conversations generate the energy needed to turn that flow into art.

SAH: oito often refers to art as a symbolic system of self-organisation. Can you elaborate on how this concept shapes your creative process?

oito: oito refers to that realm, where things can freely flow. The symbolic system we refer to is really a system where the ※system as we know it§ has no meaning and energy can flow un-conditioned by any kind of imposition.

SAH: The idea of "the oito way" involves exploring a shared, dialectical identity. How do you both contribute to this identity and how does it manifest in your work?

oito: Listening to each other is the main way we generate ideas, so it＊s a dialectical identity based on the exploration of a shared spectrum of energy, working out the different wavelengths forming that spectrum. Words, colours, shapes, sequences, they all are parts of the same world and they all need to feel comfortably part of that world.

SAH: With Dimitra's background in linguistics and Enrico's in digital media, how do these diverse fields influence your art projects?

oito: It＊s not really the background per se as much as the way we both lived that personal background that is contributing to what we are now. This is how ideas like uniqueness and repetition started to make sense, when seemingly different backgrounds appeared to share spaces and realities.

SAH: Your current exhibition, "Surfing on Life," and the virtual show "Twins" seem to encapsulate your artistic philosophy. Could you discuss the themes you explored in these exhibitions?

oito: When you start exploring energy and waves and shared wavelengths as an artistic realm, where life expands and flows, the ※Surfing on Life§ really happens without much effort. The virtual shows are just the natural evolution of that idea of free, un-clustered shared space.

SAH: How do you challenge the role of physicality in identity formation through your art?

oito: The identity is there regardless of the physicality of its manifestation. We just have fun with colours while living that identity.

SAH: As artists with experience in various cultural hubs like London, Athens, and Milan, what role does geography play in your work and artistic identity?

oito: Very little physically, yet each place has a different energy and that energy is what influenced what we grew into and later shared - although we ended up realising that we have most likely always lived in that shared space, feeding it with the energy of the place we were in physically. Different energies but fitting that same spectrum or, rather, shaping it.

SAH: Given your upcoming exhibitions in major cities, do you adapt your installations to resonate with these diverse audiences?

oito: Installations open up a shared space, where the energy of a city can contribute to our artistic realm and we can bring some energy into that space for our audience to share, so the choice of works is primarily concerned with making sure they make sense to each other to tune up.

SAH: Enrico, your work often involves blending boundaries across different fields. Can you share an example of how this interdisciplinary approach has given rise to a unique art piece?

oito: It＊s all about seeing things from outside the standard way of looking at them, yet always in tune with your main objective (engineering-wise) or your wave (art-wise). It＊s amazing how much the two processes have in common, which facilitates navigating in both realms, merging them into a common way of seeing things. Each art piece is unique as each solution is unique, yet repeating themselves as projects evolve.

SAH: Dimitra, with your extensive background in philosophy and the arts, how do language and literature intersect with your visual art practice?

oito: Language and art are both symbolic systems of meaning. They are vehicles of self-organisation, supporting different aspects and functions of the self: language supports the organisation of thought, art supports the organisation of emotion. As oito, we are particularly interested in how self-organisation can reach the level where the thinking side of our emotions reflects the feeling side of our thoughts and vice versa. This type of inner organisation protects the overall economy of the system. We also perceive the self as a continuum, therefore code switching is no more than a question of inner flow.

SAH: Looking forward, what are your aspirations for oito in terms of evolving your art practice and expanding your influence in the global art scene?

oito: Keep having fun with colours and words, eventually turning that into an artistic movement free from being an artistic movement.

SAH: What advice would you give someone starting their artistic career?

oito: ※Follow the trees§ ＃

More information about oito:

Inspired by her early love for comic book illustrations, Nicole's work often focuses on animals, especially pets, bringing out their personality and charm in every piece.

Recently, Nicole has delved into a series of abstract octopus paintings, born from a need for creative solace during the pandemic.
Her meticulous yet whimsical approach to art ensures each piece resonates deeply with viewers.
Join us as we explore her world and let her creations bring a touch of magic to your day.

SAH: Can you share the journey that led you to become an artist, and how your early love for comic book illustrations has influenced your current work?

NH: Early on, my uncle advised me to choose a career path that is something I love, and I＊ll never work a day in my life.
For a while, I pondered what might make me happy and had no clue what to do. Then, in my seventh-grade art class, we had an assignment to enlarge a picture from a magazine by drawing a grid on the image and on our paper.

I chose The Little Mermaid, and my rendering turned out so well that it garnered a lot of attention. I knew then that I wanted to pursue art because I was clearly good at it and enjoyed it tremendously.

In high school, I discovered comic books and fell in love with the line drawings of artists like Sam Keith (The Maxx), Jim Lee (X-Men) and Todd McFarlane (Spawn). This fascination led me into the world of Dungeons and Dragons where I discovered Frank Frazetta and Boris Vallejo.

I aspired to paint with the same realism and precision they achieved. This blend of influences pushed me towards a realistic style, aiming for accuracy and detail in my work. When I paint, it＊s almost like I＊m drawing with the paint.

SAH: Your art beautifully blends realism and abstraction. How do you approach this balance in your creative process?

NH: It's interesting you bring that up. For most of my artistic journey, I focused on rendering my subjects as accurately as possible.
I used to worry about what I now call the ※accuracy police§ scrutinizing my work, comparing it to the photo source to judge how close I got. During the pandemic, I had a particularly rough day that helped me break free from that self-imposed pressure.

Now I treat my photo source as a suggestion or guide, rather than a how-to. I take key aspects of the original material as the foundation for each piece. My goal is to have fun and add a touch of whimsy, rather than recreating the photo as a painting. 

SAH: Animals, especially pets, are a recurring theme in your work. What draws you to this subject matter?

NH: I've always been a huge animal lover, and painting animals is a particular joy for me, largely because of their fur and undeniable cuteness. I love getting lost in the details of their fur with my brushstrokes. Many of us seek that elusive state of flow, and I think that's a big reason why many artists love to create. For me, painting fur is the ultimate flow state; I can truly immerse myself in those fine details.

Beyond the joy of painting, I hope to raise awareness about animals. They are delicate creatures with intelligence, feelings, and emotions, deserving their space in this world. They're not just here for our amusement or industry. Through my art, I aim to highlight their beauty and encourage a deeper appreciation and respect for them.

SAH: Can you describe the process of creating commissioned works? How does it differ from your other projects?

NH: Commissions start with a conversation about the subject matter and reviewing photo sources together.

We narrow it down to one image and discuss the colour palette and size. I typically begin with small sketches before starting two colour copies. My watercolour process unfolds in about six phases. As I progress with the two copies, I continue working on the one that looks better.

If I need to test something, I use the other copy to navigate tough spots. As the piece nears completion, I like to sleep on it before deciding if it's done. Sometimes, I hang it on my wall temporarily to take it in casually and see if it needs any final touches.

For non-commissioned work, I usually start with one copy because the stakes are much lower. If it doesn＊t turn out well or if I＊m not happy with it, I simply move on to the next piece.

SAH: What are some of the most memorable reactions or feedback you＊ve received from clients regarding your pet portraits?

NH: The first pet portrait I did was of Charlie, my mom's dog. When I showed it to her over video, she gasped so loudly that I think she inhaled all the air in the room! I've recorded two other reveals, and you can see them here. The most common reactions are gasps of joy.

My goal is to make the portraits colourful rather than realistic dog colours. Two of the pet commissions wanted realistic colours.
So I painted two versions: one colourful and one realistic. In one of the cases, she wanted both paintings, which was a nice compliment. 

SAH: Watercolour is a prominent medium in your work. What do you find most appealing about watercolours, and how do you handle its challenges?

NH: I know a lot of people don＊t like watercolours because they＊re so permanent〞once the colour is on the page, it＊s hard to change it. But that's part of what I love about it. To make it work, you have to know what you＊re doing and plan ahead.

My recent octopus pieces have a black background in watercolour, which feels like the ultimate challenge because black is extremely permanent〞there＊s no coming back from that!

I enjoy experimenting with the order in which you apply water. Whatever colour you add water to the second will pull the other colours into it, so you have to think ahead about which comes first and where you want that pull to end up.

It＊s also really challenging to apply water to a larger piece, like 18§ x 24§. By the time you get across the paper, your first drops are already drying. To combat this, I spray the back of the paper first so it＊s fairly wet. Then I spray the larger areas and race through with a brush. It＊s pretty intense! 

SAH: Can you walk us through your typical creative process from the initial concept to the finished piece?

NH: I have tons of ideas, so I usually start by looking through my list to see what inspires me. Next, I find some good source photos and narrow it down to one or two images. I mostly use them to ensure my work isn't too far off from what something is supposed to look like. Often, I use my own photos, but otherwise, I look for royalty-free ones.

I start the drawing with light color markers, then add a darker layer on top. Once all the colors are blocked in, I add water.
First, I wet the backside with a spray bottle, then start spraying the front. As I mentioned, I have to move fast because it begins drying right away. The tricky part is deciding which colors should get water first. As it dries, I might add more color or pull some up with a paper towel, then wait for it to dry.

In the next stage, I add another layer of color markers and apply water again, repeating this a couple more times for details. These might be with markers or regular watercolours.

Rinse and repeat several times. I often like to sleep on it in between, it helps with more difficult areas of the artwork. When I＊m stuck, my solutions come to me overnight. 

SAH: What inspires and motivates you?

NH: Looking at other artwork usually does the trick. I follow a lot of artist on Instagram and whenever I travel I try to hit a museum or two. I＊m also pretty motivated by a good old deadline. Booking shows or festivals works wonders for getting new pieces completed!

How do you see your style evolving in the future, and are there any new subjects or themes you＊re excited to explore?

I have so many things I want to try! Several sea creatures are on the list, like jellyfish and seahorses. I also want to experiment with hummingbirds, elephants, and a few flowers. But first, I have a lot more to explore with octopuses. I'm excited to try a large acrylic octopus where I treat the paint like watercolors. I can't wait to see how that turns out.

SAH: What＊s the best way for someone to check out your work and provide support?

NH: My website showcases all my current work and includes a shop where you can . If you like my style, I＊d love for you to sign up for and follow me on Instagram. 

SAH: What advice would you give someone just starting on their art career?

NH: Early on, I probably worried too much about defining my style. Your style develops naturally over time; it＊s not something you create deliberately. Just keep drawing, painting, and doing your thing repeatedly. Your style will reveal itself. Never give up, and remember to paint for yourself, not to please others.

More information about the artist:

Website:

In this interview, Lea shares the inspiration behind the stunning paintings and discusses the philosophy of 'pure art,' a principle that underscores the artist＊s commitment to creating meaningful and enduring works of art.

Join us as we uncover the layers of Lea Laboy's artistic journey, passion for still life, and unwavering dedication to the art form.

SAH: Lea, can you tell us the inspiration behind your stunning still-life paintings? What drives you to focus on this particular genre?

LL: From my point of view, still life is the noblest painting subject. A painter can control the composition, form and colour, which allows him to "create art for art's sake".

I think that painting depicting still life is a bit like salty chocolate, everyone likes chocolate (except me) but not necessarily of the salty variety. Still life is simply a niche topic. You know, it's not an act that will attract a male audience, it's not even flowers that will move a female audience, it's raw still life in all its everyday beauty.

So all you have to do is get out of your comfort zone and feel it.

I am amazed when I look at an ordinary metal spoon. I see it there are at least several dozen different shades in it, but when I ask someone what's the colour of this spoon, they all unanimously say that it is grey, but this is only a half-truth resulting from the fact that they "don't look" and therefore "don't see".

When you teach someone to look, you open up new opportunities for them to experience reality and this is magic because the way of looking can change what we see and how we perceive it. Still life awakens a person's sensitivity to the beauty of form, proportion and colour, so for me, it is a natural choice because this is where I fully realize my creative assumptions.

SAH: Your technique in oil painting is quite remarkable. Could you walk us through your process from start to finish?

LL: The starting point in my work is many hours of observation combined with colouristic analysis. This is the moment when I determine what the character of the still life will be. I only work with three primary colours with a small amount of white. I never use the colour black because it does not exist in nature as such, and thus creates a visual "hole" in the image, being a foreign element in it.

I always paint on cardboard, which I prepare according to the recommendations for painters from the end of the 19th century. Previously, I worked on canvas, which I prepared myself according to the method given to me by the professor.

However, I gave it up for two reasons, first all because I don't like the texture of the canvas, and secondly because the quality of the canvas, which mainly comes to the European market from China, is very poor. The canvas stretched on the loom cannot pass the elasticity test because it cracks at the first attempt. When it comes to paints, these are, of course, oil paints that contain a high percentage of pigments.

Summing up, my painting "lives" in my imagination before the last brushstroke touches it.

SAH: We've noticed a lot of intricate details and textures in your work. How do you achieve such realism in your paintings?

LL: I am an impressionist who draws from nature, but not a realist, much less a photorealist, as my painting is increasingly often incorrectly described. My goal is not to faithfully copy the object but to convey its fleeting nature. If you look closely at my painting, you will see many brushstrokes in the same place, but you will also see that the contour does not define the form.

This kind of "inaccuracy" is intentional because it is the colour combined with the light that defines the form. It took me a long time to realize and accept this. I had to allow myself to abandon the contour without remorse. conscience that I was moving away from painting perfection. It was a step in the opposite direction and a breakthrough in my understanding of painting, which I owe mainly to Monet and Bozna里ska.

The further from perfection, the more spectacular the effects of conveying the nature of the object, because beauty is not perfection, but everything that reaches its limit but does not cross it.

SAH: How do you choose the subjects for your still-life compositions? Is there a particular story or theme you aim to convey through them?

LL: As I have already mentioned, my painting is not limited by style. The main principle is to study the interactions of colors, form on form, light on color, etc. to constantly enrich your painting language. The principle should be, of course, that the object itself is not important and that it acquires its importance through the context in which it is located.

Of course, I'm only human and sometimes my preferences prevail. My favourite material is glass because it gives me a substitute for painting air (something that is obviously impossible for anyone to paint). I also like to paint metal and the roots and stems of wildflowers. I also often move towards wilting or damaged flowers because in this form they gain expression for me.

SAH: Your website mentions exploring "pure art" that examines and questions reality. Can you elaborate on how this philosophy influences your artwork?

LL: I was lucky that from the very beginning of my adventure with art I stayed in the environment of artists who had their significant place in art and for whom art was a lifestyle, not a job. They told me many times that "making art" is not a party with fireworks where everyone applauds because you put a line or a dot on the canvas.

On the contrary, it is often hard work, many hours without a time limit, in which you will not always satisfy others or yourself. It is a sinusoidal graph when, in the euphoria of successes, you won't even know when you've reached the bottom of despair, in which yesterday's award is already a memory and those who applauded continue applauding, but not for you. In all this, however, they always left me a direction from which I cannot deviate: "art for art's sake".

That is, creating what I feel based on the knowledge I have without betraying these principles for the sake of "success" for any award or even the "appeasement" of the audience. I accepted this principle because, like them, I love painting and I want to protect this heritage, that has been passed down to us by past generations. I don't understand artists who create on "command" what sells because, as professors said, it's not art, it's "hackwork".

To sum up, I believe that if painters who follow this rule disappear, painting will disappear, only Instagram full of "hackwork" will remain. The only question is what will happen to this "art" when Instagram disappears?

Because nothing on this earth is eternal. Let us recall here the words of one of the most controversial figures of the French Revolution, George Danton, who said that every Revolution, like Saturn, devours its own children."

SAH: How has your style evolved over the years, and are there any specific artists or movements that have significantly influenced your work?

LL: I wouldn't like to talk about my "style" because for me style is a closed circle with no space for development. And I am one of those artists who are greedy for knowledge in variousfields.

I experience sadness, joy?

Okay, this is what the image will be like because these are the feelings I'm resonating with at this moment.

Therefore, none of the paintings is a continuation of the previous one, but only a collection of collected experiences that, in one way or another, are more or less revealed in it.

When it comes to the trends and artists that fascinated me, this is a wide topic. These are certainly artists who have "extensive" biographies, artists who are internally conflicted and remain between the choices of "selling themselves" and "staying true to themselves". Frida Kahlo was such a discovery and support in difficult moments of my work because I look at the world through her eyes and, like her, I remain an uncompromising person if I believe in something.

At this point, for example, I get to know Monet's notes and I kind of rediscover him as an artist, and this great affinity appears again, caused by the feeling of dissatisfaction, the fact that you cannot even paint air, although you can create a substitute for it by defining the mutual relations of objects. Not to mention W?adys?aw Strzemi里ski who rebelled against the authorities to continue creating without joining the political system.

When it comes to directions, I definitely minimize it because I can't stand "verbalising" images and all this fashion imposed by Google algorithms requiring descriptions of what is in the image because, as my painting professor used to say, "For God's sake! If you want to describe what is in the painting, dear children, abandon painting and start writing.", Impressionism because it reflects the nature of things and conceptualism because italways reminds me that the idea is as important as the technical and aesthetic side of the painting.

SAH: Do you have any upcoming projects or exhibitions that you are particularly excited about and can share with us?

LL: Frankly, I am still involved in some projects, if I am not participating in them, I am creating them. Currently, I am presenting three of my paintings in a gallery in Dubai and it is exciting for me because it is the first time that I have the pleasure of showing my painting here, especially since I have received so many nice comments.

Of course, there is also a lot of excitement because of the exhibition of a collective of artists from all over the world that will take place in Milan in October. My secret dream is also to finish a new painting so that in August I can present it to a gallery in Venice, because in my opinion Venice is the most important cultural place in the current artistic arena.

SAH: In the evolving art world, what are your thoughts on traditional painting versus digital painting and those created by artificial intelligence?

LL: I was thinking about your question and I think that instead of the term ※evolution§ I would use the word ※devaluation§. When we talk about evolution we are talking about something that over time has changed from a simple form to a more complex, more perfect form. Digital painting or painting created by artificial intelligence does not fit into the same category as traditional painting, so we cannot talk about the emergence of a more perfect form of painting.

Attempting to equate digital painting or painting generated by artificial intelligence is simply devaluing traditional painting.

In order to get into the Academy of Fine Arts, I remind you that you are entering a competition, you must pass many exams in theory and practical exams. Demonstrate knowledge of color, composition, proportion, anatomy and the ability to apply them. There are often about 20 candidates for 1 place, so if we consider that painting generated by artificial intelligence or digital painting is identical to traditional painting, we should eliminate the Academy of Fine Arts.

All you have to do is buy a program with a monthly payment of $59 and "generate" instead of wasting time studying at the Academy of Fine Arts. The current reality is that people are becoming comfortable and it's not about painting, it's about "success" in any field, and because digital art or art generated by artificial intelligence creates the "illusion" of art, it's a good path for those who want to achieve quick success.

You know, it's easy to become an artist because "everything is art" and there is no risk like in the case of becoming an engineer who builds bridges and his knowledge and skills are verified by whether the bridge collapses or not. In painting, if you make a mistake because you don't have the knowledge or skills, no one will die and it's enough for you to say that it was an "intentional" action.

Only those who have studied painting can see the mistakes, as evidenced by the situation in which I was asked to assess the condition of an 18th-century icon. When I saw it, I was shocked that these people did not recognize that they had been sold an ordinary print, sloppily sprayed with paint and aged using a preparation available in most paint shops. In my opinion, this is a slippery slope with the devaluation of the value of traditional painting, a form of "Overton Window" at this point at level five, i.e. "popular".

SAH: Your artwork has been featured in various magazines and exhibitions. How has the exposure influenced your career and artistic approach?

LL: Honestly, I am not a ※media§ artist or a painter who is making or wants to make a so-called career. I have withdrawn completely from competitions since the moment when the winners of one of them were announced on Instagram before the applications were closed.

In my head, there is an image of a painter from the turn of the century who always stands behind the easel and not in front of it.

I focus on painting, reading, education and of course God because if there was no such most important relationship in my life, everything else would not matter.

I am constantly asked for my Instagram, Facebook or Tiki Tok, but please forgive me, but after reading books by George Orwell, Klaus Schwab or watching the full-length documentary by Jeff Warrick ※Programming the Nation?§. Being there would define me as a philistine.

That is why I appreciate even more that such prestigious art magazines have distinguished my work by presenting it together with my profile as a painter on their pages. As for my artistic approach, it has not changed, I still believe that work and education are keys to many doors, and although it is obvious that you will always encounter more that are opened only by "methods", but you still have the choice not to try to open them or go through them.

SAH: Lastly, what advice would you give to artists at the beginning of their career?

There is a saying "The road to hell is paved with good intentions" and there is some truth to it. So my suggestion? Don't listen to anyone's advice because you will end up where the person giving it wants you to go but not necessarily you yourself.

More information about the artist:

Website:

In this edition, we are thrilled to present Maria Suarez, a Peruvian-born photographer with a profound passion for capturing life's moments through her lens. Delving into landscapes and portraiture, Maria's work reflects a tapestry woven from her diverse experiences and cultural heritage.

Her lens tells stories of families, childhood, and the beauty of landscapes, bridging the gap between cultures and emotions.
Her rich background in studio portraits infuses her work with a depth that resonates with viewers.

Currently based in the New York City area, Maria's recent project delves into the tender bond between mothers and children, blending studio portraits with the cinematic allure of short films. Through her captivating imagery, Maria invites us to explore the essence of culture, humanity, and the intricate connections that define our lives.

Join us as we uncover Maria Suarez's artistic journey, inspirations, and the narratives that shape her captivating work.

SAH: Can you share with us when you first discovered your passion for photography?

MS: In reflecting on my journey with photography, I realize that my passion for it has been a constant thread throughout my life.
It all began at five when my parents gave me my first camera. From that moment, I was captivated by the magic of photography and the process behind it. I was filled with curiosity, eager to understand how images were developed and how I could capture the world around me through the lens. That initial spark ignited a lifelong love affair with photography, shaping my creative journey from a young age.

SAH: How has your academic background shaped your approach to photography?

MS: My background in Audiovisual Communications and my Master's degree in Digital Photography have provided me with an understanding of photography as a business. This approach has helped me with insights into various aspects of the industry, including its process, market dynamics, and possibilities. I am grateful for the opportunity to merge my academic pursuits with my passion for photography, which has deepened my comprehension of this field. 

SAH: When conceptualising and executing a photography project, could you walk us through your creative process?

MS: Initiating a new project often involves the process of conceptualization and experimentation. My approach typically begins with identifying a central idea or theme, serving as the foundation upon which the project evolves. However, I remain open to exploration and adaptation as I go deeper into the initial concept.

Recently, while embarking on a new project, I realized that the original idea was somewhat complicated, making it challenging to convey its essence effectively. Recognizing the need for a pivot, I embraced the opportunity to explore other alternatives.
Through experimentation, I discovered new perspectives that clarified the concept and gave the project significance. Thus, through this dynamic process, my project gradually took shape, guided by the evolution of ideas and the pursuit of creative clarity.

SAH: Your recent project focuses on the relationship between mothers and children. What inspired you to delve into this theme?

MS: I was drawn to focusing my work on maternity based on my experiences with my mother. She has shown me what real love is and how to be so unconditional and unique, so I've always been inspired and fascinated by this bond because of her.

SAH: How do you utilize social media management and online platforms to showcase your work?

MS: Yes, I use social media platforms such as Facebook, Instagram, and my personal website to promote my work. These helped me to reach a broader audience and showcase my portfolio to potential clients or collaborators.

SAH: Your work encompasses landscapes, portraiture, and the dynamics of families. Can you elaborate on how these different genres influence and inspire each other in your creative process?

MS: In my photography journey, I've found inspiration in various genres, particularly landscapes, portraiture, and family photography.
My fascination with the diverse landscapes of Peru ignited my passion for landscape photography, driven by the unique shapes and scenery.

For portraiture, my creative process begins by gathering ideas from platforms like Pinterest, Instagram, and Facebook, which I then personalize with my touch. Working with families and newborns involves exploring new poses and ideas, and drawing inspiration from their reactions to the final edited photos. Each genre uniquely contributes to my creative process, shaping my photography vision.

SAH: As a photographer based in New York City, does the urban environment influence your artistic choices?

MS: In my recent work, I've been focusing on capturing the essence of New York City, incorporating its iconic skyline, landmarks like Central Park, and bustling streets into my portfolio. This new body of work is shaping my artistic choices and influencing my approach to processing and presenting my photographs.

I'm drawn to the dynamic energy of the cityscape and the interplay between architecture and nature, which informs my editing decisions and composition. As I continue to develop this portfolio, I'm excited to explore how these urban landscapes inspire and evolve my creative vision.

SAH: How do you balance preserving the essence of cultural heritage in your photography while also exploring new themes and narratives in your work?

MS: My culture is an integral part of who I am. Through my work, I strive to illuminate the richness of Peru's cultural heritage, emphasizing its profound history and the warmth of its people.

Simultaneously, I embrace innovation and experimentation, constantly seeking new avenues of artistic expression. For me, it's about striking a balance between honouring my roots and embracing the present, recognizing that our past shapes us as we navigate the ever-evolving landscape of creativity.

SAH: Looking ahead, what are some upcoming projects or themes you are excited to explore through your photography, and how do you envision your artistic journey evolving in the future?

MS: I'm enthusiastic about exploring new artistic approaches, such as alternative processes or film photography, areas I haven't explored extensively. Looking ahead, I envision striking a balance between commercial and artistic photography in my career.

This involves not only capturing images in the studio but also showcasing my work in galleries and museums, allowing me to express my creativity while engaging with diverse audiences.

SAH: What advice would you give someone wanting to have a photography career?

MS: My philosophy is simple: take as many pictures as you can and always strive to learn. Curiosity is key 每 never hesitate to ask questions and connect with others in the field.

Building a network fosters growth and opens doors to new opportunities. Embrace failure as a natural part of the learning process and, most importantly, find joy in every moment of your journey

More information about the artist:

Website:

Instagram:

Specializing in conceptual, still life, and documentary photography, Lifu's work speaks volumes through visually compelling narratives that capture the essence of her subjects with precision and creativity.

Join us as we explore her artistic vision and unique ability to craft stories through her lens, inviting viewers to experience the world from a fresh and inspiring perspective.

SAH: How has your journey from studying Electronic Engineering to pursuing a photography career shaped your artistic perspective?                                                                                      

LH: My four years studying electronic engineering during undergrad are a deeply painful memory for me. I didn't have a passion for that field, and each day, the complexities of the coursework slowly drained me. I had few friends at that time, and my parents didn't understand me. However, the pain of that low point granted me a lot of inspiration. Thankfully, things took a turn for the better later on〞I had the opportunity to study in New York and officially began my journey into artistic creation. That period in college led me down many winding paths and didn't necessarily yield tangible results, but I'm still grateful for that experience. It bestowed upon me immense spiritual wealth.

SAH: Your work encompasses conceptual, still life, and documentary photography. How do you navigate between these different ?             

 LH: For me, regardless of the photography style, its essence lies in conveying my emotions and feelings through the lens. In conceptual photography, I express the emotions I want to convey by designing the models' poses and creating the scenes myself.

The same goes for still-life photography; I enjoy anthropomorphizing objects and giving them different attributes. Documentary photography is no different; besides simply recording moments, I like to use a "peeping" perspective to present a more authentic and lively image.

SAH: Could you share a significant moment or experience that solidified your decision to pursue photography professionally? 

 LH: When I was a freshman in college, I got my first camera. Shortly after, I met a photography teacher who taught me how to explore my emotions and express myself through the lens. I grapple with defining myself and understanding the relationship between myself, the lens, and the subject, and I still strive to find the most genuine way of expressing myself through my lens.

SAH: With a background in both technical expertise and artistic vision, how do you find a balance between precision and creativity in your photography?                                                     

LH: I don't feel the need to find a balance between these two aspects. My undergraduate background in Electronic Information Engineering has provided me with a lot of creative inspiration, but it hasn't limited my way of thinking or creativity. On the contrary, at times, my background in science has helped me better plan my shoots and organize my work more systematically.

SAH: How does your cultural heritage influence the stories you choose to tell through your photography?

LH: I feel that my upbringing has greatly contributed to my creativity. Both the country I grew up in and the family I was born into have given me a unique way of thinking. The joy, pain, and reflections they brought me are all referenced in my projects "Relationship," "Grandma," and "The Lost City."

SAH: Your photography is known for conveying emotion, narrative, and aesthetic beauty. How do you approach storytelling through visual imagery?

LH: Before I delved into photography, my sole means of expression was through journaling. However, I later discovered that it wasn't a secure or private method. Consequently, I tore up most of my diaries. I felt that photography, to some extent, replaced those diaries; my creations became my memories, my thoughts, my emotions. Taking pictures became a way to materialize my diaries.

For instance, if in my diary I wrote, "We, like two balloons ready to explode, hid in a thicket of tangled bushes," in my actual photography, I would use props and find ways to recreate the imagery from my mind.

SAH: In your opinion, how does photography allow for a unique exploration of the intersection between humanity and the environment?                           

 LH: I believe that to connect with nature, the most important thing is to open oneself to experiencing it. Imagine yourself as part of the natural world, transforming your body into an element of nature, such as a blade of grass or a tree. Alternatively, anthropomorphize natural elements, finding the relationship between their forms and the human body

SAH: Can you discuss a project that holds personal significance to you?   

LH: The most significant project for me is "First Love," which I completed last year. Both the preparation and the shooting process brought me a lot of reflection, allowing me to examine myself more deeply and comprehensively, particularly my behaviour patterns in an intimate relationship. Additionally, this project was my first attempt at portrait photography. It helped me overcome my inner insecurities and fears, and it also made me appreciate the enthusiastic support and care from my friends and teachers.

SAH: Looking ahead, what future directions or themes are you excited to explore in your upcoming photography projects or exhibitions?         

I am currently conceptualizing a new photography project, also centred around the theme of love. This time, I want to experiment with creating a short film in the style of a play. It will feature two main actors and use simple everyday objects to symbolize the emotions of the protagonists in the relationship.

SAH: What advice would you give someone just starting an artistic career?                             

LH:  My advice is to open yourself up and honestly face your inner self. Use tools or methods that suit you to express your emotions and convey your true thoughts. Only what is genuine can be truly moving.

More information about the artist:

SAH: Your journey from Melbourne to New York is quite inspiring. How has this transition influenced your approach to acting and the arts in general?

JC: Honestly, the journey was quite difficult and really challenged me to reflect on who I was down to my core. I encountered numerous situations that taught me invaluable lessons, which really changed my perspective and how I react to life. I think it taught me the relentless determination to go after what I want, no matter how challenging, and honestly that＊s what the performing arts is, one big challenge. The introspection I was forced to do has made my approach to character development more empathetic and comprehensive, which allows me to embody the characters more fully and authentically.

SAH: In the world of acting, authenticity is often praised. How do you maintain your authenticity as an artist while embodying various characters?

JC: Dialling into who you are as a person, your innate traits, subtle fidgets, and involuntary reactions in emotional moments, can significantly enhance the authenticity you bring to a character. As an individual, I try to recognize how I respond to various situations, as this allows me to craft a character's reactions in a manner that's true to their essence, yet authentic. I strongly believe in infusing each role I undertake with a piece of myself, as it is that very integration that lends a unique depth and realism to my portrayals.

SAH: The ability to connect with the shared human experience through acting is a powerful gift. Can you share a moment from your career where this connection felt especially profound for you as an artist?

JC: It was in one of the most recent projects I＊ve participated in, but the experience of unrequited love. My character was doing everything she could to try and win someone over, had them still not choose her, and decided to help them protect their new love anyway. This was such a beautiful moment for me to understand the love that she has for him, that even if she wasn＊t loved in return, she would still do everything she could for him.

SAH: Can you share a specific role or project where you felt particularly connected to the character you portrayed?

JC: One time I felt extremely connected to a character was in training at AMDA. We were having a masterclass with the head of the Musical Theatre department and my performance to ＆She Used To Be Mine＊ from Waitress was selected to be worked on. I already had empathy for the character of Jenna, but the way the teacher workshopped this character with me in a more method-acting way, gave such a devastation to my portrayal of her because it was so deeply rooted in my history and own past that I had struggled with, so I will always have a deep connection to that character.

SAH: Transitioning from dance to acting showcases your adaptability. How do you navigate between different forms of artistry, and do you find any similarities in the creative process?

JC: I think experiencing all different forms of creativity from such a young age made the transition quite smooth, as I was always doing a million things as a kid. I was constantly juggling my schedule and swapping between different mindsets depending on what I was doing, which really cultivated my adaptability from a young age. I feel as though there is a big difference in the creative process between acting and dancing, due to the nature of each discipline. Likewise, I almost feel as though I am tapping into different parts of my brain when I jump between acting, dancing, songwriting, any of it, however the end result usually feels the same, which for me is a cathartic release.

SAH: Graduating from AMDA with honours and landing roles in TV, Film, and commercials is a remarkable feat. What advice would you give to aspiring actors looking to break into the industry?

JC: I think one piece of advice would be to bet on yourself and put in the hard work, because no one else is going to do it for you.
You have to learn to be your own advocate, which was a tough lesson for me to learn as I like to just keep the peace and go with the flow.

SAH: Working on projects like "Con Job" and "My Vampire Brother" demonstrates your versatility. How do you prepare for roles that require emotional depth and intricate detail in your performances?

JC: The role of ＆Sarah＊ in Con Job and the role of ＆Kate＊ in My Vampire Brother were polar opposite characters, so it was a really fun challenge to switch between the two of them. For roles that require emotional depth, the role of ＆Kate＊ for instance, I firstly make sure I really understand who they are and what experiences make them react in the ways that they do, whether all of this information is given to me or not, you sort of fill in the blanks. For roles that require intricate detail, the role of ＆Sarah＊, I like to make sure I clearly understand the character＊s motives and what makes them tick, especially when the character is hiding their true self from the world.

SAH: Your background in Communications Design is intriguing. How does your knowledge in design influence your approach to interpreting scripts and portraying characters on screen?

JC: Just like in design, when you are analysing a script, not everything is obvious or right in front of you. The first time you look at a script or a design, you notice some surface-level meanings. The second time you revisit it, you can make some deeper connections that may not have necessarily been as obvious. The more and more you dissect it the more you can uncover, and I think having a background in design, and knowing there is always more to a piece than what first meets the eye, is such an important lesson that I was able to carry over.

SAH: Your upcoming projects sound exciting. Can you provide a glimpse into what viewers can expect from your future performances?

JC: Most definitely! I think that the viewers can definitely expect some really serious tones in my upcoming work, as the narratives I was helping to portray were definitely on the heavier side, however also some more comedy light-hearted characters, especially when it comes to Con Job.

SAH: Reflecting on your artistic journey so far, what are some key lessons you've learned about yourself as an artist, and how do you envision your career evolving in the coming years?

JC: One lesson that has really stuck with me, that I actually learnt from my favourite teacher in college, was when you are diving deep into an emotional scene and using instances from your life to trigger real emotion, you need to make sure you are only touching on experiences that you have fully healed from. Touching on emotional experiences that are still a sore spot for you can launch you into a difficult place that can be hard to bounce back from. Also making sure that you have a routine to break you out of emotional scenes is really important to return you back to your normal life.

I am really excited to see where my career takes me and what opportunities lie ahead. Hopefully a lot more amazing roles in film and TV and an eventual progression back into musical theatre, but I will go wherever the wind takes me!

More information about the artist:

Through her intricate practices, Jiaoyang orchestrates a symphony of emotions and interpretations, seamlessly blending sound, visual elements, and tactile materials to craft immersive experiences that resonate deeply with audiences.

Join us as we embark on a captivating journey through the creative realms of Jiaoyang Li, where storytelling transcends mere words and artistry knows no bounds.

SAH: Can you tell us about your artistic journey and what led you to specialize in textile art?

JL: My relatives, from my grandmother＊s generation, were silk factory workers,  and those from my mum＊s generation, ran clothing stores for a living. I was basically raised in closets and showrooms. Though I am naturally close to fashion and textiles, I have critical relationships with textiles. I would say ※textile art§ is more of ※Text-Tile§, a metaphorical thing for me. And I find text, textile, writing, and weaving have countless connections and similarities.  

SAH: Your work often explores themes of "home" and "belonging." How do these concepts influence your creative process and the message you aim to convey through your art?

JL: For the past twenty years, I haven't been home and haven't felt a sense of belonging anywhere. This life of "escaping" and being "in-between" was a choice I made, and I've come to terms with it. However, I often face the scrutinizing gaze and questions about "identity" and "where are you coming from?" from audiences who carry their own preconceived notions and expectations, regardless of where I am or what I'm doing.

These interactions spark my research and artistic practice, where I aim to challenge and reinterpret the conventional notions of "what is a home" and "what is authenticity."

In my work, "Home?" and "Belonging?" are recurring themes, posed as questions to emphasize the concept of absence and the negative space surrounding the ideas of home and belonging. My focus is on what isn't, rather than what is, exploring the voids that define our understanding of home and identity.

SAH: Your website mentions the integration of traditional Chinese embroidery techniques with contemporary art. Could you elaborate on how this fusion shapes your artistic expression?

JL: My piece, "Hanging Hexagram," is a textile video installation that intertwines traditional craft with digital commentary. I've repurposed embroidery hoops〞not just as tools or frames but as integral parts of the textile itself〞adorned with hundreds of headphones, computer cords, and mirrors.

These hoops act as scaffolds or homes, nurturing the 'fruit' of the textile. Yet, in our digital era, we are bombarded with an overload of information and distractions from social media and other digital media sources. These external influences weave the fabric of our reality, overshadowing tangible experiences.

The true 'textile' in my work is represented by the empty spaces on the voile canvas, suggesting that what we perceive as reality is often a reflection of our digital engagements.

The piece challenges viewers to see beyond the superficial, likening the installation not to a mirror or window but to a navel or dream catcher embroidered with ears amid chaos. A video projection of Sonja〞a character who is a doula by day and a pole dancer by night〞casts a hexagram symbolizing tender possibilities onto the textile, blending the tangible with the ethereal. This work embodies a dialogue, even a confrontation, between traditional craftsmanship and digital techniques.

SAH: What role does storytelling play in your textile art, and how do you weave narratives into your creations?

JL: Storytelling and writing are central to my artistic practice, serving as the foundation of my "text-tile" practice. The text provides narrative, concept, and background〞it's the soil, air, and impulse driving each creation.

The process can begin with visual material, for which I then craft a script, or start with a prose poem that inspires an installation or performance. My works across different mediums are interconnected, engaging in a dialogue that resonates within a larger sphere.

SAH: Could you walk us through the typical process of creating a new piece, from ideation to completion?

JL: I often take on commissioned work, each project uniquely tailored and distinct. I believe my affinity for such projects stems from a love of working within constraints and deadlines. Without these, I find it challenging to sense a completion point or urgency; a poem, for instance, could be endlessly revised over a decade, with the temptation to tweak a word or a line persisting. Commissioned projects, however, offer defined terms, timelines, and a sense of closure.

A notable recent project is Gatsa, a collection of poetry and lyrics, which is also a research-based artist book commissioned by John Tsung, the founder and producer of the Gatsa band. This project was particularly engaging. John and I first crossed paths during a puppet show production, where he was the music director, and I contributed as a writer and puppeteer. My poetry for the show's puppets resonated with John, inspiring him to conceptualize a music album based on those poems.

Our collaboration involved extensive discussions about the poems, intertwined with family stories and our experiences as new immigrants in the U.S. These conversations were rich with fun facts, excitement, and shared frustrations. John provided a list of images, objects, words, and titles that resonated with him, guiding a year of research and writing on my part. Initially intended as lyrics for the music album, the text evolved to serve more as a conceptual backdrop, standing on its own as a poetry collection. The ideas it explores are denser and more complex than typical lyrics, making it more akin to a book of poetry.

For the album, we collaborated with musicians from various countries, each bringing their unique interpretation to the text. Some translated it into Japanese and Korean using Google Translate, while others selected lines as springboards for freestyle performances, blending singing and instrumentation. Thus, the text I crafted served as a catalyst, fermenting into diverse creative expressions.

This May marks the dual launch of both the poetry book and the album. Though they run parallel, each possesses its distinct essence. This project represents a recent, fulfilling achievement.

SAH: Your artwork seems to evoke a sense of nostalgia and timelessness. Can you share the inspirations behind these evocative elements?

JL: My ongoing video game project, "Go to Sea," is deeply imbued with a sense of nostalgia through its retro pixel style. It's set in the 1990s in China, yet this setting is more of a stage than a direct historical recounting. The game uses this era to delve into questions of negotiating personal loss and pacing within an accelerated totalitarian society. Rather than adhering strictly to historical accuracy, it emphasizes narratives, personal memories, and feelings, akin to a detective novelist piecing together fragments of the past in a surreal reconstruction. This approach aims to offer diverse perspectives and gateways for reimagining the world.

"Go to Sea" is crafted for an audience that shares diasporic experiences similar to us creators, striving to be a meaningful, fun, and thoughtful experience for this group, in contrast to works that cater to external cultural expectations. The game incorporates unique references, such as the 谹痔尥蕪 (Zibo BBQ vendor) and 諺俋硃炾啤 (afterschool tutoring classes), that resonate specifically with those who have lived these experiences.

Moreover, the game engages in meta-play, including scripts within scripts, for example,  featuring contemporary art installations from 2024, created by fictional artists and accompanied by exhibition texts, all set against the backdrop of 1990s streets. This blend of the familiar with the strange, the convincing with the satirical,, inviting players to engage with it on multiple levels.

SAH: Collaboration appears to be an integral part of your practice. How do you approach collaboration, and what do you find most rewarding about it?

JL: It's fascinating that many perceive me as an extroverted and collaborative artist, yet my true personality is INFP. I predominantly work individually. Despite this, like I said before, I acknowledge the structured timelines, definitive conclusions, and broader exposure that collaborative projects often benefit from, thanks to the collective efforts of a team. These projects gain public recognition in ways personal endeavors, like my manuscripts and poems tucked away in digital notes for years, seldom do.

I value patience in nurturing personal projects, caring deeply for them and desiring them to evolve in a way that resonates with my sense of satisfaction. Yet, collaborative work has taught me the importance of completion over perfection. The adage that sometimes finishing a task is more crucial than holding onto lofty ideals rings especially true in teamwork.

Collaborating with the right people〞those you trust and enjoy spending time with〞can make the process not only efficient but also enjoyable. It feels as though you're merely chatting and hanging out, and then, almost the ideas flow and the project comes to fruition on its own.

This sense of effortless synergy was particularly palpable when working with Sonja Bjelic, Anne Carson's collective, and the zzyw team. Their partnership reminded me that while I may naturally gravitate towards solitude in my creative process, the connection and dynamism of collaborative work can bring its own unique and fulfilling rewards.

SAH: In what ways do you envision your art making an impact or sparking conversations within the larger artistic community or society as a whole?

JL: With two of my friends, I founded a publishing company, online school, physical bookstore and gallery, Accent Accent, with a mission to promote works that represent female, queer, cross-lingual, text-based interdisciplinary work. I curate exhibitions and publish authors whose work aligns with my beliefs.

We distributed and promoted their work on larger platforms, including the Met and the Whitney Museum. Reflecting on my time in poetry school in New York and my experiences back in China, I recall feeling that interdisciplinary poetic practices were not taken seriously.

Similarly, within the art industry, poetry is often overlooked as a component. However, I believe that, over the years, our work 〞has started to be more widely recognized and respected. We have gained legitimacy and built an artistic community that values and elevates the interdisciplinary writing practices that we champion. If there are too many gatekeepers, we would create a new garden and invite the gatekeepers over. 

SAH: Looking ahead, what upcoming projects are you excited about, and how do you see your artistic practice evolving in the future?

JL: I'm currently working on integrating video poetry installations with drag performances, while also developing a TV script in fragments, for social media platforms. Recently, I've started to question the experimental and academic nature of my past work, recognizing that it often appealed within specialized art and literary circles. I'm now interested in exploring a mix between high art and popular culture. Hope to produce work that retains artistic integrity while being accessible to a broader audience, aiming for a blend of creativity that is both engaging and commercially viable. This shift is driven by a desire to connect with people across a wider spectrum of interests and backgrounds. And I believe the end of art is commercial and the end of commercial is art. That＊s why when we see selling skin products we still think she is revolutionary. 

SAH: Finally, what advice would you give an artist just starting in the industry?

JL: I might not be in a position to guide others, but if I could speak to my younger self, I'd say: Continue to pursue what truly brings you joy and fulfilment. Don't get too caught up in trying to meet others' expectations, focusing on others' successes, or tailoring your work to market demands. Think and plan for the long term, be patient, and treat yourself with kindness.

More information about the artist

Join us as we uncover the inspiration behind Karen Smith's remarkable artistic journey.

SAH: Your website showcases a diverse range of subjects in your digital artwork, from flowers to animals to abstract and text art. What inspires your choice of subjects, and how do you approach capturing their essence in your pieces?

KS: I＊m guided mainly by trends as per my licensing agency connection, but this also broadens my interest in subjects I wouldn＊t normally consider. Creating work purely for home d谷cor dictates the style to some extent as I am often given inspiration to work from, so to make each piece my own I, sketch out a personal interpretation.

SAH: As a self-taught digital artist and illustrator, how has your unique journey influenced your artistic style and creative process?

KS: I think it has and as I look back to when I first started, the learning curve is evident, e.g. 每especially when working with layers.
The process has also become much simpler, having developed a knack of being able to see what will work regarding colour, texture etc. I also prefer to illustrate with acrylic pens when possible, so not all of my art is purely digital.

SAH: Your work encompasses ever-changing trends and designs that connect artists to the modern world. How do you stay attuned to these trends, and how does this influence your artistic evolution?

KS: I have worked in art licensing for more than five years so I am always intuitive to colour trends and styles. Little has changed with regards to popular subjects 每 floral, abstract, landscapes etc, even considering AI influence. If anything, designs have become a little more simplistic and minimal. Personal choice is also a powerful influence because I play to my own strengths to get the best art.

SAH: Art licensing is a prominent aspect of your portfolio. Could you share your experience in this domain and the significance of art licensing for contemporary artists?

KS: AI has been the biggest influence of all and although I would like to think that human creativity can never be truly replaced, with time it will become increasingly harder to distinguish between what has been created manually and digitally programmed. Regardless, this development has challenged the way I approach my work and there is pressure from the art licensing world to use AI software, something which I have taken on board, though would never rely on entirely. Traditional art is still very much a focal point of home d谷cor which is comforting, as I much prefer to physically create than let the machine take over.

SAH: You Print of the Month; feature offers a glimpse into your artistic exploration. What role does this initiative play in your creative development, and how do you select the featured prints each month?

KS: The Print of the Month idea was inspired by the freedom to leave trending art behind and concentrate on personal choice. This is also a chance to use AI effects should I choose, taking a piece of art I may have done some years ago and experiment with it. Digital art is ideal for making such changes, especially with colour which is paramount with trends.

SAH: Could you give us an insight into your creative process? How do you move from the initial idea to the final piece of art?

KS: I often wade through endless books about various art mediums, especially abstract and am often influenced by a said piece or study inspirational images that art licensing dictates. My initial idea will always start with a rough outline using acrylic pens. Sometimes I will copy the idea to art paper and use it without any digital input and then scan the image into my computer. If not, I will compile stock images and textures to create and finish the design. In many ways, this is preferable because as I have stated previously, the image can then be manipulated in many ways.

SAH: Collaboration and networking are essential to the art community. Can you share any memorable experiences or insights from collaborating with other artists or industry professionals?

KS: I share my art and ideas on various social network platforms, and this is always informative. My collaborations with other professionals came earlier in my career when I was showcasing My art in galleries etc, where I met many artists in the community 每 the most poignant was in Macclesfield. To gain experience, I also designed logos and poster art for local musicians from which I gained regular clients.

SAH: Could you share with us about your current work or any upcoming projects? What can we expect to see from Karen Smith in the near future?

KS: I am always looking for ways to promote myself as an independent artist, so this is an ongoing project. I am also developing my illustrations too, which may open up other avenues. Meanwhile, working for an art licensing agency cuts out the hard graft of selling work to larger outlets and in time, my art may be accepted by more major art retailers.

SAH: Finally, what advice would you give aspiring artists interested in pursuing a career in contemporary art?

KS: Be as versatile as possible if choosing art licensing, but whatever the route, find your own style and promote it. The competition is vast and what sells today may not sell tomorrow, but you have to keep pushing. Like everything else, one successful print can open up your entire collection. An absolute must is to have a website and social media following 每 somewhere to advertise and showcase your art.

More information about the artist

In this interview, we explore Keith's artistic journey and inspirations. So, stay tuned for an inspiring journey exploring the work of Keith Edwards.

SAH: Keith, can you tell us a bit about your journey into the world of visual arts?

How did it all begin for you? My artistic and musical training began at age seven. My Mother Ingrid was born in Switzerland and her family emigrated to America when she was a girl. Her father and her stepmother were both accomplished artists. She became a Broadway dancer and then a New York area Artist who gained recognition.

She dictated the household tenor, and it was very European. Lots of art and classical music. Her art studio was at home on our porch, it had a southern exposure, we called it the sun porch and I spent many hours there with her, living the life of an artist.

She taught me about painting in oils, acrylics, and watercolours. I learned to draw in pencil, charcoal, and pastels, and to stretch and prepare canvas. I was always helping her, and her artist friends load artwork into the car, then set up and break down exhibitions.

All this was set against the backdrop of my father＊s work at home as a composer and playwright. His piano and workspace was in the living room and as I grew up, he wrote the Tony award-winning musical 1776 in that room.

So, whenever I was at home there was this creative thing happening that spanned the whole house. My sister was an oboist who went on to play with the Boston Symphony Orchestra, and growing up we shared the unfinished attic space for our bedrooms, so she was always up there practising oboe and working furiously at her little desk with a sharp knife, making reeds for her instrument.

As hard as everyone always was working away, when I was a kid we never seemed to have any money and I was about eight years old before I realized that not everyone＊s family went to ※work§ like this at home.

SAH: We love that your artwork is unique and very captivating. What would you say is your primary source of inspiration? 

Well, thank you. So, I think inspiration requires motivation to have any impact, to drive the implementation. I have always been a very motivated person. Creatively my Inspiration is a moment-to-moment thing.

It＊s a very quick, bio-feedback loop process when I work. I try a lot of different ways to render a picture until something inspiring emerges, and I get a certain feeling. However, it＊s not throwing paint against the wall as they say.

I know what triggers my inspiration, I have a process that brings me there. This influences my choice of colors, composition, lighting, and subject, and I think provides continuity in my style. I think of it as a ※feedback loop§, a bio-feedback process; something that I have also studied in other management, but I use it as an artistic tool.

SAH: Describe your artwork in three words. 

Energized, Colourful, Accessible.

SAH: How has your style evolved?

Right now, I would describe my work as Postmodern-Eclectic-Pastiche influenced by various styles, genres, and cultural sources.
My style has evolved to consistently reflect the influences of Pop Art, Fauvism, Abstract Expressionism and Contemporary Realism.
I most often mix and blend several of these traditions into a single work, however lately since I usually create a series from each work, I have begun to use a different style or combination of styles for every work in the series.

As far as AI art is concerned, I developed proficiency using the AI program 3DThis and other apps and developed my style of 3D video art using my 2D pictures in short 3D video art pieces. In this style, I use multiple 2D pictures within a 3D diaspora, contrasting movements of background and foreground elements.

This style is markedly different than the better-known ※Diffusion§ AI style of video art especially since there isn＊t any AI art being generated; it＊s all from the human artist＊s input, and the only AI element is spatial placement and movement of the artist＊s artwork.

So far, I have not seen any other video artwork stylistically like mine.

SAH: Can you share more about your favourite piece and the story behind it?

Well, if it＊s OK I＊ll just share the favourite story behind a piece since I have several favourite pieces. I am an American living in Albania 每 during the Covid pandemic at one point the only destination country we were interested in that would allow Americans to enter was Albania.

We decided to go there, not knowing what to expect, but after an extended visit, my wife and I decided to spend a lot of time here.
At one point before we had our current residence in Vlore, I was staying in an old apartment during the summer of 2021, the hottest summer on record in Albania, with one hugely anaemic A/C located in a non-strategic corner. For some reason, I started taking photos inside the apartment.

One picture turned out to be an old beat-up set of candleholders lying on a wooden plank shelf. The unremarkable picture was stored in the cloud for a few months; and about that time, I was thinking about what my artistic philosophy was. I was trying to get a handle on choosing the subject matter. Originally my self-defined mandate was to create my art from travel photos, that＊s how I started, and I had adopted the name for it as ※Poster Arte§. I came up with the motto ※creating remarkable art from the unremarkable§.

And looking at the candleholder picture it was just that unremarkable 每 and I decided to try and make something remarkable from that photo as per my new motto. This was an important assignment in my work because it had the requirement that I bring a picture further afield than I had before, I had to stretch. And I did many iterations of those candleholders with lots of experimentation with ambitious learning curves.

The result a year later was my piece ※Cabaret§ which is an energetic abstract representation of three dancing girls in a Paris Cabaret. So that is one of my favourite pieces and the piece with my favourite story behind it. That＊s because it spans such an important period in my life and my artistic development.

SAH: What do you hope viewers take away from your art? Are there specific messages or emotions you aim to convey?

When I achieve the right ※look§ it not only looks right to me it ※feels§ right, on many levels. And I believe I have been successful when an audience can also ※feel§ something like what I did. I aim to transfer my emotions, thoughts, and mood to a viewer. When that happens I believe the work is unique and captivating. I think we＊re all wired similarly enough, or tuned into the world similarly enough that this can and does happen.

My description of the message I try to imbue into art is one of transcendence out of the moment. I try to attach an energized state to the picture, one that the viewer then receives. I am naturally a hopeful person, I believe in people＊s ability to rise above and overcome negative circumstances and if my art supplements this then the art is achieving its purpose. I＊m aware of the frivolity of this perspective considering the terrible situation many, many people find themselves in every day, where artwork may not make any difference. Yet in total all positive influences count.

SAH: How do you think growing up within a creative family and experiences has shaped your artwork?

There are two sides to this. On the one hand art, music and creativity are ※normalized§ when growing up in a family like mine.
My grandmother was a piano player for Eddie Cantor＊s stage show, her son my dad was a piano player with the most famous big bands, and then a Broadway author, my mom was an artist and a Broadway dancer, and her dad was an artist and NASA scientist, my older sister played Oboe with the Boston Symphony and other famous orchestras. So successfully being in the arts was completely normalized for me from the beginning, and I was trained in the arts.

However, besides actual hands-on art training with my mother, I don＊t think the rest had a lot of influence on my art. In retrospect, other aspects of my life seem to be more influential. And these aspects specifically were my deep involvement in athletics and later as a pilot in aviation. I began sports also at age seven, with football, wrestling, baseball and swimming. For about five years I worked hard in all these sports but was not a standout. It wasn＊t until I reached high school that I emerged as a star athlete, and again, looking back that was something separate from the ※family business§ of the arts.

It was something that belonged to me alone. It was athletics that moulded my resilience buoyant attitude and personality. The other influence was aviation. I took a flying lesson when I was in high school and entered flight school rather than a traditional college.

At age twenty-one I landed my first professional flying gig with a Cessna Sales Center and flight school nearby in Morristown NJ. I did all sorts of flying in general aviation 每 but the relevant piece is that going to work every day as a pilot in the busiest airspace in the USA taught me how to use my eyes. Flying at low levels in that airspace environment, with all kinds of varying visibility and air traffic affects the way a person uses their sight.

That never left me and it wasn＊t until I began using my eyes artistically that I realized how years the years of flying were influencing me artistically. It has a big overall effect, including how I choose composition, focus and clarity, colour, and distance. I have heard about other pilots who have had similar experiences.

SAH: Is there a particular artist, past or present, who has significantly influenced your work or style?

As a kid, I loved Frank Frazetta＊s art, he pioneered Fantasy Art, and did the illustrations for Edger Rice Burrough＊s Tarzan characters.
I＊ve been influenced by Wassily Kandinsky; at one point I decorated my whole house with his work.

I＊ve also been influenced by the Hudson River School of Art. I love the spatial balance of Roman frescoed art, and I love the colours in Ancient Egyptian art. Currently, Cooper Cox has caught my eye.

SAH: What are your plans or goals as a visual artist? Are there any upcoming projects that you＊re excited about?

Yes, I have upcoming exhibitions in New York and Barcelona with Artio Gallery curated by Bisa Bennett.

Here they are:

Interconnecting Lines
International Group Exhibition Artio Gallery One Art Space, 23 Warren Street New York, New York April 17 - 22, 2024.

Beyond Borders
International Exhibition Hosted by Artio Gallery at the European Museum of Modern Art in Barcelona, Spain. From June 28th to 30th, 2024.

Also, I am planning to enter the online auction space this summer and so I＊m preparing for that, revamping my social media sites, planning and doing research. And of course, I＊m creating new art all the time.

SAH: Lastly, what advice would you give to aspiring artists who admire your work and want to pursue a career in visual arts?

I think it＊s important to consider the difference between being an artist and pursuing a career in the visual arts; it＊s not necessarily the same thing. Some jobs in the visual arts might even hinder someone＊s opportunity to become a creator of art.

So, I would advise aspiring artists to examine the specific role in the art industry they want to participate in and plan a way to let that happen. Jumping into any job in the industry isn＊t always an avenue to becoming an artist. Also, a common belief is the idea that to be a legitimate artist you must make your money from art.

That is, in my view, a flawed concept, and it really hurts many artists who buy into it. There are good ways to make money, and there are good ways to make art. One thing＊s for sure, making art when you＊re struggling financially isn＊t a good way to do either.

More information about the artists:

Nandan＊s work explores cognitive dissonance through multi-disciplinary installations, using mediums like cardboard, animation, and VR video. Her art has graced spaces like Performance Space 122, New York; Institute of Contemporary Art, Baltimore; and has been featured in Artforum, China Daily Global, and Artsy.

Join us as we delve into her creative process and understand the inspirations behind her unique installations. Stay tuned for an exciting discussion!

SAH: Can you begin by giving us an insight into your journey as a visual artist?
How did you discover your passion for art?

NH: My journey as a visual artist is first rooted in my academic background. I pursued both my degrees at the Maryland Institute College of Art (MICA), where I immersed myself in a rich and nurturing artistic environment.

MICA played a pivotal role in shaping my artistic sensibilities, allowing me to cultivate my craft and explore diverse mediums and concepts. Influences from various sources have fueled my passion for art. These influences span movies, literature, and conversations with others.

My art reflects the idea that inspiration can be drawn from the most ordinary of experiences. I've always been drawn to the unbounded nature of art, embracing the idea that there are no limitations to creativity.

SAH: Which three words would you use to describe your art?

NH: I would choose: vulnerable, intimate, and conflict.

SAH: Are there any specific themes or concepts that are central to your work?

NH: My works are essentially centred around my own perception of the world. In fact, I＊m not very good at describing my work. I used to try to use some humorous ways to describe profound and serious things in my works, but after getting along with myself for a long time, I always feel that it is a bit pretending, I am not a serious person.

There is no absolute right or wrong.

Perspectives and positions are so different. I don't want my feelings towards the world to be framed by some invisible boundaries that mean nothing to me. I don＊t want to endow some easy content with too much meaning that already has predetermined values.

Sometimes creation is just a momentary ※puff§.

If you expand it, you can convey to them a lot about culture. Conflict, social structure, class, identity, but I really don＊t want to say too much. I want to walk the viewers into my reminiscent formula, which confronts social and personal predetermined values and ethical dilemmas beyond our rational behavior. Then, I suddenly realized , "I really like this inner me who doesn＊t know anything at all, and this kind of unknown keeps me curious.

SAH: Your work is described as multidisciplinary installations that explore cognitive dissonance.
Can you elaborate on why this theme resonates with you and how it influences your work?

NH: The theme of cognitive dissonance holds a profound resonance for me as an artist. It allows me to delve into the innate conflicts and contradictions within the human experience. This theme becomes a driving force behind my installations, infusing them with tension and introspection.

Cognitive dissonance serves as a lens through which I explore the complexities of the human psyche. By presenting conflicting elements within my art, I aim to provoke thought and encourage viewers to confront the contradictions within themselves and society. It's a powerful means of sparking dialogue and self-reflection, aligning with my vision of art as a catalyst for introspection and societal examination.

SAH: Who or what are your biggest influences in your work?

NH: I got inspiration from many things like movies, readings, and conversations with others, everything in life makes me think, and so on and so forth, I want to admit my ignorance. I really like the screenwriter Charlie Kaufman.

He once mentioned in one of his talks that ※art should offer an opportunity to recognize our common humanity and vulnerability. So rather than pretending I＊m an expert, I＊m just telling you I don＊t know anything.§

I used to try to find a glorious purpose/meaning of my work, but then I realized they are not so great. I was just trying to find little exciting things that infiltrated my life that sometimes might be missed by others because of the rapidly inflated development of everything within time and space.

SAH: You utilize materials such as cardboard, animation, and VR video in your installations.
How do you decide which medium will best convey your intended message in each piece?

NH: It depends on the specific needs of each work and the message I intend to convey. Materials like cardboard, animation, and VR video offer unique opportunities for storytelling and engagement, and I carefully select them based on their capacity to enhance the viewer's experience and understanding of the artwork.

Cardboard, for instance, can evoke a sense of fragility and impermanence, while animation and VR video provide immersive narratives that draw viewers deeper into the art. I consider how each medium can best serve the intended message, ultimately selecting the one that aligns most closely with the narrative and emotional impact I aim to achieve.

SAH: Your works create intimate spaces that are described as "false self-preservation solutions with sanitized and romanticized armor." Could you explain more about this idea and how it connects with your overall artistic vision?

NH: I＊m so glad you asked me this question. The concept of "false self-preservation solutions with sanitized and romanticized armor" serves as a central theme in my art, encapsulating my broader artistic vision.

My installations are designed to create intimate spaces where the audience can interact. I am obsessed with putting people into everything. It＊s about covering up. There＊s a very vulgar answer, and yes, that＊s how you feel safer and more secure.

It＊s quite ridiculous to say that one day I dreamed that there were more and more people on the earth, and then it became too heavy, and then the earth began to sink. Finally, it began to shrink inward and sank to the bottom of the sea. Then the sphere of the earth was surrounded by a layer of water much higher than the sea level.

After I woke up, I started to worry, and then it seemed as if a bottomless hole had grown inside my body, which just couldn't be filled. I don't know why, although I thought it was quite romantic to have a hole in my body. But this act of putting people into the box seems to have trapped the hole from the outside to some extent. I like to use the conflict of sizes to create a visual illusion.

Maybe this is not a ※delusion§ of vision. The delusion is that we don't often observe the world from such an angle. For me, this is a question of self-opening, acceptance, closure and reconciliation with one＆s inner ideology. From a certain perspective, putting people "physically" in also brings out "spiritually".Like a mobius ring, after traveling for a long time, you finally return to the starting point.

From a three-dimensional perspective, you appear to be motionless, but with the addition of a four-dimensional timeline, the thickness of your life is widespread. The greater the mass, the slower time passes around the place, equally the smaller the mass, the faster time passes. When you enter the miniature world in the form and perspective of a giant, it feels like you are experiencing high-speed slow motion.

Then you will find that things that seem big can sometimes be very small, and things that seem small can also emit unimaginably huge energy. This is not only a difference in senses, but at a certain moment your heart opens up and can hold many, many things, and then you are very full, but this fullness also feels very light, like a balloon. It is full of air but also invisibly empty.

This process from big to small, from full to empty, from something to nothing is very important to me. It is like taking a lot of effort to make something seem effortless.

SAH: How do you move from the initial idea to the final piece of art?

NH: Transitioning from the initial idea to the final artwork is a deeply personal and introspective journey. 

I don't know if this is the right way to say it. It may be wonderful to infinitely expand some trivial things in life into works, but living in it can be extremely chaotic in a nihilistic way. For example, there is an animation called Anomalisa. The plot could not be simpler, but through this animation, you can really feel a deep sense of despair.

The force is like fingernails scratching the itch deep under your skin bit by bit, but not to the point. It forces you to face the invisible fears in life. I believe everyone has experienced this kind of moment, empathizing with a bunch of chores all the time and it shouldn＊t be too difficult. But together, they become anxious and depressed.

When you crush up the delicate and sensitive emotions in your life, whether positive or negative, and unfold them for everyone to see, it touches on the main theme of creation. For me, creation is a process of accepting the complete self. Every aspect of you is the real you.

People are originally shaped by the environment, and the so-called inspiration is just some of the things you experience that change some of your views, you may change your thoughts every moment to show different opinions, output and works.

From life experience to work is like the moment you press the button of the camera, and the work is like that photo. Of course I am happy to share it with people who understand you, but I don＊t need to take out this framed scenery to prove that I have seen such a scenery before, and It＊s worth it just to experience them.

SAH: Could you share with us about your current work or any upcoming projects? What can we expect to see from you in the near future?

NH: At present, I am primarily focused on animation and mixed-media interactive installations. And have three upcoming shows in Brazil, London and inside the US. I remain open to embracing new mediums as I seek to share my vision with audiences in the near future.

SAH: What advice would you give to someone who is just starting out in the field of visual art?

NH: To those embarking on their journey in the field of visual art, ※Be honest with yourself.§ It takes a long time to explore the world before becoming an artist. It is a lifelong endeavour that demands self-reflection, patience, and the courage to challenge preconceived notions.

Embrace your unique perspective, don't rush the creative process, instead, allow your art to evolve alongside your personal growth and understanding. Art is a journey of self-discovery and expression that unfolds over time, so cherish every moment of it.

More information

With digital technology, it's become easier than ever for artists to reach new audiences and monetize their creations. From creating limited-edition prints or custom orders to launching an online shop or even streaming video tutorials, there are many different ways that you can use digital copies of your artwork to make money.

In this post, we'll be exploring different ideas that will provide insight into how you can start generating additional income from your talent by utilising digital copies of your artwork.

Selling digital or physical artwork

Whether you work with a traditional medium like paint and canvas or prefer to create your artwork digitally, one of the biggest challenges for any artist is finding a way to monetize your work. Thankfully, the rise of the internet and digital media has opened up a whole new world of possibilities for both established and up-and-coming artists alike.

Selling digital copies of your artwork can be an incredibly lucrative way to make money from your creations, and with the right strategy and approach, you could turn your passion into a thriving business. Of course, physical artwork still has its place in the art world, and if you're looking to sell original pieces, there are plenty of avenues to explore there as well.

The key is to understand your target audience, identify your unique selling points, and craft a compelling marketing campaign that showcases your work in the best possible light.

Is selling digital art products profitable?

One question many artists have is whether selling digital art products is worth their time and effort.
The short answer is yes, digital art products can be very profitable. With a huge selection of online marketplaces and digital delivery systems, we have access to customers around the world.

Plus, creating digital copies of your art allows you to sell it multiple times without the need for expensive printing or shipping costs. Best of all, the upfront costs of creating digital art products are relatively low, making it an accessible option for artists just starting out or looking to supplement their income. With a bit of marketing know-how and determination, selling digital art products could be a lucrative way to monetize your artistic skills.

Popular Digital Products You Can Sell

You can create digital products that showcase your artwork, educate others, or help others with their art.

Creating digital copies of your work can open up a whole new world of possibilities for making money.
Here are some options you can explore to get started:

• Art prints

• Printables like calendars, journals, and planners

• Online art courses

• Phone cases

• Laptop skins

• Stickers

• Magnets

• Temporary tattoos featuring your designs

• e-books for artists looking to share their knowledge

• A simple, step-by-step ※How to guide§

If you excel in digital art, selling digital brushes or graphic design assets can be a lucrative avenue. The possibilities are truly endless, and with the right marketing and drive, artists can turn their digital creations into a profitable source of income.

Defining Your Niche And Marketing Strategy

You don't just want to sell your digital copies to anyone who comes across them. You want to attract customers who appreciate your unique style and subject matter. This is why it's important to define your niche and develop a marketing strategy that speaks to that specific audience.

Defining your niche and marketing strategy is crucial when it comes to making money from digital copies of your art.

Knowing your audience and what they like is the key to success.

Are you creating vibrant and colourful landscapes or abstract designs with bold contrasts?

Take the time to understand what makes your art unique and who would be interested in purchasing it. Once you have identified your niche, you can start building your marketing strategy around it. Social media platforms like Instagram and Facebook are great for reaching a wider audience and showcasing your work. Consider offering limited edition prints or custom commissions to generate more revenue. Remember, it's all about finding the right balance between creativity and business strategy.

Test Your Idea

Before you invest too much time and energy into creating your digital product, it's important to test out your idea to see if it's viable. One of the best ways to do this is to conduct surveys and gather data from potential customers. Use your social media accounts, mailing list, online forums or groups to find out what your target audience is looking for in a digital art product. Identify if your idea matches up with their needs and wants.

If you want to go the extra mile, you can create a beta version of your product and test it out with a select group of people. This will provide you with feedback and an opportunity to make necessary tweaks before launching it to a wider audience. By taking the time to test your product idea, you can increase your chances of success and make sure that you're creating something that people will want to buy and use.

Create Your Digital Product

Now that you＊ve completed your research and tested your idea with members of your target audience, you can start to define your offer.

• Will you offer individual pieces or collections?

• Will you create an e-book, or is your audience asking you for step-by-step instructions on mixing oil paint?

• How are you going to package your knowledge or product?

Once you have a clear plan, it＊s time to start creating. This might involve scanning your physical art, digitizing sketches, or creating entirely new pieces on the computer.

Either way, ensure your final product is high-quality, visually appealing and packaged into an easily downloadable PDF file ready to be sold.

Where To Sell Your Digital Products

Once you've completed your digital art, you can package it into easily downloadable files and sell them through your website, social media channels, or online marketplaces. There are many platforms available to sell your digital products.

One popular option is Etsy, which allows artists to sell their digital prints as downloadable files. Another platform is Redbubble, which not only sells digital prints but also offers the option of selling physical merchandise such as phone cases and apparel. Other options include Society6 and Creative Market, which both cater to a variety of digital products and offer great exposure to artists.

Your Own Website

I believe, the best place to sell your work is through our own website.

• If you sell through your own website you keep 100% of the sale.

• No algorithm changes that keep your customers away.

• You own the site so nobody can take that away from you.

• You can present your work exactly how you want to, you are in total control.

If you don＊t have your own website to sell your products, I would strongly recommend you set one up. A quick, affordable and easy platform to get started is Podia.

is an affordable, all-in-one place to sell your digital products, teach aspiring artists your techniques, host drawing workshops, and so much more. With Podia, you can run your entire art business from one easy-to-use dashboard without breaking the bank.

Over the last few months, I＊ve supported a number of artists in setting up and fine-tuning their Podia website and shop and I was truly impressed by the value for money and support system they have received. In addition, Podia offers a straightforward and super user-friendly interface that allows you to upload your digital products and sell them directly to buyers.

You can get started and create a full website on their !

How amazing is that?!

So, if you're ready to turn your digital art into profit, podia.com might be the perfect solution for you.

With a little hard work and creativity, you can turn your digital art into a profitable business.

Benefits of Selling Digital Products

One of the biggest benefits of selling digital copies of your artwork is the ability to reach a wider audience.

Selling digital copies of your artwork, or digital downloads can be a game-changer for your career as an artist. Not only does it allow you to reach a wider audience, but it can also serve as a passive income stream, generating revenue even while you sleep.

In addition, it eliminates the need for shipping and handling, making it a greener and more convenient option for buyers. Digital copies also enable buyers to customize the size and format of the piece to fit their specific needs, adding another level of accessibility to your work. So, if you haven't already, consider selling digital copies of your art to take advantage of these benefits and take your art career to new heights.

Selling digital products is a great way to get yourself out there and start making money from your art. Not only is this an efficient form of income that does not require physical materials, but it also can bring in more profit than other sales methods. It also, helps your reach a new audience who might end up buying an original of yours in the future.

Another great point is that you can create multiple products with just one design! From artwork to patterns, you have plenty of options when it comes to selling digital copies of your art. And if you are feeling overwhelmed by the idea 每 don＊t worry. There are lots of helpful resources available to make this process easy. As mentioned with platforms like you can set up shop today and start making money from your work quicker than you think.

So why wait?

Try out a today and see what the wonderful world of digital art has to offer you!

Establishing your own art business isn＊t as scary as it may seem 每 develop your online store, promote via marketing tools, and generate a passive income while you＊re at it.

With a keen eye for detail and a mastery of technique, Badham has created a diverse portfolio of works, ranging from portraits to landscapes, and everything in between.

His unique perspective and creative flair have earned him numerous accolades and recognition, including being shortlisted for the prestigious Royal Academy of Arts Summer Exhibition. In this interview, we delve deeper into the creative process and inspirations of this eminent artist.

SAH: Glenn, could you begin by giving us an insight into your journey as a visual artist?
How did you discover your passion for art?

GB: I have had a passion for art for as long as I can remember. My Father trained as a draughtsperson when young, so I think I inherited his point media skills. Paint has proved harder to tackle, but the discoveries made, and the joy of working with colour, made it irresistible.

I saw `Supper at Emmaus` by Caravaggio on a school trip to the National Gallery, and my fate was sealed. I just had to paint. Since Graduation, a residency in Italy, and the various galleries that represent me have granted me the pleasure of meeting some great painters over the years, who have inspired me further. It＊s a simple case that, I can＊t not produce my artworks.

SAH: How would you describe your artistic practice? Are there any specific themes or concepts that are central to your work?

GB: I have always been drawn to the figure, often in theatrical spaces with cinematic light qualities. Studying film studies and inhabiting dance halls has shaped the movement, light and environment my figures frequent.

I am also very interested in our rituals, rights and history, having painted works from the ancient events held in Britain.
The Abbots Bromley Horn Dance, The Hallaton Barrel Kicking, May Day at Oxford.

Since Lockdown, our place in the world has been finding its way into my artwork. The interface where man and nature meet or clash has become prevalent.

SAH: Your work appears to strongly connect to urban environments and architecture.
Could you tell us more about how these elements inspire and influence your work?

GB: The urban environment in my work has increased of late. Our imprint on the landscape and evolving expansion create a permanent fringe where nature yields to our development and vice versa.

During lockdown, through daily walks and sketching my rural environment, I began to document some of this attrition and metamorphosis. Our dependence upon and management of the environment has shaped so much of what we see about us and our environment becomes a work in progress.

SAH: You utilise a variety of mediums in your art, including drawing and painting. How do you decide which medium is best suited to a particular project or concept?

GB: I adore colour and am still trying to master it. My interiors and figures are mostly painted as the cinematic qualities of glorious technicolour are emblazoned on my mind＊s eye, and I appreciate that enduring power.

Also, the experience of studying dancers means fabric and after-image are everywhere, and potency is lost in Black and white. Often a subject screams monochrome due to its intense contrast, but I feel it also adds weight and poignancy to the right subject.

SAH: Could you give us an insight into your creative process? How do you move from the initial idea to the final piece of art?

GB: My process, I assume, is similar to many other artists. I see something and the mind＊s eye instantly knows that is `right`. Then the hard part starts when you reach the studio and are confronted by a blank canvas.

Often I let the groundwork and underpainting suggest and shape the idea. Subsequent layers of paint or pencil then fill in the blanks, and I try to resolve the artwork with the initial concept held in mind.

SAH:  How has your artistic practice evolved throughout your career? Are there any specific experiences or influences that have significantly impacted your work?

GB: I spent 4 months working with an Italian artist `Cesare Sartori` in 2006. This had a huge impact on my studio practice.
A prolific artist and ceramicist, he let me work in his studio and encouraged me to be more abstract and unafraid than I had ever been with my artwork.

As a Competitive Ballroom Dancer since childhood, I have had access to fabulous environments, like living Sickert paintings on tap. This has moulded my figure painting but the lockdown daily walks and my rural studio space have thrown open the doors to landscape, the vista and man＊s impact, good or bad on this tapestry of life.

SAH: What challenges have you faced in your art career, and how have you navigated them?

GB: The major challenge, as an artist, is funding the passion. In a society that, at large, doesn＊t value the Arts, it is always a choice between commerciality or creating what you really want to paint. My first studio was a garage so was freezing in Winter, but now I have a much better private studio space with fabulous views and that seems like a distant memory.

I try to balance commissions and more commercial pieces with the imagery that moves me, irrespective if it sells or not.
I often thought I wouldn＊t have a chance in open submission exhibitions without a big Art School background behind me, but this hasn＊t proved to be the case. I have made a few notable breakthroughs and keep producing my drawings and paintings and shall always do so.

SAH: Could you share with us about your current work or any upcoming projects? What can we expect to see from Glenn Badham in the near future?

GB: I am currently working on sunsets and water. Turneresque evening-scapes where I can play with colour, glazes, scale and texture. I am also hoping to be in the British Art Fair at Saatchi this November. I am just awaiting confirmation from my Dealer.

SAH: What do you hope viewers take away from your art? Are there specific messages or emotions you aim to convey?

GB: I hope viewers of my work will walk away from my work with an after burn on the retina and a question on their lips!
I try to use a synthetic palette, heightening the colour to move people into a more joyous place, removed from our so often grey North European light. I also try to use symbols and messages in my works that viewers may interpret, discuss or ponder.

SAH:  Finally, what advice would you give to aspiring artists who are interested in pursuing a career in contemporary art?

GB: If starting out, I would certainly try to surround myself with a good support network. A group studio or collective, where information can be shared and ideas bounced off each other. Present yourself well, too.

Be individual but sharp in your approach to people. I believe you should leave an impression as much as your artwork does. A reticent, studio-based artist＊s day is done, I think. We are more on show than ever, so design yourself as you would your artwork.

More information:

Artist on SAH

Artist website:

Instagram:

She takes inspiration from the Bay Area figurative artists in exploring the extraordinary in the ordinary. Her focus on the connection with the landscape and the importance of preserving it is impeccably showcased in her works.

We are thrilled to gain an insight into the mind and motivations of such a talented artist and are excited to share her story with you.

SAH: As an artist who has trained in both the USA and the UK, could you describe how your experiences have influenced your artistic style and techniques?

KWE: My art training in both countries was very different. 

I was just 16 when I started art college in the UK, where the focus was on experimentation and learning how to think. 
Those years were formative and expansive and I produced work that I＊m still proud of.  But in hindsight, it felt like a sink-or-swim environment and at times the criticism could be tough.

I was 20 when I arrived in the USA and I resumed my fine art studies at LSU and was introduced to work by American artists.  Louisiana, in the Deep South, is light and hot and the sky is an intensely deep blue.  It was so far from everything I had ever known.  The art, the sunshine, the culture, the positive way people interacted, and the cultural vibrance, all left a lasting impression and shaped who I became. 

In the USA, I felt I could shed my insecurities and be whoever I wanted; although I missed home, being far away was liberating.  My work from that time was about the push and pull of those two worlds, and sometimes, the pain of young adulthood. 

At LSU, I was encouraged to paint large and make bold, expressive marks.  I worked in oil paint, mixed media and collage and painted without overthinking or analysing.

I felt nurtured and cared for by the professors, who taught the craft of painting and drawing.  I was inspired by my fellow art students and class critiques were positive and supportive. Those vibrant times and people and places still shape my pallet today, although I realise now that learning to make art doesn＊t stop when you graduate 每 it is very much a lifelong endeavour.

SAH: Your connection to the landscape highlights your interest in environmental conservation. How does this influence your art, and how do you hope to inspire others to protect the environment through your work?

KWE: I＊m in awe of the natural world and try to communicate this through my work; it＊s a call to look with new eyes at what＊s around us.  I paint the plants and animals that belong and are native because these can be overlooked as ordinary and taken for granted, or annihilated as vermin, weeds or pests.  I try to invite love for all life in my paintings, and appreciation for the interconnectedness of all life.  This is one of my creative impulses.

At my home, I＊m working on a garden where wildlife coexists with artwork, earth forms and the growing of organic food.
It is a labour of love and a learning journey, drawing on practices from permaculture, yard art and land art; creativity at its most elemental.  This feeds back into my paintings, and in this way, I add my voice and visual language to the conversation about the environment, to be part of collective change.

SAH: Frida Kahlo is one of your influential artists. How has her influence manifested in your art, and what aspects of her work resonate with you the most?

KWE: Frida Kahlo communicated the experiences of her life accessibly and honestly, without censorship or judgement 每 it＊s all there 每 the agony and the ecstasy, as she lived it, in total self-acceptance.  I find this humbling, moving and inspiring, and identify with her yearning for home when she was in the USA.

My creative impulse is also to communicate my experiences; the feelings, stories, memories, lessons and meanings held in particular places, people and objects and I sometimes use the creative act to transmute pain into something hopeful.

SAH: You've expressed a fascination with art as prayer, can you expand on this idea and how it relates to your artwork?

When I was in my twenties, I encountered Buddhist monks patiently producing devotional art in Tibet, and I was deeply affected by these encounters.  Prayer and meditation are now part of my life, and I try to adopt this calm mindset when I paint.

It is about quietly and patiently exploring ways to visually express gratitude for life, acceptance of all things, and the interconnectedness of all things. It means I feel at peace with the outcome, both visually, and in terms of a painting＊s reception with others.

SAH: Do you remember the earliest memory of when you wanted to do what you do today?

KWE: I always loved to draw and paint as a child, and have very early memories of my drawings.  My younger self was not commercially minded and I didn＊t think ahead to how I would earn a living as an adult, even during my art studies. 

I＊m taking steps now to become a self-supporting artist, but pending this happening, I＊m grateful for the portfolio career I currently enjoy.  I＊ve been able to reduce my ※day job§ hours to fit in more painting over the last few years.

SAH: How do you go about transforming an idea into a painting?

KWE: My paintings emerge from sketches of what has been going on in my life, my family and friends, my favourite places I return to over and over, and the plants and animals I observe in my garden and on my daily walks, as I take in the changing seasons.  Sometimes, an image changes a lot once I get into it and it becomes about something I wasn＊t expecting.

SAH: What advice would you give somebody who has just started their artistic career?

KWE: I＊ll share my advice to myself, although I＊m still experimenting and haven＊t worked out all the answers yet.

• Be kind to yourself, be true to yourself, and keep going when what you are doing lights up your life. 

• Love the process in the studio and out - the people you encounter, the other artists, the events, the workshops, the books, the exhibitions 每 they are all part of it.

• Creativity is a gift that ebbs and flows.  Go with the flow.

• Selling matters, so invest time and energy in it.  Build relationships with people who love your work, or who may grow to love it as you evolve.

• Ask advice from people you respect.  There are so many people out there who want to help you, and be generous in sharing what you know, and who you know, to help others.

SAH: What＊s the best way for someone to check out your work and provide support?

Currently, you can see my work at:

• The virtual § exhibition held by 囂翌伎①え

• on my website at

• in real life in my studio at Bucks Art Weeks 每 see details at

I sell original paintings and am starting to produce limited-edition prints and cards.  I love learning from other artists and am always keen to share resources and ideas, so please reach out if that is something you are interested in too.

More information:

Artist on SAH

Artist website:

Instagram:

Juyi's impressive educational background includes a Bachelor's degree in Painting from Xiamen University and an MFA from Maryland Institute College of Art with a focus on new media art, critical theory and cinema study. He has received numerous awards and grants, including United States Artists, the New York Foundation for the Arts, the New York City Department of Cultural Affairs, the Foundation for Contemporary Arts, the Queens Council on the Arts, the Artists' Fellowship, and the NARS Foundation.

Juyi Mao is actively shaping the art world with his mixed media installations, which transcend traditional artistic boundaries and connect directly with the audience. His work has been featured in publications such as Modern Weekly, reflecting his influential presence in the contemporary art world.

?Join us in this insightful interview, as we dive deeper into Juyi's creative process, inspirations, and perspectives on the intersection of art and technology.

SAH: How do you think technology has affected the way people view and interact with art, particularly in regard to video and performance art?

JM: The development of new technologies has enabled artists to push the boundaries, including 3D rendering, virtual reality, interactive installation, and real-time visualization. It allowed artists to create innovative and groundbreaking works.

Recently, I watched Refik Anadol's work at the MoMA. The artist uses artificial intelligence to turn thousands of works from the museum＊s collection into a 3D animation. I think AI has opened up new possibilities in artistic expression, with generative art and machine learning algorithms creating unique and unexpected pieces.

For audiences, this can lead to a deeper exploration of the relationship between human creativity and machine-generated art, sparking discussions around the nature of art itself.

SAH: Can you walk us through your creative process when it comes to developing a new project, from concept to execution?

JM: The creative process often begins with a concept or an idea. This can come from my observations, personal experiences, or a conversation with friends. Once the initial idea is formed, I conduct research to deepen my understanding of the subject matter. This could include studying relevant theories and historical context.
This research phase often leads to the discovery of new ideas or angles that can be incorporated into the project. 

After gathering enough information, I start brainstorming, and I usually make notes, drawings, or storyboards to help visualize and organize thoughts. When the concept has been fleshed out, I create a narrative or structure to guide my project. This can be a linear storyline or a non-linear, multi-layered narrative arc.

I also develop a script, shot list, or outline of key scenes and visual elements. With a solid understanding of the project's direction, I select the appropriate equipment, software, or shooting techniques. This could involve deciding on the type of camera, lenses, lighting, or post-production tools needed to achieve the desired aesthetic.

During the production phase, I bring my concept to life by capturing the necessary footage or creating the visual elements of their project, such as shooting on location, visual design, and sound recording. After the production is complete, I edit and refine the captured footage or visual elements. This process entails selecting the best takes, assembling a coherent narrative, adding visual effects, colour grading, and sound design.

SAH: Your work often mixes different mediums and styles. How do you decide which approach will best convey your intended message or theme?

JM: The choice of medium and style can greatly influence the emotions and atmospheres.

The differences in the visual qualities can create distinct experiences for the audience. For example, Super 8 is an analogue film format known for its distinct grainy texture, colour rendition, and sometimes unpredictable visual artefacts.

This medium can evoke a sense of nostalgia, as the footage often appears reminiscent of home movies or vintage cinema. The inherent imperfections and warm tones of Super 8 films can create an intimate, dreamy, or even melancholic atmosphere. A Super 8 film is often used by filmmakers to convey a sense of memory, the passage of time, or to establish a specific period aesthetic.

Digital high-resolution video offers a sharp, clean, and precise image quality that can communicate a sense of clarity and realism. The crisp details and vibrant colours captured by modern digital cameras can create a more immersive experience for viewers, allowing them to feel more connected to the subject matter. I may choose a digital high-resolution style when I want to create a sense of immediacy, highlight intricate details, or showcase stunning visual effects.

SAH: Many of your works touch on themes like identity, cultural norms, and societal critique. How do you ensure that your message is effectively conveyed through your art?

JM: My art serves as a vessel for communicating complex themes such as cultural norms, and societal critique.
Ensuring the effective conveyance of my message involves a deep understanding of the subject matter, careful crafting of the narrative, and a thoughtful selection of mediums and styles.

I aim to make each piece layered and nuanced, inviting viewers to engage, interpret, and derive their own meaning. Ultimately, art is a dialogue, and I believe it can stimulate thought and discussion among the audience.

SAH: How do you balance the need to express yourself creatively with the desire to create work that is accessible and relatable to a wider audience?

JM: Striking a balance between personal creative expression and audience accessibility is indeed a nuanced process.
I believe it starts with authenticity - staying true to my vision and artistic voice.

Yet, I also consider my audience, ensuring that my works can resonate on a broader scale. This doesn't mean diluting the complexity of the themes but rather presenting them in a way that can invite engagement from different perspectives.
I often use narratives, or emotions to connect with the audience and encourage them to engage with the artwork's deeper layers.

SAH: Your work often appears to have a strong element of social commentary. How do you see your role as an artist in the larger context of society and culture?

JM: As an artist, I view my role as a mirror and a catalyst. My art reflects societal and cultural issues, providing a space for viewers to confront these realities.

At the same time, I hope to provoke thought, stimulate dialogue, and encourage viewers to question their preconceived notions. I may have the opportunity to challenge norms, and push boundaries. I strive to contribute to this through my work.

SAH: How do you see the future of video and performance art evolving, both in terms of creative innovation and potential audience engagement?

JM: Future video and performance art may increasingly incorporate interactive elements, allowing audiences to become active participants in the artwork. For example, artists can set up sensors, motion tracking, or audience input to influence the outcome or direction of a performance or video piece, creating a more personalized and engaging experience.

Artists can also create immersive and multisensory experiences that engage all of the audience's senses.
This could involve using advanced technologies like haptic feedback, spatial audio, or scent diffusion to create a more holistic artistic experience. We can expect more cross-disciplinary collaborations as artists from various fields work together to create innovative, hybrid art forms.

As global awareness of social and environmental issues grows, artists may increasingly use video and performance art as a platform for addressing these concerns. The internet and social media platforms have made it easier for artists to share their work with a wider audience. It could raise awareness about climate change, social justice, or other pressing issues, with the aim of inspiring action and promoting positive change.

SAH: Can you share with us some of your upcoming projects or exhibitions that you are most excited about?

JM: This month, I will be showcasing my work in two screenings taking place in Beijing and Shanghai.

These events present an excellent opportunity to share one of my recent experimental films with a broader audience in China. I'm excited to participate in a residency program this upcoming summer. The residency will provide me with a dedicated space and time to focus on my creative practice, away from the distractions of everyday life.
I plan to use this opportunity to develop new projects.

SAH: What would be your advice to emerging artists who are looking to explore similar themes in their own work?

JM: Be open to trying out various mediums and styles to find the ones that best convey your message and artistic vision. Experimentation will allow you to discover new techniques and approaches that can elevate your work and make it more engaging. Developing your unique artistic practice and finding your own voice takes time and dedication. Be patient and persistent in your efforts, don't listen to praise and don't be discouraged by setbacks or criticism.
Learn from your experiences and continue to refine your work.

More information:

Website:

Having worked with fashion icons like Tory Burch and Kate Spade, Ruchita has become a force to reckon with, making waves with her impeccable skills and creativity. Her innovative approach to jewellery design has earned her several accolades, including Honorable Mentions at the International Design Awards (IDA) in both 2021 and 2022, in the professional category of product design.

? In this exclusive interview, Ruchita takes us on a journey through her early beginnings as a jewellery designer and her creative inspirations. Prepare to be inspired and captivated.

SAH: Can you tell us about your journey as a jewellery designer and artist? What inspired you to pursue this career and how did you get started in the industry?

RN: My late aunt, whom I was very close to, was a jewellery enthusiast. I have spent my formative years being captivated by the jewellery she collected. And when I was pursuing my undergraduate degree in fibres and textiles processing technology (heavily based on advanced chemistry), I always found a way to include design and creativity into my projects.

So, soon after graduation, I decided to seriously explore the idea of doing what I have always wanted to do. Become a creative professional in the jewellery industry. India, as many know, is the hub of gemstone manufacturing, and hence, I had easy access to many innovative jewellery exhibitions that I was eager to be a part of.

But the showcased jewellery was made by industry experts, and to be involved with them on the same platform, my artistic skills needed to be trained on a professional level. Owing to my undying fervour, I began studying and designing jewellery and manufacturing the pieces on a smaller scale, creating a portfolio and applying to universities for postgraduate studies in jewellery that might help me expand my understanding of jewellery.

SAH: As a graduate of the Savannah College of Art and Design, how has your education influenced your artistic style and approach to designing jewellery?

RN: The MFA quarter breakdown was intense, and the rigorous assignments were a much-needed exercise for the untrained metalsmith in me. As I advanced in my graduate studies, I noticed a considerable improvement in my jewellery-making skills. My next project was always more finished and refined than the previous one.

One of the other reasons that I had chosen SCAD was its admirable networking and exposure opportunities.
I don＊t remember a dull moment throughout my graduate studies. There was always an ongoing event you could benefit from, be it a museum exhibition, a gallery show, or an art competition.

Observing so many artistic journeys and artworks helped me grow as an artist. Studying art with like-minded individuals who had similar aspirations in the field of art and jewellery, aided me in my personal and professional growth.
As I was working towards my MFA thesis review, I kept on discovering more of my artistic identity. My initial thesis artworks took me on a self-reflective voyage, where I disclosed the concept that I wanted to narrate with the help of contemporary art jewellery.

SAH: Your work seems to fall into both commercial and conceptual aspects of jewellery making.
How do you balance the creative aspect with the market demands of the industry?

RN: I＊d be lying if I say that I don＊t struggle at all locating a balance between these two aspects of jewellery. The two aesthetics are often found waging war with one another. One thing I noticed that helps me a lot is always knowing your audience and what they expect from you out of a particular project.

Working with companies like Kate Spade New York and Tory Burch LLC., the line separating the commercial jewellery market from the art has become very clear. Commercial jewellery is expected to be traditionally beautiful; the focus is always on its material and aesthetic value as well as form and function.

Contemporary art jewellery, on the other hand, is always looking to push the boundaries of beauty. It will still be visually striking, but in a way that it is challenging its viewer or wearer, far from conventional. Even when I am juggling between the projects of these two different fields, being constantly conscious of the end goals is a requisite.

SAH: You were born and raised in Mumbai, India and then travelled to the United States for your education. How have both cultures influenced your design aesthetic and personal style?

RN: Growing up in Mumbai, I was exposed to a vibrant and diverse cultural landscape, with influences from Indian, British, and other South Asian cultures. This cultural richness influenced my sense of style and more importantly, my jewellery design aesthetic. Indian jewellery is known for its intricate designs and use of precious gemstones and metals, such as gold and silver.

The traditional jewellery designs in India are often inspired by nature and feature floral and animal motifs. This heritage influenced my design aesthetic and planted in me an appreciation for the beauty and intricacy of traditional jewellery.
On the other hand, studying in the United States exposed me to a different aesthetic and cultural landscape.

American fashion tends to be more minimalistic and focused on functionality, with simple and streamlined designs.
This encouraged me to incorporate more modern and minimalist elements into my jewellery designs. Overall, I think my jewellery design aesthetic and personal style are a result of this unique blend my Indian heritage and my exposure to American culture.

.

SAH: Can you walk us through your design process? How do you come up with ideas for new pieces and what steps do you take to bring them to life?

RN: It always begins with gathering inspiration and conducting research. The focal point of the research isn＊t always jewellery, sometimes, it is more about enhancing my knowledge of a particular technique or a material. Based on the inspiration and research, I begin sketching rough ideas and concepts.

This stage allows me to explore different shapes, forms, and compositions for my jewellery pieces. Sketching helps to visualize the design and allows for modifications and refinements before moving to the next stage, which is design refinement. This can involve creating more detailed drawings, adding measurements, and considering technical aspects such as structural integrity, wearability, and functionality.

Once the design concept is solidified, then come the material selections and elements that align with the design aesthetic and budget considerations. When it comes to commercial jewellery, I just may add a few more steps depending on the complexity of the design like technical drawings or CADs, prototyping, quality controls, and presentation and marketing.

SAH: Can you share your favourite moments in your career so far?

RN: Some of the pieces that I designed or worked on with the team during my employment with Tory Burch and Kate Spade, have been worn by many celebrities that I admire and respect. I have found those moments to be incredibly emotionally rewarding.

Actually, it＊s not even limited to celebrities, I often love hearing from just about everyone on how they related to my piece on a personal and emotional level. Having my creation be cherished by someone, fills me with a deep sense of unmatched happiness.

SAH: What is your favourite piece of jewellery that you＊ve designed and why?

RN: My favourite piece of jewellery is undoubtedly the sterling silver brooch set, ※Grandmother, Mother, and I.§
It shows how the generations of women in my family have always supported each other and helped each other bloom.

My mother, who has always been my biggest supporter, taught me the value of hard work and perseverance.
She sacrificed so much to provide for our family. My grandmother, on the other hand, was a woman of incredible strength and resilience. She lived through some of the most tumultuous times in my country＊s history, but she never lost her faith in the goodness of people. She was always there to listen, to offer advice, and to give me a much-needed hug when I needed it most.

As I approached the idea of these three brooches, I knew that I wanted to create something that would honour these two amazing women. I hope that when someone wears this piece, they feel the same sense of strength and resilience that my mother and grandmother have always embodied. Because, to me, it serves as a constant reminder that even in the toughest of times, there is always beauty to be found.

SAH: What advice would you give to aspiring jewellery designers and artists who are just starting their careers?

RN: Set standards for yourself, but don＊t be too self-critical. You, and only you decide the measurement of your success. Make sure that you invest time and effort in developing your skills, whether that means taking classes, reading books, or practising on your own. Building a successful career in jewellery design does take time and perseverance.

So, don＊t get discouraged if you don＊t see immediate success, and be willing to put in the work and effort required to achieve your goals. Remember, success often comes to those who are persistent and patient.

Also, the field of jewellery design is constantly evolving, and it＊s important to stay on top of emerging trends and technologies. I would definitely recommend attending conferences and workshops and being open to experimenting with new materials and techniques to stay ahead of the curve.

SAH: What＊s the best place to purchase your jewellery?

RN: My website: www.. I do entertain enquiries on my as well.

Both platforms are constantly updated with my newer works as and when they＊re launched.

More information:

Website:

Instagram: @

Drawing from the experiences of 29 established artists across a wide range of genres, we've compiled their top career advice and insights. These collected bits of wisdom are meant to help encourage and equip you on your journey.

So get ready 每 here are 29 pieces of invaluable career advice straight from experienced professionals who have already done what you want to do 每 create amazing work!

? Ron Fortier

What advice would you give somebody who has just started their artistic career?

RF: Don＊t stop. Don＊t listen to anything other than your heart. Don＊t stay discouraged.
You will be discouraged. It＊s normal, natural and very human. A bunch of us who graduated 40 years ago with our BFA diploma had a reunion.

Two of the takeaways I found encouraging were:  If we had to do it all over again; we would. The other thing, even when we couldn＊t paint physically; we continued to paint in our heads. That was a revelation we enjoyed sharing!

That says something about our training and our dedication. Painting is not a life, it is life. But, as for practical matters, such as selling our work, yes, you do have to trust the people whose job is to sell your art.

? Glenn Badham

Any tips for aspiring artists?

GB:  Don＊t slack off or give up.  There are huge amounts of people doing this and you will get many rejections and brush-offs.  Stick with it and keep working till you get breaks.

? Trendafila Trendafilova

What advice would you give somebody who has just started their artistic career?

TT: It＊s a huge commitment. It requires bravery and being truly honest with yourself. It＊s a commitment in many forms, the life of the artist is spiritual, not material you have to be ready to stay humble. It needs also a lot of physical work in the form of practice. You will find what works for you quickly and if you continue to you become better and better.

Practise your skills regardless of what media you choose, exercise your mind and dream. All good things will come to you if you do it with love!

? Diane Detalle

What advice would you give somebody who has just started their artistic career?

DD: As Andy Warhol said: ※Don＊t think about making art, just get it done. Let everyone else decide if it＊s good or bad, whether they love it or hate it. While they are deciding, make even more art.§

Never underestimate that the art world is a business; creativity is a magic part but it is a business and an expensive one, so keep your eyes on the business part.

Your Moment is Now. Be featured in our Interview with Artists series and share your inspiring story!

? Sign up today!

? Allison Belolan

Any tips for aspiring artists?

AB: Find your community.  Build a network of other artists and like-minded people to be your support, your teacher, and your fans.  It＊s really hard to be an artist without a community.  There are so many places to look from local groups to online communities. 

Your community doesn＊t need to be big by any means, it can be a small group of two or three people you talk with regularly.  It just needs to be people who support you and you support.  People who help you grow and you help grow in return.

Go out and find your community! 

? Natalia Millman

What advice would you give somebody who has just started their artistic career?

NM: Be patient. Take time to understand who you are as an artist, what is your purpose, and where are you going.
Ask these questions every day, write down the answers, ask more questions and write more notes.

Really understand your art and follow YOUR path and be authentic.
Followers, submission success, and grant approvals do not happen overnight.
It requires many years of hard work and personal development. Stay patient.

Accept criticism and rejection but most importantly acknowledge your persistent self-doubt but don＊t let it settle in your heart. It will try to mislead you, trick you into being someone else but refer to your previous notes and be patient.           

? Jose Santiago

What advice would you give somebody who has just started their artistic career?

JS: Paint. Draw. Doodle. Sculpt. And don't be afraid to share your work. Take the good advice and apply it. Take the negative and unhelpful and try to understand the unhappiness of those who try to bring you down. You are better than that. You are growing every single second - doesn't matter what anyone says.

? Richard Freer

What advice would you give somebody who has just started their artistic career?

RF: Although it＊s good to be inspired by other artists don＊t try and copy someone else. Work at finding what you want to say and enjoy what you do. Your enthusiasm will show in the work.

Find other avenues for your artwork instead of just selling it. Through teaching, I have found that art can bring therapy and focus to people who need it and can allow people to find ways of expressing themselves. Art can also blend into other subjects and help learners find pathways into other subjects that they have struggled with.

Get your artwork out there in as many ways as possible. You have to be very proactive to get opportunities.

? Anthony Tanner

What advice would you give somebody who has just started their artistic career?

AT: Remember, there are hundreds of thousands of talented creative people out there all struggling for a slice of the cake. Saatchi Gallery represents 40,000 artists (!) but there is only one David Hockney, Damien Hurst,  or Anthony Gormly.

So it＊s really important to believe in yourself, develop a clearly defined style, and perhaps have a unique selling point (USP) that will make your work stand out from the crowd.

If you enter competitions don't expect too much 每 adopt a Zen-like approach 每 art critics and judges may not share your vision.

Try to get as much exposure for your work as possible. The location could be a game-changer.  For example, if you live in the London Burrough of Barnet 每 Artsdepot is offering free gallery space at the moment to local artists. Artsdepot is regularly visited by such luminaries as David Baddiel and other show biz types 每 if they like your work it could put you on the map.

Finally, be patient and persevere, persevere, persevere, and if you have a day job don't rush to give it up. In my previous incarnation, I became an ※ overnight success§ after 20 years of hard work, although I  hope it doesn't take that long this time!

? Ruben Cukier

What advice would you give somebody who has just started their artistic career?

RC: Have a lot of patience, study the different techniques of the discipline that you want to use to choose the one that best suits your taste, not do things to please others.
Study, study and study, and of course practice.

? Emily Klima

What advice would you give somebody who has just started their artistic career?

EK: Stay in YOUR lane, make YOUR art, and find YOUR method of sharing it with the world.

You will not be for everyone. Find and fine-tune YOUR audience. Be fearless and deserving!

Actually, I still need this advice-LOL!

? Daniel Meakin

What advice would you give somebody who has just started their artistic career?

DM: Firstly, to enjoy your art process-making and to be open to trying new techniques. Secondly, don't feel self-conscious about receiving feedback as that can help in boosting your morale.

? Nadya Peovska

What advice would you give somebody who has just started their artistic career?

NP: The most important part is to love what you do, to do it with passion and to do it continuously. There will be bad days, days when it＊s difficult to find inspiration and even days when you feel like not painting at all, but you have to push through. Don＊t stop, continue. An artist＊s life isn＊t easy, but it is interesting and helps you to save yourself. Stay positive and calm among the pressures of ＆real＊ life.

? Matthew R. Paden

What advice would you give somebody who has just started their artistic career?

MP: My advice to a new artist is to never give up. You will face lots of rejection especially early on in your career and of course, it's no fun, but you have to form a tough skin in order to be a successful independent artist. The highs and lows are vast and the journey will be rough at times. But if the passion in your soul is there, follow your dreams and don't allow anyone to deter your path.

Of course, read and study art and learn some of the history behind it. The best advice I can give a new artist is to become business savvy. The more you understand how the business side works the better off you will be in your art journey.

? Kirk Sutherland

What advice would you give somebody who has just started their artistic career?

KS: First of all, educate yourself. you can't create out of a void. Be a proficient art historian and gain as much knowledge of historical techniques as you can. Second, surrender your ego and listen to your higher self and let your intuition guide you.

Thirdly, don't sell out and go against your inherent creative nature. integrity is a must and be true to yourself. Lastly, allow constructive criticism and block negativity. Making art is self-fulfilling and unilateral in nature, so do what you want to do and make art that you want to see.

? Zulma Brooks

What advice would you give somebody who has just started their art career?

ZB: Make certain that this is a career path that is right for you. With millions of artists on social media doing their thing and everyone wanting to be noticed and followed, make sure you are doing it for the right reasons. 70% of it is business, 30% is actual creation because marketing and promoting yourself as an artist takes lots of time, effort and patience.

Do your research, understand the industry, find your niche, what makes you stand out, and get to know who's hot right now and why.

Talk to other artists, read, read, read! Start with your immediate location, what's the Art scene like where you are or the next city or state over?

Organize your time between half self-promotion (try to find as many FREE ways as you can first, don't spend money you don't have) and developing your style.

Don't spend too much on supplies, there are many low-cost places online that sell in bulk, just compare shops. Make sure your space has adequate space and light. Join free groups on social media, follow artists whose work you like, take a class, follow artists on youtube teaching techniques and sharing their stories and most of all, take care of yourself! Mind, body and spirit. A healthy creative is a Happy one.

? William Brown

What advice would you give somebody who has just started their artistic career?

WB: Well the only way to build a successful commercial career at the highest level is to learn from new idea-oriented teachers at a very early age
and move to New York, London, or LA at a young age and develop a unique consistent style before you are 35. A lot of research supports this advice. I know tons of really good artists who are under the radar because they don't work in one of the art centres.

? Cristian Diez Sanchez

What advice would you give somebody who has just started their artistic career?

CDS: The first and better advice to anyone is clear: work, work, work.

The muse does not come down alone so it is useless to sit and wait for it to come, it doesn＊t.
On the contrary, it is necessary to think about working and working and with work, new ideas and new projects always come out.

Self-discipline to accept critics from others, understand the critics and use them to grow. Never ignore advice.
It is interesting to hear opinions and helps also to mature the work.

Never wait for anyone to give you anything because it usually doesn't happen and again it is only your work and your creativity that will put you on the right path. If it is in an art school learn as much as you can so you can forget it after but it will have developed your way of structuring your work.

Never forget that it is a work as any other work. If it is self-taught think that it is not better not worst and that you will need to build your own discipline to manage your work; clearly, you will need to use much more of your creativity to gain some respect and keep working

? Lena Pozdnyakova and Eldar Tagi

What advice would you give somebody who has just started their artistic career?

Lena: Our advice would be to find the community. Working with people who are interested in similar things, or those who appreciate your work, and whose work you appreciate, is the most valuable asset that you can have. Working around people and learning about their practices will allow you to grow naturally and become part of the bigger flow of energy around something you are into.

And of course, to practice and learn new about the field and the skill that you have chosen to work with. And don＊t shy away to show your work. This is something that many artists, including us, are struggling with but we are all on the journey of learning about ourselves so it＊s okay to progress gradually.

If you think about it, this is probably pieces of advice suitable to anyone who practices anything in the world :)

Eldar: I would also stress that it is important to actively find ways of being inspired, and not settling. Lena once told me a simple thing, that I found to be very powerful: ※If you are unhappy about something, it is time for a change§.

? Daniella Batsheva

What advice would you give somebody who has just started their artistic career?

DB: I have to be brutally honest and say that I can＊t, in good faith, recommend this.

It＊s insane to attempt in this day and age because things are so messed up worldwide. People have the attention span of a gnat because of screens and algorithms, and I almost feel like there is less and less place for the arts. But, if you＊re like me, and you＊ve already made the commitment - don＊t have a plan B. If you have a plan B, you＊re going to fall back on it.

You have to be willing to give up everything to invest in yourself and your future as an artist. For someone with a comfy home and squishy, warm family, you might want to avoid the arts altogether. Go be a realtor. Spare yourself because it＊s brutal out here. You have to be crazy to make it work. I wish I had something more positive to say, but going for this career path is a labour of love.

If that didn＊t scare you, godspeed! I＊ll see you out on the battlefield. Haha!

? Lizzy Yang Liu

Do you have any advice or tips you would offer anyone wanting to create their own short film?

When searching for a theme for your work, you may want to think about and examine your own life experiences and surroundings, as well as reflect on the issues that concern you most in your daily life. Because I believe that everyone's life is unique, I am sure you will find different aspects from others to create short films.

? Bobby Kim Ling Chen

What advice would you give somebody who has just started their artistic career?

BKLC: Yesteryear＊s nonconventional could be today＊s contemporary, and may even be tomorrow＊s glory§.
Time changes everything. We realise it but have never learned from it. Hence, be bold, be daring, be yourself and do your best.

? Marco Riha

What advice would you give somebody who has just started their artistic career?

MR: Create, create, create...just for you & your own pleasure and never stop.

? Julie Reby Waas

What advice would you give somebody who has just started their artistic career?

JRW: Listen to your heart and follow your intuition and your own path. It is never too early or too late to start an artistic career, so do not let the naysayers stop you.  Be confident in your talent and your abilities, and learn how to market yourself and your art. 
And definitely utilize Instagram.

? Yuko Kyutoku

What advice would you give somebody who has just started their artistic career?

I would say, "Enjoy your journey as an artist."

Also, mastering foundations such as drawing and painting are important. If you have a strong foundation in the visual arts, you can build on your skills and make more advanced work any way you want. It comes so much easier. Hard work always pays off, and I spent so many years gaining skills and experiences that I＊ll never regret.

? Ryota Matsumoto

What advice would you give somebody who has just started their artistic career?

RM: I am starting out on my artistic career as well. To be honest, I would rather hear advice from readers, as I am not certain that I am qualified as a professional artist.

There is a fascinating quote by John Cale in his autobiography, where he calls Brian Eno an expert amateur. That is what I always dream of being. If anything, my advice would be to defy easy categorization and invent your own career path.

? Chantal Boynes

What advice would you give someone entering The Boynes Emerging Artist Award?

CHB: Follow the instructions given. It may seem like simple advice, and it is advice I did not follow all the time when I was submitting my own application but it is one of the best pieces of advice I can give.

When I look at some applications and I see something has not been done as instructed, from my own experiences I can understand the logic behind it. Artists may sometimes feel like it will strengthen their application if they give more than asked for, or that you need to know more than you asked and they don＊t want to risk not giving you the information.

I understand the compulsion, I lived it. But now, as someone who runs an award, I know now that the best thing you can do for yourself is follow instructions to the letter. This is not just true for our award, but all open calls.

? Rick Berk

Do you have any advice for aspiring landscape photographers?

RB: From a creative standpoint, the first thing I would say is to find your own voice. There are so many people doing landscape photography on some level, from enthusiasts to professionals, that it can be difficult to stand out. If you can find a way to develop your own style and your own vision, people will begin to recognize it as yours.

The second thing I would say is continually push yourself to get out and photograph, whether it＊s a familiar location close to home, or travelling someplace new. There is no better way to improve and hone your style and skills than to keep making photographs.

For those looking to make their photography a business, don＊t forget about the business side of things.
I find artists in general, me included, tend to struggle with marketing their own work and are unable to put themselves in their potential buyers＊ shoes.

The bottom line is that being able to sell your work enables you to continue to create, so pay attention to not only the marketing end of things but also the administrative end such as accounting, to ensure you＊re as profitable as you can be.

? Bianca Dakli

What advice would you give somebody who has just started their artistic career?

Since I am an emerging artist and just started a year ago, I don't feel experienced enough to give advice. When I started painting in my little room, I never expected that strangers would compliment me on my paintings.

Everything is possible; at least, you have to try and enjoy and don＊t forget why you are painting or making art.

In conclusion, art is a world of endless possibilities and opportunities. With the practical career tips from these expert artists, there's really no limit to how successful you can become. From developing a portfolio to getting out in the world and networking with people who have similar interests, there are many tips that can help you grow as an artist.

But don't forget the most important advice: never give up!

Art cannot be mastered overnight〞it takes years of practice and dedication to perfect your craft.

As long as you keep pushing forward, continue learning and refining your work, you will eventually reach success.

So go forth and pursue those dreams!

For more inspiration and support, check out how our Interview with Artists series can support you. Together we take your art career to the next level.

Unfortunately, many visual artists make mistakes that can prevent them from reaching their full potential online. In this blog post, we＊ll look at 7 big mistakes visual artists make when building a website, and how to avoid them.

1. Move Forward Without Clarity

When building a website, it＊s important to outline your goals and objectives beforehand. Consider what you want to achieve with your website. Do you want to sell your artwork, attract potential clients or showcase your accomplishments? By having a clear purpose, you＊ll be able to create a website that resonates with your target audience.

Before getting started, ask yourself - why do I want this website?
Is it to display my work and attract attention or is selling your art online?

Make sure your ambition isn't ending too soon: keep asking 'why' until everything makes sense!

2. Failing To Let Your Work Shine

As an artist, you know the power of visual appeal. Your website should reflect your brand and aesthetic. Strive for a clean, sophisticated and professional design. Use high-quality visuals and images that showcase your work in the best light.

If you＊re not tech-savvy, you may find it challenging to design and maintain a website. Don＊t let this discourage you from having an online presence. There are plenty of easy-to-use website builders that don＊t require any coding skills.

Alternatively, you can hire a professional to create a website that meets your needs.

3. Not Telling Google You Have A Website

Having a website won＊t do much good if no one knows it exists. Enhance your visibility by optimizing your website for search engines. Start by doing keyword research on the terms your target audience is using to search for services or artwork. Incorporate these keywords into your website＊s content, headings, and meta descriptions.

Engage in SEO practices such as link building and guest posting to improve your search engine ranking.

4. Forget To Name Your Images

Many artists＊ websites contain little or no text.
We all know that art is a visual medium,  but each image page on your site should include text relating to that art.

Search engines need text to understand the context of your website. Unless you give them words, every image on your page is just a useless black hole and Google won＊t be able to rank your website. 

Therefore, when the images on your website have no text, the main reason for your website - for people to see your art - is lost right from the start. 

So, make sure every image on your website includes basic information about that art (titles, sizes, mediums, prize etc) at the bare minimum. 

5. Not Keeping Your Site Fresh Like Hot Rolls

Once you＊ve built your website, you need to keep it updated and relevant. One of the best ways to do this is by creating fresh and interesting content on a regular basis. Share your artistic processes and inspirations, showcase your latest works and share news and events related to your work. By having a blog or news section, you keep your visitors engaged and ultimately, attract and retain potential clients.

6. Ignoring Your Data

When it comes to building your artist website, it's important to remember one crucial step - measuring its performance. Many visual artists make the mistake of ignoring analytics data, which can ultimately hinder their website's ability to attract and retain visitors.

Fortunately, there are plenty of tools available to help track user behaviour, such as Google Analytics or Hotjar.
By leveraging these tools, artists can gain invaluable insights into their website traffic and make more informed decisions about the content, design, and functionality of their website to ensure that they are driving the engagement they desire.

7. Not Thinking About Your Ideal Customer

When designing your website, ask yourself:

• Who is buying my artwork now?

• And who could be interested in it down the line?

Consider the demographics and why they purchase from you. Think about how to make sure that their experience using your site fits with what's important for them 每 a tailored design just right for them!

Conclusion

A website is a crucial tool for artists to showcase their work, reach new audiences, and engage with potential clients. However, building a website can be challenging, and it＊s easy to make mistakes that can be detrimental to your online presence.

By avoiding the five big mistakes mentioned in this blog post, you can create a professional and engaging website that reflects your brand and resonates with your target audience.

Google will reward you for it and your website visitors will love you for it ?.

Higher ranking in Google ? More people on your website ? Greater chances of ultimately advancing in your career with opportunities such as:

? Receiving invitations to participate in shows

? Getting gallery representation

? Making sales

? Getting commissions

? Being featured on blogs or art websites

? And a lot more of the cool stuff

And if you＊re looking for further guidance, consider joining our membership program, which offers website reviews and support to help you work smarter, not harder.

By following these principles, you can take your old content and give it a new lease on life. In this blog post, we'll explore the six easy steps to help you do just that.

The Three Rs What Do They Mean?

Reuse refers to re-sharing the same content in the same format it was originally created. Repurpose means taking the same content but in a different format, such as turning a blog post into a video or podcast. Recycling means taking content elements and using them to create something entirely new, such as creating an infographic from text and images from a blog post.

? SAH HQ＊s May Action Plan: How To Reuse, Repurpose, And Recycle Your Content.

? Click here to join the HQ and access this 10-page plan. Save your time and sanity by repurposing content.

Why Repurposing Content Makes Sense

Reaching More People

Different people have different preferences when it comes to consuming content. Some like visuals, while others prefer audio. If you repurpose your content to fit these different mediums, you can tap into new audiences and extend your reach.

Bringing Old Gems Back to Life

We all have favorite books that we've read and enjoyed, but eventually forget about. With content, the same thing can happen - your best work gets buried over time. By repurposing content, you can bring that old favorite back to the forefront, making sure that great content is never forgotten.

Maximizing Your Content Efforts

It takes a lot of effort to create high-quality content. But, even the best content can fall flat for various reasons. Repurposing content gives you the chance to give your content a second chance at success, letting users who missed it the first time around have another opportunity to discover it.

Assess Your Content - What Parts Are Truly Valuable

When deciding which pieces of content to repurpose or recycle, assess how much value each piece has on its own. You should make sure that the element you're choosing to reuse comes from a valuable piece of content to ensure that the result is worth your time and effort.

Only repurpose content that stands the test of time? Stick with evergreen content that remains valuable and relevant for months, or even years, to come!

Consider Your Options For Reusing Your Old Content

Consider sharing your old content on different platforms to reach a new audience. For example, if you have a blog post, you can share snippets of the same content on social media platforms like Instagram or Twitter.

Repurposing your existing content into new formats opens it up to a completely new audience. For example, you can turn a blog post into a video or podcast episode. This way, you can reach people who prefer to watch or listen to content instead of reading it.

Or you can promote your blog posts through a weekly tips newsletter. Even if you already have a solid email list of dedicated subscribers, chances are they won't see every post you write. But with a weekly newsletter, you can showcase your top-performing posts and entice readers to visit your site.

The options are endless.

Discover Creative Ways To Recycle Content Into Something New

If you've been creating content for a while, there's a good chance you have several pieces of content that can be put together to create a new piece. For example, combine and remix selected work into something entirely new.

Equip Yourself With Tools To Make The Process Easier And More Streamlined

Several tools can make your content repurposing and recycling process more manageable and streamlined. Some useful tools include Canva and Spark for creating graphics and infographics and Hootsuite's bulk scheduling feature for easily scheduling posts on various social media platforms.

Conclusion

Regardless of how much time and effort you put into creating content, there will always come a time when it's no longer as effective as it once was. Still, the three Rs of content - Reuse, Repurpose, and Recycle - allow you to take your old content and give it a new lease on life.

Whether you're hoping to reach a new audience or create a new asset altogether, these six easy steps will help you achieve your goals and maximize your content's potential.

Join the HQ membership to access our latest action plan on how to reuse your content so that you can work smarter, not harder!

By equipping yourself with the right tools, you can make your content creation and repurposing process more streamlined and efficient. Happy creating!