AucArt - Artist Interviews

In the Studio with Eve Baker Wilbraham

In the studio with Eve Baker Wilbraham, whose practice depicts the emotional, historical and physical layers of the spaces in which we live in. We met with Eve to tell us more about growing up in Cheshire, inspirations from the emotion of space, and a moment life that mobilized change through their practice.

When did you first begin to see yourself as an artist?

At school, I was around 14 and had the most incredible art teacher who was also a very talented artist. He taught me to look in a whole new way and had a constant stream of artist references to keep me inspired. My foundation at the Royal Drawing school immersed me in such a creative atmosphere and as I began to paint more I was kept thinking how this is really how I want to spend my time.

Where are you from and what was your upbringing like?

I was born in London but moved to Cheshire when I was still very young. I was bought up surrounded by countryside and spent a lot of my time outdoors. Nature provides me with a constant stream of stimuli, and I find a lot of inspiration in the colours of the countryside. The morning light on a winter morning for example. My parents are both very creative people, so I was always drawing and making as a child. Going to see art in galleries as a young age was also a very important part of my childhood, you are so impressionable at that age, and I would just soak it all up in awe of what I was looking at.

Paint us a picture of your artistic journey. What inspired you to first pursue, and then continue to practice, artistic work?

I always felt most comfortable in the art department at school and was constantly motivated in that creative atmosphere. However, it was last year I felt I had begun to refine my process and also the themes that my work encapsulate -I guess I owe that to my tutors of foundation and being surrounded my such motivated and committed young artists.

What’s the message of your work? How would you describe your aesthetic?

My work explores the emotion of space, I want to investigate the stories that a space can tell and most importantly what a familiar space holds for me in relation to the people or memories that I associate with it. My painting involves many different layers of both figures and interior spaces. The pieces themselves often appear very structural and almost completely abstract which would stem from the start of my process which often involves working in three dimensions.

Who/what are your greatest influences?

Architecture has always inspired me, and I find myself getting lost searching around a room for interesting shapes or angles. I try to read often when making a painting and The Poetics of Space by Bachelard is a constant source of interesting material for me to keep returning to.

An unexpected source of inspiration?

‘Meshes of the Afternoon’ by Maya Deren. It is a black and white film from the 40s and has some of the most beautiful stills. The way the camera navigates the space throughout the film is fantastic and the fast, dynamic moments work so well with the quiet space that the film is set within.

What do you want people to take from your work when they view it?

I want it to take time for the viewer to navigate their way through my works. Being able to evoke an emotional response from the viewer is always important to me but I try not to think about this too much when I’m painting as it often leads to me making work that feels forced and I find it easier to paint in

What events in your life have mobilised change in your practise/aesthetic? How has your art evolved?

At the start of last year, I moved completely away from figurative painting and focused solely on the abstraction of interior spaces both on canvas and in 3D. This allowed me to look deeper into my compositional decision making; and I began to think more about the way I was arranging my subject matter when painting. Then, when I began to bring figures back into my work, I had much stronger structural elements to my painting. Working in a range of different materials is an important part of my practise. Although painting makes up the majority of work, I will often start with small sculptures and work from there into prints or photographs and then end with painting. I think this helps me bring more depth into my work and helps with my themes involving the layering of spaces.

What are your ideal conditions or catalyst for creating a good piece of work?

Ideally, I like to work alone as I find it easier to focus on transferring my thoughts onto the canvas. However, I also find the studio atmosphere you get at art schools incredibly stimulating and thrive off conversations with others about both their work and my own. Research plays an important part in my process, and I find it import to read alongside my making and also keep a constant flow of visual references on the wall in my studio space.

Tell us about the inspiration behind one of your works?

Whilst painting ‘Early Dreams’ I was able to really explore how I could layer the paint onto canvas. The piece is about all the memories and brief encounters that one space can hold. Colour plays a big part in how I remember certain moments and I wanted to convey that feeling of new light that we experience in the morning. I was reading ‘The poetics of Space’ by Bachelard whilst working on this piece and his ideas about what emotions certain spaces hold really stuck with me. He speaks about the family home as this place of comfort and nostalgia and I wanted that atmosphere to run through the painting and emit this sensitive energy to the viewer.

Something in the future you hope to explore?

Animation. I love the idea of bringing movement into my work and I think my themes of all the different journeys travelled through a space would transfer well into a digital piece.

Posted on by AucArt

5 Minutes with Christina You

Timestamp

5 Minutes with
Christina You

This month, we sat with Christina You, Director of Development & Creative Strategy at the Ullens Center for Contemporary Art (UCCA), China's leading independent institution of contemporary art. We spoke with Christina about growing up in Beijing, the best pieces of advice received, and their latest sale with AucArt, 'Timestamp'.

Where are you from originally? Where do you consider home?

Born and raised in Beijing, spent 10 years in the states before moving back to Beijing again to start a job at UCCA 6 years ago. Beijing is always home!

Something you cannot live without?

My phone. My job requires me to be on my phone all the time, and I rely on my phone for almost everything in my life: listening to podcasts, hailing rides, navigating through the city, finding the best chocolate chip cookies recipe… My screen time is really crazy so I shut off the screen time notification haha.

Most unexpected source of inspiration?

Everyone I meet is a source of inspiration for me. Everyone teaches something directly or indirectly, and the thing I need constant practice of is the wisdom and capacity to understand it.

Highlight of your career so far?

Everyday at UCCA!

The most inspiring person you’ve ever met?

Many people I admire and find inspiring, but the person I work with on a daily basis and whose work ethics I admire a lot is of course my boss, Philip Tinari.

Best and worst piece of advice you’ve been given?

All advice is good advice, the best one I’ve got is: Show up fully. Don’t dwell on the past, and don’t daydream about the future, but concentrate on showing up fully in the present moment. I am still living by that on a daily basis.

I hope we all look back to this difficult phase with something positive in mind. So all the more reasons to focus on art which resonates with our experiences, challenges us in unexpected ways and represents the moment in time we live in.

Tell us one thing few people know about you?

I was a NCAA athlete! (division 3 though, haha)

What are you reading at the moment?

Ninth Street Women, and Warhol by Blake Gopnik.

Your most prized possession?

Physical & mental health.

What kind of artwork do you like to surround yourself with/be in the company of?

Artworks that represent timestamps of significant moments in my life, in other words all the pieces have to speak to me instinctively. It’s said that when you look at things in a visceral way, new neural pathways open up in your brain. Art is not only to hang on the wall but there to help us understand the power of self-expression.

Can you tell us about your selection of artists and works?

I have always enjoyed being friends with artists since early days in my job. Getting to know the artist personally is really the cherry on the sundae of my life. I’ve formed some incredible friendships and had unforgettable experiences and conversations with some artists. These artists are the ones I became friends with during the pandemic which makes it even more special. I hope we all look back to this difficult phase with something positive in mind. So all the more reasons to focus on art which resonates with our experiences, challenges us in unexpected ways and represents the moment in time we live in.

Posted on by Olivia Springberg

In the Studio with Olivia Springberg

In the studio with Olivia Springberg, whose practice recalls and examines ambiguous memories and interactions that affected her in emotionally profound ways. We met with Olivia who tells us more about growing up in Arlington, her greatest influences, and unexpected sources of inspiration.

When did you first begin to see yourself as an artist?

My whole life I have been passionate about art. Even when I was only a few years old I would be found with a paintbrush in hand. However, I was very hesitant to refer to myself as an artist. I thought of myself more as a person who ‘did art.’ I felt that I hadn’t earned the title of artist yet. It was not until I started at art school that I considered myself an artist.

Where are you from and what was your upbringing like?

I grew up in Arlington, Virginia, just outside of Washington, DC. Being so close to DC is an incredible privilege. I was able to frequent museums, as well as concerts and theater. Contemporary exhibitions at museums such as the Hirschhorn and the Renwick served as an ongoing source of inspiration. I was also very fortunate to have supportive arts instructors throughout grade school who prioritized the arts and made visual and performing arts accessible.

Paint us a picture of your artistic journey. What inspired you to first pursue, and then continue to practice, artistic work? Was there a pivotal moment when you felt you were on the right track?

I cannot remember a time that I wasn’t interested in art. When I was little my mother would teach me to draw little flowers and things and we would look at how-to-draw books together. I enjoyed making art so much that I never gave it up. Throughout school I attended all sorts of classes and workshops exploring a plethora of media. I can never say for sure if I am on the right track, or on any track at all. My style and my interests change frequently. Some projects are successful and some aren’t. However, if I’m happy with what I am creating, I consider myself moving in the right direction.

What’s the message of your work? How would you describe your aesthetic?

While my aesthetic and my practice are constantly changing, I find myself often returning to ideas of intangible relationship, psyche, and anxieties. Additionally, as my practice has expanded, I have been integrating elemental materials such as clay, paper, cement, and glass. I enjoy examining the distinction between soft and hard mediums and exploring the painting as an object. I think that the purpose of this process is that it enables me to experiment with new materials, as well as a way of taking the weight of thoughts and feelings off of my shoulders and using negative energy in a more productive way.

Who/what are your greatest influences?

Overall I’d have to say Helen Frankenthaler, Hilma af Klint, and Laurie Anderson. I am also really inspired by work I see on Instagram from artists such as Sacha Ingber, Maja Ruznik, and Yi To.

An unexpected source of inspiration?

The ghost colors and shapes you see when you close your eyes. It’s a fun source of palette inspiration.

What do you want people to take from your work when they view it? Do you have the audience consciously in mind when you are creating?

I often don’t go as far as to think of the audience during the creation of a piece, but I hope that when people look at my work they can connect with it and find their own meaning within the imagery.

What events in your life have mobilised change in your practise/aesthetic? How has your art evolved? Do you experiment?

Art school has definitely shifted my practice significantly. I used to be occupied by completely different aesthetics. Being around such a variety of artists and just seeing what they are creating often influences the way I work. Especially with close friends of mine, I’ve started to see parallels in our styles and practices. Friends share with me materials that they are experimenting with, and we work together a lot to incorporate experiments into our projects.

What are your ideal conditions or catalyst for creating a “good” piece of work?

For me, a strong idea comes from a strong feeling. A thought that needs to be expressed and worked out visually. I appreciate when a piece has a story behind it that is reflected in its creation or its composition.

Something in the future you hope to explore?

I’m hoping to begin incorporating more woodworking into my pieces, as well as mold making. I have recently become more interested in combining sculptural and structural forms with painting.

Tell us about the inspiration behind one of your works?

Dreams provide a lot of imagery that I use in my work. Free Fall was inspired by a dream in which I watched strangers jump from a parking lot on top of a local mall. My car subsequently slides off the roof too and onto the people below. In the composition I loosely convey three figures lying on the ground and my car above them. Despite the dark imagery, I employed a pastel-like palette. The painting also has more white space than I usually let show through. I think that these decisions aid in creating a dream-like atmosphere.

Posted on by AucArt

5 Minutes with Marriam Mossalli

الناشئة المملكة

kingdom emerging

5 Minutes with Marriam Mossalli

This month, we sat with Marriam Mossalli, founder of Saudi Arabia’s leading luxury communications consultancy, Niche Arabia. Recognising Saudi as a region bursting with young creatives, she set up an initiative connecting young local creatives with international brands and companies to accurately portray the Saudi aesthetic and point of view.

Where are you from?

I’m a proud Third Culture Kid from the Kingdom of Saudi Arabia

How do you think your early life has affected the goals you have today?

Having lived in multiple cities around the world, from Seoul and Kuala Lampur to Lugano and Washington DC, I have always been inspired by different cultures. Whether it was through my early vocation as an editor for the leading English daily or as the founder of my communications firm, Niche Arabia, my mission has always been to authentically narrate the stories of the Kingdom.

How did Niche Arabia come about?

Niche was something that started very serendipitously. I was working with a lot of international companies and realized that there was a big disconnect in terms of what they thought of our consumer base and what the reality is. So, my mission at Niche Arabia is to curate and customize strategies for companies wanting to penetrate the Saudi market genuinely.

What would you like your legacy to be?

I grew up in a generation where we had kind of done the whole “first Saudi” thing and for me it’s really important to champion the best. We are now competing globally thanks to how small the world is today. I would love for my legacy to be a supporter of the amazing talents coming out of the Kingdom

Someone/something that inspires you?

The women I surround myself with are definitely my inspiration. Whether its Princess Reema Bint Bandar (Al Saud), or Princess AlJoharah Bint Talal (Al Saud), or Princess Lamia Bint Majed, these are women that have really championed Saudi from the very beginning with all of their endeavors

Book currently sitting on your bedside table?

Is it bad if I selfishly plug Under the Abaya?!

What art do you like to surround yourself with?

Art that makes me happy. Much like fashion, I believe art is personal and emotional and I definitely gravitate toward art that makes me feel something

What do you do to keep yourself motivated and interested in your work?

I am super privileged to be able to pick who we work with and therefore, I tend to select projects that really excite me. I always want to push the envelope and I think if you look at Niche’s portfolio, you can see that. Whether it is the first ever female public sports day that saw 10,000 women at AlJohara Stadium for the first time ever in the Kingdom or doing the first ever fashion show with international models in the Kingdom, it’s always about pushing the boundaries of what people think could actually be within the Kingdom.

Are you born with creativity and style or can it be learnt?

I have zero style, but I am very creative therefore, I creatively fake having style.

Greatest accomplishment?

I have had multiple international accolades, such as being listed on BoF 500, being invited as the only Arab by former First Lady Michelle Obama to attend the Gala of Design in Washington DC, or speaking at MIT as an agent of change; it’s seeing how I’ve inspired the next generation of young Saudis and impacted my local communities.

What’s your favourite city to visit?

Absolutely Berlin because the city is always buzzing with life.

If you could change one aspect of your society through your work, what would it be?

I think it would go back to the fact that we need to compete on a global level, and I think to be authentically ourselves. A lot of the times, since the 70s, it’s always been a reaction where we have been juxtaposed against Western values and ideals and I think now, Saudi is finding its own where it is proudly voicing its own point of view.

Something you can’t live without?

The support of my family. It is definitely something that since I was very young, my Dad encouraged me to be a little rebel. Now that I am an adult who is married with a kid, I am happy to have the full support of my family.

A goal you’ve set yourself and exceeded?

Being a female entrepreneur. We’ve downplayed the complexity of it where its either you choose to be a wife, a mother or a businesswoman. To be able to do all three is something that truly, I think, only the female gender can do. We multitask in a way that is quite unique. So, I think that the goal of being an entrepreneur was great but to be a successful one was something I could not foresee.

What are you enjoying about the world currently?

I am enjoying the fact that there is a spotlight on Saudi Arabia, and we are not letting it go to waste. I love the fact that people are wanting to know more about us because for so long, we have been this enigmatic country that was hard to access. For the first time, whether it’s through social media or the fact that the country is opening up, we’re finally allowing the world into our private sphere.

Any exciting future projects in store?

Definitely. We are working with a lot of young Saudi artists which is why we are excited to work with AucArt. Having such collaborative projects is a great way to encourage cultural exchange.

Posted on by AucArt

5 Minutes with Vera Bertran

multiple realities

5 Minutes with Vera Bertran

This month, AucArt welcomes Contemporary Art Collectors founder, Art advisor and all-round art enthusiast, Vera Bertran. The Barcelona-based entrepreneur is known for her beautifully curated Instagram page which captivates the hearts of thousands of her Instagram followers. With a contemporary collection that dates back to her early twenties, we asked Vera about growing up in Latvia, the most valuable lessons she's learnt through her career, and what art means to her.

What’s your first memory of art?

My parents were antique collectors, so I grew up surrounded by art. We had a big collection in our house. I’ve always enjoyed going to museums and looking at art books since I was a kid. That’s how my interest in the arts began.

Where did you grow up?

I was born and grew up in Riga capital of Latvia, a small country in the north of Europe, usually confused with Lithuania.

Riga is a small city with beautiful architecture, but I never saw myself living in this city all my life. The weather was depressing, and I was bored with life there. I also did not see any perspectives for me there, so I moved to London to study after graduating from school, without any plans to return.

Which moment in your career are you most proud of?

Since I am very demanding to myself and, in a way, a perfectionist, I believe that the moment I can be really proud of has not yet arrived.

Is it important for you to meet or speak to an artist before you purchase their work?

No, not at all. If we talk about meeting or speaking with an artist, I believe that the artwork should speak for itself; good art, in my opinion, does not require lengthy explanations.

I like art that I have an emotional response to, evokes some memories and imagination. I can often create my own story looking at art or see completely different things that the artist wanted to show.

Also, I don’t need to meet artists personally, such as discovering they are friendly or not, or if I like their personality. If I don’t like the person, but they create art I like – I’ll still buy it.

Art is a territory of dreams, another reality without rules or boundaries,
where everything is possible.

If you could give one piece of advice to an emerging artist what would it be?

Research the art market and set reasonable prices. If you’re starting and putting the cost of a new car on your artwork, don’t be surprised if you don’t sell it.

Tell us about the most exciting exhibition you’ve been to recently?

I went to see “Picasso-Rodin,” a double exhibition at the Musée National Picasso and Musée Rodin in Paris, in June 2021.

Both exhibitions are in collaboration with the Musée Rodin, and both are firsts in terms of bringing the respective artists together in a museum environment. The idea of the exhibitions was to show common points between Rodin’s work and several of Picasso’s artistic periods.

Which medium do you tend to be most attracted to?

I’m not going to try to be original here – my favourite medium is painting.

What are you currently reading?

Jorge Luis Borges ‘Labyrinths’.

What does art mean to you?

Art is a territory of dreams, another reality without rules or boundaries, where everything is possible.

Could you tell us a story behind a piece of work that you love? (can be from your own collection or a famous artwork)

Henri Matisse, Goldfish, 1912.

This Goldfish belongs to a series of artworks that he created between spring and early summer 1912. Europe first saw Goldfish in the 17th century, when it was brought from East Asia. Matisse likely became fascinated with Goldfish after his trip to Tangier, Morocco, where he stayed from the end of January until April 1912. Matisse admired the Moroccans’ lifestyle, which appeared to him to be relaxed and contemplative. He painted them daydreaming or meditating while looking into goldfish bowls, fascinated by how they contemplated and enjoyed seemingly ordinary elements of life.

For Matisse, the Goldfish itself came to represent a tranquil state of mind, at the same time, became evocative of a paradise lost. Goldfish was not painted in Morocco. Henri Matisse painted it at home in Issy-les-Moulineaux. What we see in the painting are Matisse’s plants, his garden furniture, and his fish tank. The tall cylindrical design of the tank drew the artist in since it allowed him to construct a series of rounded curves with the top and bottom of the tank, the water’s surface, and the table. Goldfish was painted in Matisse’s garden conservatory, where he was surrounded by glass, just like the goldfish.

What’s the most valuable lesson you’ve learnt during your career/in life so far?

In Career:

If you want to do something, don’t wait; just do it; the right moment will never come. Don’t be afraid that there are more successful people doing this than you. In this world, things change very fast.

In Life:

1.) Never think about what other people think about you; it’s meaningless. If it doesn’t affect your life and bank account statement, what is the importance?

2.) Try not to trust everything you hear. Many people are lying; some are more professional some are not so much. Lying about everything from personal life to the amount of money they win and projects they have never done. (laughing)

How do you think the global pandemic has affected the way we consume art?

Art galleries, museums, art lovers, and so on have all gone online, and you no longer need to leave your house to appreciate art. The Pandemic had a significant impact on the popularization of art.

The Pandemic forced people to rethink the look and feel of their homes. It caused an increase in more affordable art as there is a whole new wave of young collectors now. Many people now want to enhance their living environment as they continue to work from home. I see it all as positive changes.

What’s the story behind this selection of artists? Is there a theme or narrative that ties the works together?

All artists styles fit the subject of the exhibition theme ‘Multiple Realities’. When you look at their artworks, you can create your own story and give freedom to your imagination.

Favourite museum?

I have a few to name: Miro Museum in Barcelona, Musée d’Orsay in Paris, Tate Modern in London.

Posted on by Thenie Khatchatourov

In the Studio with Thénie Khatchatourov

In the studio with Thénie Khatchatourov, a contemporary visual artist whose works seem by nature to be a bridge between individuals and a way to transcend borders. We met with Thénie to tell us about growing up in Switzerland, her Armenian origins, and the exploration of love as a core theme through her practice.

When did you first begin to see yourself as an artist?

I started seeing myself as an artist when I could materialize my ideas and turn them into concrete pieces of art. An artist, to be considered as such should be able to build up a strong esthetic arsenal and a strong and sensitive corpus.

Where are you from, and what was your upbringing like?

I was born in Geneva Switzerland, I am of Armenian origin. Coming from a family of Armenian musicians, grand-niece of violinist Jean Ter-Merguerian, I grew up between classical music and paintings, surrounded by artists, painters, musicians.

I took the artistic path after university studies in socioeconomics at UNIGE and a Master Innokick, at HES-So. After my studies, I moved to Armenia for a mission at the Embassy of Switzerland in Yerevan, where I stayed for two years. I started drawing, painting in Armenia.

Paint us a picture of your artistic journey. What inspired you to first pursue, and then continue to practice, artistic work? Was there a pivotal moment when you felt you were on the right track?

When I got back to Geneva, I knew I could not work in an office. I decided to take the artistic path, no matter what and give it a chance. In the first month I met a galerist who offered me to have my art pieces for an exhibition in 2019. On the opening night of the exhibition 25 of the 34 pieces exhibited were sold. I couldn’t believe it, and to me this success was a clear sign that I had to keep working and fully exploit my creative potential.

What’s the message of your work? How would you describe your aesthetic?

The sacred as a subject for the painter is divested, even profaned today. My approach aims to question the importance of the return of the sacred in art, in a dialogue with the present, by updating mystical subjects among which love, union, motherhood, peace. However love remains the main topic in my work, as it is the greatest topic ever used in art, all forms of it combined. I just choose to keep celebrating love, by depicting couples intimacy, figures facing and kissing each other. The love scenes depicted and the close connexion I build up between personas is an invitation to a peaceful relationship between men and women. I am trying to spread a message of reconciliation between genders. Because this topic is a hot one today, because genders tend to think they are living separately while they are complementary, I had to find a way to reunite them in a poetic way in order to avoid the threat of a symbolic separation thereby avoiding the symbolic death of Humanity. I still believe that art, above all forms of expression is the best way to instill the desire for union

Who and what are your greatest influences?

I really started drawing when I first came across Gustav Klimt and all the Viennese Secession movement artists’ works. I then discovered Gauguin, Van Gogh and all the post impressionism and the Nabis movements that I particularly like for the composition and the colors. I am also very inspired by Armenian artists like Rudolf Khachatryan, Minas Avetisyan, Martiros Saryan.

An unexpected source of inspiration?

The Opera Anoush by Armen Tigranian, and the Ballet Orphéus and Eurydice by Gluck choreographed by Pina Bausch for they are full of Christian and pagan symbols.

Are your works planned? What do you want people to take from your work when they view it?

I tend not to plan too much about what themes or figures I’m gonna paint, but I always have A7 format notebooks where I quickly draw and prototype ideas. I work a lot on composition and color association. I have now nearly 14 notebooks full of sketches and ideas that I regularly open to get inspired again.

I have no specific target, since art pieces are not products although there’s a market for it. People who love my artworks love the vibration of the intention I’ve put in it. It always makes me happy when people come to me to share their emotions or thoughts on my painting. I want people to feel so familiar and comfortable with what I draw that they couldn’t stop watching it.

What events in your life have mobilized change in your practice?

Understanding the world around me, reading and getting more curious about life and people impact my art because what I think needs a way out, a way to be turned into a concrete form.

I experiment with a lot of different materials, explore new techniques to say things I’ve said before, and the other way around, to find new things to say with traditional techniques.

What are your ideal conditions or catalyst for creating a “good” piece of work?

A good piece of work is sometimes a happy coincidence. A good piece can emerge anytime, anywhere, after days, weeks, sometimes months of observation and reflexion. But some of my best pieces were made in a day, in an hour. It’s hard to say, I’m afraid there’s no magic trick.

Tell us about the inspiration behind one of your works?

The Lovers’ was more that inspired by a man I loved, who’s a talented Armenian artist, architect and stone carver that I admire. Love and passion is behind all of the pieces I’ve created I guess. Here is the trick. Love.

Posted on by Catherine Lette

In the Studio with Catherine Lette

Catherine Lette is a visual artist whose work is concerned primarily with the impact of contemporary life upon the body & mind. We met with Catherine to tell us more about growing up in Cornwall, her greatest source of inspiration and how recent months in lockdown have affected her practice.

When did you first begin to see yourself as an artist?

I wanted to be an artist since I was a child, but I was encouraged to explore other career options first due to funding, so it took a while for me to make my way back to art. The other jobs I did gave me a good salary but no satisfaction, so I took myself back to art school and committed to life as an artist, which I love.

Where are you from and what was your upbringing like? How has this impacted your work?

I come from Cornwall and grew up as the youngest of three children in a lovely slightly chaotic house in the country. My father is a designer silversmith, my mother a partner in his business, my brother makes gin and my sister works in silver too. We come from a long line of makers and collectors and I think the thread of artistic endeavour running through the family has definitely influenced me. The house I grew up in has walls covered in wonderful artwork from early modern to contemporary, I was incredibly lucky to grow up in a place with inspirational art on the walls and be surrounded by inspirational people. My father always said to me don’t buy artwork to match your paint colours, paint rooms to display your art. Being brought up to see art as intrinsic to everyday life, a way to question things and create meaning has certainly impacted on my practice.

Paint us a picture of your artistic journey. What inspired you to first pursue, and then continue to practice, artistic work?

I always had a form of practice in drawing and painting since childhood but going to Central Saint Martins in 2005 was where it began to shape into a more serious commitment. I did my BA in Fine art at CSM part time over 7 years, working as a PA in a property company to fund my way. I think the slow progress was really helpful to conceptually develop my practice and understand where it might fit within the wider world. CSM was my first foray into formal art education and I found myself veering towards making 3D sculptural work because it seemed to fit the conceptual theory of the time. I began the degree wanting to paint though and left wanting to paint, so decided afterwards I would pursue painting which is where my passion was. Discovering Turps was a huge turning point for me, an undercover art school filled with incredibly inspirational painters and mentors who are all committed to talking and making painting. When Marcus Harvey, founder of Turps, said ‘Welcome to the family’ as we joined, I felt I was on the right track.

What’s the message of your work? Where do they come from?

My work always starts with the human body as I see this as both our touchpoint to the world around us and the vessel that carries our minds around. My interest in the figure is always rooted in my own present and a questioning of life and society experienced around me. Currently we are bombarded with imagery, simulacrum, different ways of experiencing life in the virtual and the real and I try to question that status quo within my painting. Most recently this has centred in a questioning about the effects of the lockdowns due to the Covid 19 pandemic. I have been thinking about figures bound into certain spaces, pushed together or perhaps pulled apart both physically and mentally. Lockdown has been a place of safety, privacy and solitude for some, but a place of danger and destruction for others and I have been considering that as I have painted through some of these ideas. In the space of a year our attitudes to certain objects or habits have completely changed and that has fascinated me.

In terms of practice I am experimental and playful, I allow the making to lead me, even if at times that seems uncomfortable. As a result of that the aesthetic is malleable and my pallette also changes, but there is a thread that runs from one painting to the next. All my work is underpinned by drawing, which I do daily, sketching the people around me from life or ideas that pop into my head. I always carry a sketchbook and watercolour pencils with me, I feel bereft without them.

Who and what are your greatest influences?

I’m like a magpie when it comes to artistic influences, I find something to inspire me in almost every show I go to and have a bookcase crammed with other artists’ catalogues and tomes. Some of my favourites right now are Christina Quarles, I love her figures and the way she thinks about identity and the sense of looking at the body from both the inside and outside. Dana Schutz, the compositions and crazy scenarios her paintings conjur up are brilliant. Michael Armitage, David Salle, Paula Rego, Carlos Quintana, Njideka Akunyili Crosby, George Condo…I could write pages of artists’ names so I’d better stop. Another huge art love is Venice, I haven’t been many times but I have been so captivated when I have. I could camp out in Madonna dell’orto and look at Tintoretto’s Presentation of the Virgin… which is saying something as I’m not a keen camper!

An unexpected source of inspiration?

I find Instagram a big source of inspiration as I follow so many great artists and love getting to see their work in progress and behind the scenes…their sketchbooks or thoughts…the bits you never see in the gallery shows. The ability to have conversations with other artists around the world or see into studios as work is being made, creates a sense of community and a feeling of being part of the wider art world even when you are sitting painting in your own studio alone. It’s a very different type of inspiration from the one that you get from seeing art in real life hanging in a gallery or museum, but I find it really important as well.

What do you want people to take from your work when they view it? Do you have the audience consciously in mind when you are creating?

I hope that when people look at my work they will see both the familiar and unfamiliar in it. They will enter it via something that they recognise and then perhaps be offered a question held within something that is ambiguous or unexpected. I hope that it will make them think about their relationship with the body or figure.

I don’t think of the audience when I am making work, I think of the question in my head such as what does it mean when we disassemble body parts, what does a cartoon eye versus a ‘real’ eye convey? I only consciously become aware of the audience when I step back from making and try to look at what I’ve made critically.

What events in your life have mobilised change in your practise/aesthetic? How has your art evolved? Do you experiment?

I feel like I am always evolving, which keeps me bound to a certain energy and integrity within the work. I am very experimental and because I respond to contemporary life around me, I feel like the work always has the potential to change.

What are your ideal conditions or catalyst for creating a “good” piece of work?

I don’t think there are ideal conditions for making good work, other than to keep working and keep challenging yourself and questioning what you do. Sonia Boyce was one of my tutors at CSM and she told me to trust in the making, that doing will lead the way. It took a bit of time for me to understand exactly what she meant, but now I do.

Tell us about the inspiration behind one of your (consignment) works?

One of the pieces I have consigned is called ‘Unquilted’ and it is inspired by the psychology behind panic buying toilet roll. It fascinated me that the pandemic led us into a place where toilet roll became the icon of a country’s anxiety and it was exploited by shops putting prize pyramids of Andrex in their window displays. I was interested to read that panic buying toilet roll denotes general anxiety as opposed to specific worry. I started to make sketches of figures surrounded by toilet rolls, grabbing onto them or running away with them. This painting was developed from one of those sketches, in which the figure is frozen in a parody of movement, its limbs mimicking the palette and form of the toilet rolls. I liked the sense that the figure had become subsumed by these objects, almost petrified, except for the claw-like markings in the hand. There is nothing very real about this figure other than perhaps its direct gaze which I think references the reality of the situation that it has been placed in. The title ‘Unquilted’ is a nod both towards the value system that is created around toilet rolls and the wider connotations of the word.

Something in the future you hope to explore?

The exploration in toilet roll paintings led me to think more about our relationship to inanimate objects, which is something I am now exploring further. I am always experimenting with my paint and am thinking about testing working on different surfaces. I have never done any screen printing and keep seeing really interesting painting mixed with screen print, so I think I’d like to try that at some point in the future.

Posted on by Rebecca Sammon

In the Studio with Rebecca Sammon

Rebecca is a visual artist whose bold, poetic pieces pulse with vibrant immediacy. Her works are inspired by abstracted elements of nature at play with human forms within imagined landscapes, moving from suggestions of mythical narrative into the more ambiguous, fluid space of uncertainty. We met with Rebecca to tell us more about growing up in Manchester, and unexpected sources of inspiration.

When did you first begin to see yourself as an artist?

I would say only in the last year. I felt I was an artist at age 17 but then went to art school – my course was Critical Fine Art Practice at Brighton and it made me feel alienated from making art, I left university and worked in the fashion industry until 2016 when I left it all behind to travel and from that point on I have made work pretty much every day.

Where are you from and what was your upbringing like? How has this impacted your work?

I grew up in Wigan, Greater Manchester as a family we also spent time every year in Connemara on the west coast of Ireland (half my family is from there), from a young age my experiences there filled me with a love for nature and mythology. There is a mystery and intrigue layered within the place for me which always comes to mind as a place for my imaginary characters to exist.

Paint us a picture of your artistic journey. What inspired you to first pursue, and then continue to practice, artistic work? Was there a pivotal moment when you felt you were on the right track?

When I left London to travel, I started on my artistic journey again – I took a case of art supplies and set up makeshift studios along the way, I drew from temples and strange landscapes. I spent the most time in Sri Lanka, Vietnam, Nepal and Myanmar and snippets of memories from all these places continue to inspire my work now . The uniquely strange and wonderful Myanmar was so inspiring, I particularly loved Bagan – the city is quite dusty which creates a hazy mist that fills the air and diffuses the light – at sunset the whole place has a kind of mystical light that covers all the ancient temples and I would love to bring a feeling to my work similar to that I experienced in these spaces.

What’s the message of your work? Where do they come from? How would you describe your aesthetic?

I create figurative pieces influenced by snippets of mythology and symbolism reworked into new stories. The pieces are often led by certain narratives or ideas which become disjointed when merged with motifs and details from other places. I don’t want to create purely narrative pieces – it’s the feeling of something off balance or unexpected that I feel transports my figures away from a truly representational scene. Colour is also very important to me and I love working with combinations that take the figures into another world.

Who and what are your greatest influences?

My influences vary from week to week with so many amazing artists out there, Diane Dal Pra’s work blows me away. Overall though, I always find myself going back to look at Old Masters paintings for inspiration and always love, Botticelli, Piero Della Francesca, Andrea Mantegna, and Veronese and I always find something new in these works.

An unexpected source of inspiration?

I still go back to photos I took of wall paintings in abandoned Bagan temples – I spent so much time there and found them incredibly beautiful – most of the temples were completely abandoned and you could go and spend time there with ancient wall paintings that would usually be viewed through glass.

What do you want people to take from your work when they view it? Do you have the audience consciously in mind when you are creating?

I usually don’t have the audience in mind when creating but as a piece progresses I often encourage the expression of my figures to interact with the viewer, I often work and rework expressions in faces to create areas of the piece that are direct and engaging.

What events in your life have mobilised change in your practise/aesthetic? How has your art evolved? Do you experiment?

I think the last year has been the biggest one for me and I’m so grateful that I have had my artwork to fill my time this year. The time in multiple lockdowns has allowed me to focus and build on my aesthetic. I am experimenting with other materials on the side but for the moment my main experimenting is in building composition using the materials I work with more regularly.

What are your ideal conditions or catalyst for creating a “good” piece of work?

Ideal conditions vary for me. I usually listen to music for drawing as music can help me get into the right state of mind, great music can really lead the drawing, once it’s at a stage where I am working with colour and adding details I tend to switch to a film – maybe one I have already seen that plays in the background that isn’t too distracting, otherwise I listen to podcasts – whatever keeps me glued to the studio works best.

Tell us about the inspiration behind one of your works?

I have a fascination with antique astronomy maps and have been working on a series of drawings influenced by these. I use these maps as references to sketch from and then later create pieces where ideas from the observational drawings seep in. ‘Deep Blue Sky’ was a piece I drew from imagination triggered by the idea of creating a new kind of constellation scene with figures floating in the skies.

Something in the future you hope to explore?

I am starting to work on some larger oil paintings with multiple figures. This is new for me but it’s great to be experimenting with something new and I am enjoying the feeling of working on a larger scale.

Posted on by AucArt

5 Minutes with Natasha Arselan

ones to watch

5 Minutes with Natasha Arselan

This month, we sat with AucArt's founder and CEO Natasha Arselan to talk about discovering new artists, her mission and motivations, and latest sale with AucArt, 'Ones to Watch'.

The most useful piece of life advice you’ve been given?

Faith over Fear

Are there any art patrons, collectors or mentors who have inspired you?

I think I’ve learnt a lot from the many I have had the privileged opportunity to cross paths with. In terms of collectors, I find the Vogel’s story the ultimate love story, very inspiring.

Can creativity be taught?

Everyone’s born with creativity. I think it’s more the opposite, that as we grow we are conditioned to think rationally from the head rather than the heart. I believe creativity can be preserved & nurtured; it’s a state of mind.

An artist on the other hand cultivates a vision through a language of their own and they dedicate their life sharing this with us though their practice.

How do you typically discover new artists?

Visiting art schools, studios, exhibitions, editorial, fairs, research.

Describe your “taste” in 1 words?

Eclectic

Which piece of art holds the most meaning for you?

Gosh, each piece holds its own individual meaning for me.

Buy what you love. You’ll know if you see a work and cannot forget it.

What’s most important to you – texture, colour or shape?

Depends on my mood, I’m allured by all three.

An underrated form of art?

Ceramics & Tapestry

Your mission in a sentence?

To share my joy of discovery & the wonder art brings to everyday life.

Have you ever commissioned a piece?

Yes the last was a work on paper by Gianna Dispenza.

What’s the story behind this selection of artists? Is there a theme or narrative that ties the works together?

This is a selection of artists I am inspired by on a daily basis and have had my eye on for some time now. I am intrigued by their practices, each so different. I find the works wholesome, consistent and striking in their own right.

How has the pandemic affected your outlook? The way you look/buy art?

My outlook has just been very two dimensional this past year, a digital studio visit is not the same as IRL. To be honest when museums & galleries closed here in London, I enjoyed the colours that surrounded me in parks, I’ve never quite appreciated the seasons and all they offer as I have this past year. I think this calamity has affected the works I have acquired in the last few months – minimal & neutral palettes.

What about AucArt makes you most proud?

That it brings joy to so many people all around the world, whilst supporting careers and collections.

What inspired you to create AucArt?

My own desire to collect and support artists on the verge of greatness.

A hurdle you’ve had to overcome?

Depression

What advice would you give to a first-time collector?

Buy what you love. You’ll know if you see a work and cannot forget it.

Posted on by Cypher

In the Studio with Cypher

Cypher is a self-taught visual artist from New Orleans whose practice oscillates between the figurative and abstract, a reflection of the schizophrenic nature of the modern mind. We met with Cypher to tell us more about his inspirations, travels, and how he has been staying creative during the pandemic.

When did you first begin to see yourself as an artist?

I’ve always felt like an artist/creative. I don’t think until maybe I was in my early 20’s that I started to feel as though my work was a craft and was at a point where I could vocally an confidently say, hey I’m a artist.

Where are you from and what was your upbringing like? How has this impacted your work?

I’m from New Orleans, LA born an raised uptown, 3rd ward to be exact. My upbringing was fun, but like a lot of other kids where I’m from, I was raised by a single mother cousins aunts & uncles.

I avoid trouble as much as possible, pit falls & typical things of the sort, art was big in my house along with education.

I did a lot of reading, drawing & I remember a lot of national geographic magazines all of those would just distract me, allowing me to dream & use my imagination, different type of summer camps, road trips experience etc…

Everything about my upbringing an all those things impact my work still to this day an being able to tap into my childhood memories & allow it to flow with the current things I’m creating shows that.

Paint us a picture of your artistic journey. What inspired you to first pursue, and then continue to practice, artistic work? Was there a pivotal moment when you felt you were on the right track?

Short answer NO!

My art journey started really young maybe 6 or 7. My grandmother was a artist, teacher & curator in the 90’s. My uncle was a artist as well, so I’m self taught. As soon as she saw me really taking interest in art, my grandmother immediately made sure she taught me everything she could, while still allowing me to be free.

She would bring me books from places she’d traveled abroad, art books, design & architecture books. As a kid we went to the museum a lot & different art shows. She worked for YA YA arts center after school enrichment program founded in 1988 by artist Jana Napoli.

She would pick me up from school an take me to YA YA after everyday so I got to do art everyday after school for like 8 years, watching them build things like chairs & fabric designs, even the swatch watch collab they did an I still have to this day. I watch an learn from all the older teenage kids as well as my uncle who was in the program. They sold art in the CBD (central business district) of new Orleans, then New York, other US cities, then internationally.

My experiences were very life changing an always some adventure & creativity.

What’s the message of your work? How would you describe your aesthetic?

There’s always a message, sometimes a theme.

But the narrative always connects to me in one way or another, an my life experience telling some type of story or sparking some conversation or question.

I think my ultimate message is to create things that represent me an people that look like me an tell their stories. My purpose is to learn help & teach through my work as much as possible.

Are your works planned? What do you want people to take from your work when they view it?

None of my works are ever planned. I never sketch I just go straight to canvas with the ideas feelings an my emotions. I zone out, then I snap out of it, either the ideas an everything come out or there’s something else that was in my subconscious that I didn’t even realize was there.

And there’s no target audience I think about when I create art because I have to some days. I can’t do anything else…Art has to be free.

Who and what are your greatest influences?

I like a lot of artists but I wanna say my greatest influences come from knowing that I can tell a story an connect with people, wether it’s through beauty or pain & it truly means something to them.

What events in your life have mobilized change in your practice/aesthetic?

I think the opportunity to travel as much as I have done over the last 15 years & so on has helped my work evolve. I use to draw a lot when I was younger, way more than I painted. I remember how much I loved to draw & sketch in ink pen. With pencils I would try perfectly shading an how light or how heavy I applied pressure to the pencil was always something that just gave me such enjoyment. It would put me in a relaxed state. Now I never work on paper. I use a lot of oil paint, oil pastels, garden tools to scrape an add paint to whatever I’m painting, which has been a lot on canvas. Right now a single chop stick is what I use to apply wallpaper adhesive to the magazine & paper cut out. I apply it to my works, like peanut butter on bread. Then I stick it… once it’s on the canvas, I take that same chop stick an then smooth it out, not sure how I came up with that … I try to experiment like a scientist as much as possible.

Because off the climate & weather, sometimes I’m using what I called weathered materials. My canvas gets soaking wet sometimes from the rain if I’m not able to move pieces I’m working on in time. I also like to work on the floor. Things get extra layers accidentally over time an then I have to wait for them to dry before I can work on it again which changes the complete feel of the canvas or magazine cut out or whatever I may be using at the time. I also have wooden piece from different random finds. If the piece is already started, the colors an materials I’m using becomes altered, the image sometimes smeared an then I go from there, build on.

What are your ideal conditions or catalyst for creating a “good” piece of work?

Lol honestly idk? I’ve recently gotten my own studio space for the first time last year at the height of the pandemic. I love the work I’m making now because I have more space, but I’ve also painted in my moms garage an that was my studio, no air, no heat, my small apartment with my kids running around an spilling paint. I also loved those works in those times. I think it’s a mind state. As an artist I feel as though you should be able to create anywhere.

What are your goals for the future? (Projects, collaborations)

My goals are to continue to push the work. To intimidate & shock with beauty, myself & the viewers. I would like to open a gallery that can facilitate as many opportunities as possible, grants, funding, events, fundraisers, schools an so on.

I wanna continue to work with like-minded artist creatives & do group shows where we can build our own worlds.

Tell us about the inspiration behind one of your works?

They all mean a lot to me.

I was inspired a lot by the current events of last year all through the pandemic, the targeting of black people after hundreds of years of being oppressed, all the evictions that took place.

My favorites of them all are “A Stroll to Victory” & “Black Targets”. It about the opposite, there’s no stroll to victory for a Black man in America. I saw this man that was evicted. He had a basket with all his belongings an some things he picked up along the way. I saw him passing a grocery store from across the street, an instantly it grabbed me. He seemed at peace, he was just strolling with all his things, seem to not have a care in the world. I wanted to recreate that in its purest form, the way I saw fit. I saw abstraction.

An unexpected source of inspiration?

I visited Georgetown, Maine about two years ago in the short summer they have. I think it was June. I stayed up there for about 3 weeks. I went with no clue or expectations. All I could think about was the opportunity to get to paint outside of my city for 3 weeks. I packed a bunch of supplies, flew out an I had 2 rolls of canvas shipped out before I left.When I got there it was an amazing house on the water, deer grazing every morning. No wifi, no cell phone, just me my photographer friend Casey Shaw & a big house.

After the first week of exploring & eating all the lobster & haddock possible, daily visiting the museum in town an the other small galleries in Bath, I painted the next 2 weeks straight. Everyday the inspiration was crazy, never felt anything like that before. It is now easily one of my favorite places now.

How have you been staying creative during the last year?

By educating myself as much as possible, lots of reading, trying new things within myself & art.

Pushing myself to become more free, writing a lot of notes of ideas down, thinking of mini things I wanna build & paint, sculptures, home decor an all types of other things. Just really exploring.