Step inside the mind of acclaimed artist Anna Sudbina, as she shares a creator’s unique perspective on curating gallery walls that transcend aesthetics. With an insider’s understanding of her own work, Sudbina knows exactly how to make each piece stand out and evoke its deepest meaning.
By Sophie Heatley | 27 Nov 2024
From bold abstractions to intimate portraits, Sudbina‘s insights reveal how to create walls that are not only visually captivating but rich with depth and emotion. Discover how to curate a gallery wall the artist’s way and transform your space with purpose and personality.
Oud and Stone (oil and ink on canvas, 2019, 100 x 76 cm) and Doubt Nothing (acrylic, gesso, and ink on canvas, 2022, 50 x 40 cm) by Anna Sudbina
In her own work, Sudbina blends the atmospheric gestures of her large abstract pieces from her Interior of the Mind series with smaller, nuanced portraits from her Notes to Self and Abstract Portraits collections. This unique pairing, she says, creates a dialogue between bold, open-ended expressions and intimate, detailed portrayals, offering viewers a layered experience within any space.
Craft a Dialogue Between Artworks
When arranging these contrasting works, Sudbina emphasises the interplay between bold abstractions and subtle human elements. “The larger pieces pull you in with their rich colours and textures, while the smaller portraits invite you to come closer,” she explains. This juxtaposition creates a space that feels both grand and personal—a blend that invites viewers to step back to take in the whole wall, then approach individual pieces to uncover their intricacies. The result is an immersive environment where abstract exploration and emotional resonance coexist, adding a sense of movement and depth to the room.
Lost In Terracotta (oil and ink on canvas, 2024, 122 x 91 cm), In The Breeze Of Silence (acrylic on canvas, 2023, 50 x 40 cm), and Soft As She (acrylic on canvas, 2023, 50 x 40 cm) by Anna Sudbina
Layer Textures and Play with Frames
Known for her use of impasto and unconventional tools, Sudbina’s artworks are deeply tactile. When combining several of her pieces, she suggests playing with frames but to avoid glass to maintain this tangible quality, “you want to allow the textures to come forwards, inviting viewers to engage more closely with the art.”
“Framing should not only complement the artwork but also reflect the character of the space,” she says, noting that a carefully chosen frame can help an artwork feel more at home in any interior and stand out amongst a larger selection on a wall.
Style and Substance by Anna Sudbina (acrylic, ink, and gesso on canvas, 2022, 50 x 40 cm) in vintage frame
“A simple, high-quality frame always looks elegant, but don’t shy away from experimenting with scale or making bold choices if it suits the room. I’m a big fan of incorporating vintage elements into interiors—bold vintage frames can add incredible character and charm.” If you already own or discover a standout frame, consider commissioning Sudbina (or another artist whose work you love) to create a custom artwork perfectly sized for it. “It could become a stunning centrepiece, serving as the anchor for your gallery wall.”
For those embarking on building their first gallery wall, Sudbina’s advice is refreshingly simple: “Start with what you love.” Art, she believes, should evoke a personal connection, creating an experience that resonates deeply with the viewer. “Each artwork tells a story,” she says, “and ideally, it echoes memories, emotions, and parts of the collector’s own life.” If you start with a piece that means something to you rather than just one that suits the space, the rest will follow more organically.
Personal and Universally Inviting Gallery Walls
In creating a gallery wall, Sudbina encourages designers and collectors alike to consider how the art interacts with the textures, colours, and materials within a room. A well-curated collection, she says, shapes an atmosphere that’s both personal and universally inviting. By layering different pieces, colours, and textures, Sudbina’s approach to gallery walls transforms interiors into dynamic, engaging spaces where every viewer can find a piece of themselves reflected within the art.
Looking for more inspiration? Explore Rise Art’s gallery wall curation for Soho Home
Recreate the distinct feel of Soho Home studios in your own space with curated collections by Rise Art, each work a testament to the refined Soho House way of living.
Our recent curation for Soho Home’s Westbourne Grove Studio, at the lively heart of Notting Hill, saw the installation of a selection of unique works by artists such as Emily Kirby, Charlotte Roseberry, Andrew Crane, Meghan Spielman, and more. For further details, visit in store or email us at advisors@riseart.com.
We’re forever inspired by artists who dare to create works without traditional gallery spaces in mind. Textile art and ceramics are reshaping how we experience the modern home, offering objects that blur the line between functionality and fine art.
By Sophie Heatley | 02 Dec 2024
Two artists at the forefront of this movement, Heidi Lanino and Michelle House, bring unique perspectives to their craft, turning everyday items and spaces into expressions of creativity, connection, and cultural storytelling. In this interview, we bring together their insights on presenting statement pieces the artist’s way.
Heidi Lanino: “My work is meant to interact with its environment.”
Heidi Lanino, known for her figurative drawings and paintings, describes her transition from drawing to clay as a natural evolution. “Working with clay connects me to the earth,” she explains. “It’s a material rich with history, deeply rooted in functionality and beauty.” Her ceramic plates, adorned with calligraphic lines and sgraffito designs, often depict women, birds, and foliage inspired by mythology and nature. “I want my work to celebrate the fabric of life,” she says, “transforming domestic objects into poetic vessels that merge the natural and the philosophical.”
Detail of La Femme Bleu by Heidi Lanino (clay, slip, ceramic, glaze, 2023, 9 x 38 x 38 cm)
Lanino’s process is as meditative as it is expressive. “The act of hand-building allows me to shape, draw, and paint directly into the clay, creating works imbued with texture and symbolism,” she shares. For Lanino, making a statement isn’t just about bold designs but about creating a dialogue between the piece and its surroundings.
“Arranging plates in clusters on a wall creates dynamic compositions that feel like visual poetry,” says Heidi Lanino | Pictured above: ceramic display of handmade bowls by Heidi Lanino
“My work is meant to interact with its environment,” she adds. “Arranging plates in clusters on a wall creates dynamic compositions that feel like visual poetry, telling a story that changes with the viewer’s perspective.” Her advice to collectors? “Let the pieces breathe—use neutral tones or minimal décor to allow the details to shine.”
Heidi Lanino’s Studio
Michelle House: “Don’t be afraid to hang colourful works on dark walls.”
For Michelle House, textiles are an opportunity to infuse spaces with vibrancy and texture. Her bold, multi-dimensional works, often layered with geometric patterns and intricate details, aim to spark a tactile and visual dialogue. “Textiles have a unique power to soften a room while adding energy,” she explains. House encourages collectors to be adventurous: “Don’t be afraid to hang colourful works on dark walls. I saw a yellow piece of mine displayed on a deep grey wall—it was striking!”
Young Vic Series: No 1 by Michelle House
From left to right: Traces #2 , Traces #1 , Traces #4 – Editions of 50 (Archival Hahnemuhle Photo Rag 308gsm (100% cotton) printed with pigment inks, 2019 – 2020, 84.1 x 59.4 cm)
Lanino also believes in the power of experimentation, encouraging designers to embrace creative risks. This approach was recently highlighted by a collector who paired her swirling pencil and charcoal marks with their precisely lined walls. The result was a striking visual contrast that maintained a harmonious balance, enhancing the composition without overwhelming the space.
Figure No.1 (SOLD) by Heidi Lanino in a collector’s home (charcoal and pastel on paper, 2023, 119.4 x 88.9 cm)
Similarly, House emphasises the versatility of her work, noting how it adapts to different environments. “Some pieces are hung from wooden dowels to create dimension, while others are framed behind anti-reflective glass to highlight the texture of the linen. I’ve created curtains for clients before with my work! The possibilities are endless,” she says.
A unique curtain commission by Michelle House using her signature geometric designs
“Even in narrow spaces like stairwells, textiles can make a statement while dampening sound and adding warmth.” Beyond their visual appeal, House explains, textiles absorb sound, adding warmth and calm to a space—qualities that enhance their presence as both art and functional design elements.
“A statement piece isn’t just about standing out; it’s about bringing meaning to the everyday.”
Both artists draw immense fulfilment from their commissions, which often push their creativity in unexpected ways. Lanino recalls creating ceramic pieces for hospitals and healing centres. “Knowing my work could bring comfort and familiarity to such spaces gave the process a deeper meaning,” she says.
Fleur Blue Flower by Heidi Lanino (clay, ceramic, slip, 2022, 10.2 x 35.6 x 35.5 cm)
Similarly, House shares her experience designing textiles for a historic building. “The British Academy commission was a fascinating challenge,” she reflects. “Drawing inspiration from the architectural details, I created textiles that echoed the building’s history while complementing its grandeur.”
British Academy Commission | Photography credits: Benjamin Hutton
Their work is as much about storytelling as it is about craftsmanship. Lanino sees her plates and vessels as “reflections of cultural storytelling,” while House considers her textiles “artworks that live and breathe within a space.” Together, they illustrate why ceramics and textiles are becoming the new statement pieces for modern interiors. As Lanino puts it, “These aren’t just objects—they’re an invitation to connect with beauty and meaning in everyday life.” And House agrees: “A well-placed textile or ceramic can transform a room, creating an atmosphere that feels both grounded and alive.”
Statement Pieces for Modern Interiors
Whether it’s a single bold plate on a table or a series of textiles adorning a stairwell, the power of a statement piece lies in its ability to transform a space—and invite conversation. As Lanino aptly concludes, “A statement piece isn’t just about standing out; it’s about bringing meaning to the everyday.”
Red Reeds by Michelle House (Archival Hahnemuhle Photo Rag 308gsm printed with pigment inks, 2014, 50 x 40 cm)
Make a statement at home with our Statement Pieces Collection, full of works that inspire conversation and leave a lasting impression.
Textile art is experiencing a remarkable resurgence, celebrated for its ability to infuse spaces with texture, warmth, and personality. In this exclusive feature, contemporary artists Alla Grande and Eni Pullumbi share their contrasting approaches and creative processes, offering a glimpse into the boundless potential of textiles in contemporary art and interior design.
By Cecile Martet | 12 Dec 2024
At the forefront of this movement are Alla Grande, renowned for her intricate, highly textural pieces, and Eni Pullumbi, who pushes boundaries with bold explorations of volume, colour, and unconventional materials.
Alla Grande: a new way of perceiving luxury
Alla Grande, a German artist and designer trained in architecture, sees her textile works as inner journeys translated into abstract compositions. Each piece is a superimposition of sensations and reflections. ‘My art is a journey through thoughts and emotions – each piece is an expression of the limitless nature of human creativity,’ she says.
Alla Grande,The Checkmate (2024, acrylic paint, cotton and glue on canvas, 80 x 80 cm)
Her training in architecture has had a direct influence on her work. The strong geometric shapes and play of light and shadow she favours give her work a sculptural dimension. They fit perfectly into a variety of settings, from luxury hotels to workspaces and private residences. For the Krefeld-based artist, textile art doesn’t just dress up a space; it invites an emotional and sensory experience.
Alla Grande, The Labyrinth 1 (2023, fabric sculpture, acrylic on canvas, 100 x 100 cm) | SOLD
‘The right lighting can accentuate texture and colour, making the artwork seem alive,’ she explains. Soft, directional lighting reveals the richness of folds and shadows, while carefully chosen framing can emphasise the elegance of a piece while protecting it.
Alla Grande also encourages people to consider the scale and placement of their works so that they find their rightful place in an interior. “Geometric or monochrome textile works create a modern, timeless aesthetic without overwhelming the space,” she says. This ability to create bespoke works in harmony with the surrounding architecture is an integral part of her approach.
Alla Grande,The Eye of the Ocean (2024, acrylic and glue on MDF board, 68 x 68 cm)
For Alla Grande, textile art is a medium that transcends traditional boundaries: “My works allow the viewer to engage in personal explorations and establish a connection with art.” This intimate relationship between work and space offers a new way of perceiving luxury, where aesthetics combine with a deeply immersive experience.
Eni Pullumbi: art that comes alive
Albanian artist Eni Pullumbi reinvents textile art through “wall sculptures” using unexpected materials. His practice, fuelled by an insatiable curiosity, leads him to experiment with elements such as expanded polyurethane, felt, and abrasive sheets. Each work is born of a meticulous observation of everyday life, transforming banal objects into captivating artistic pieces.
In Eni Pullumbi’s studio
“It all began with a banal moment: while washing up, a sponge caught my eye. Its duality– soft on one side, rough on the other–fascinated me, leading me to imagine how it could be transformed into art”, he recounts. From this intuition was born the SpongePop collection, a playful and colourful series that explores geometric shapes and chromatic contrasts.
Eni Pullumbi, Fourteen Curious Eyes (2024, woven mural, felt and mixed media on MDF, 83,5 x 83,5 x 7,8 cm)
Eni Pullumbi’s aesthetic evolves with each collection. SpongePop is suited to eccentric, modern spaces, where bright colours blend with pop-style interiors. Curious Eyes, on the other hand, with its pastel tones and delicate volumes, fits into warmer, more intimate environments. “Walls with natural imperfections, for example, add an authenticity that enhances the softness of this collection,” he explains.
Eni Pullumbi, Bonnie and Clyde (2023, polyurethane, abrasive sheet and acrylic artwork, 91 x 61 x 8 cm)
The interaction of his works with their environment is at the heart of his approach. “When choosing a location for one of my creations, I invite you to consider it as a living thing, capable of interacting with its environment and transforming its atmosphere,” explains the Milan-based artist. Under natural light, the materials reveal shifting shadows that enrich their expressiveness. That said, the artist also enjoys experimenting with artificial lighting to intensify volumes and textures.
Textiles and tapestries: immersive, tactile experiences
Textile art is capturing attention not just for its aesthetic appeal but for its ability to evoke sensory and emotional connections in an increasingly digital world. Alla Grande and Eni Pullumbi illustrate this beautifully—offering pieces that go beyond decoration to create immersive, tactile experiences. Their work reminds us that art can be both personal and transformative, grounding us in the materiality of the spaces we inhabit.
Discover their creations and more in our textiles and tapestries art collection—where innovation meets tradition, and every piece invites you to rethink the relationship between art and living.
You may recognise textile artist Meghan Spielman from our collaboration with Soho Home, where her vibrant tapestries have adorned the walls of their studios, captivating collectors worldwide. Drawing inspiration from heirloom textile traditions, Spielman weaves subtle tributes to the legacy of female craftsmanship.
Her work echoes the rich history of American quilt and coverlet patterns, transforming them into a visual language that tells stories of time, place, and the hands that created them. With each piece, she rejuvenates this enduring art form, blending tradition with her own dynamic perspective.
Argentine artist Lobo Velar de Irigoyen describes his practice as “a playful and abstract attempt to explore the intimacy of everyday life [to] pose and question communication problems and conflicts of interpretation.” His work seamlessly oscillates between collage, photography, and painting, creating a harmonious yet enigmatic fusion that demands attention. Each piece invites exploration and challenges the viewer, sparking the imagination to craft its own narrative. The story behind his works may remain elusive, but this ambiguity only deepens their allure, ensuring a mesmerising experience with every encounter.
Simon Tatum, an interdisciplinary artist from the Cayman Islands now based in Nashville, Tennessee, creates thought-provoking works that explore identity and perception. Drawing inspiration from W.E.B. Du Bois’s concept of double consciousness, Tatum transforms printed imagery—such as advertisements and documentary photographs—and finds objects into a distinctive visual language.
His art reflects his deep engagement with colonial histories, the complexities of tourism, and his personal journey as a mixed-race Caribbean man navigating societal expectations. Through his deconstruction and reconstruction of these elements, Tatum invites viewers to reconsider the narratives that shape cultural identity.
Kenyan artist Nelson Ijakaa views art as more than a form of expression—it is a catalyst for societal transformation. Refusing to be confined by a single medium, his dynamic practice encompasses painting, photography, video montage, installation, and even augmented reality. Now working from a residency in Hamburg, Ijakaa remains steadfast in his mission to challenge power structures and amplify African voices through his thought-provoking creations.
Brazilian artist Aline Gaiad creates playful and personal domestic scenes, drawing inspiration from everyday life. Her home and studio meld into a seamless creative haven, reflecting her artistic ethos. Influenced by the warmth and sophistication of her childhood home—where she was immersed in a family of avid collectors and artists—her work evokes a sense of nostalgia and charm. Delicate curtains, eclectic wallpapers, and whimsical figures populate Gaiad’s quirky, dollhouse-like abodes, transforming ordinary spaces into richly imaginative, smile-inducing worlds.
Aline Gaiad in front of a selection of her interior paintings
London-based Georgie McEwan works with painting and spatial design. Drawing influence from her architectural background, McEwan’s work entangles the familiar in poetic explorations that warp and play with the boundaries between architecture and art. Joyful abstractions of space, colour and pattern present an alternative way of looking at the world, where distorted dimensions and floating fragments transport us into unexpected landscapes of the imagination.
Thanks to his unique background and diverse influences, Alexander Grawoig transforms the mundane into the extraordinary, reflecting a deep engagement with both material and metaphysical themes. Forgoing formal education to support his family’s graphic design business, he cultivated a deep appreciation for genres like jazz, blues, and electronic music, alongside influences from Dada, Fluxus, and Abstract Expressionism. Since 2008, Grawoig has performed globally under aliases like D/P/I and Deep Magic, collaborating with luminaries such as Laraaji and Orphy Robinson and appearing at venues like MoMA PS1 and Mutek.
Left: Alexander Grawoig framing artworks | Right: Ad Hocc (5) by Alexander Grawoig (Acrylic, oil pastels, graphite, linen, cotton, staples and cardboard on wood panel, 2024, 100 x 70 cm)
French sculptor Anne Mourat reimagines the classical figurative form through her bronze casts and clay models, introducing what she describes as “fantasies” in disproportion. By emphasising larger, unconventional body shapes rarely seen in traditional sculpture, Mourat celebrates humanity in all its power and fragility.
Her ongoing series, Women/Objects, invites models to pose with an object of their choosing, allowing them to “refocus on the essential, detached from any external gaze.” Through the grandeur of scale and commanding stances, Mourat reveals a striking vitality in each figure, tirelessly elevating their presence sculpture after sculpture.
Lolote (bronze casting based on an original modelled in clay, 2006, 22.5 x 25 x 21 cm) Edition of 6 | La Campée (bronze casting based on an original modelled in clay, 2006, 61 x 46 x 33 cm) Edition of 6
Contemporary photographer Casey Moore draws inspiration from landscapes as diverse as the wilds of New Zealand, the Austrian Alps, and the rolling hills of the UK. His meticulously composed photographs delve into nature’s epic scale with surreal precision, inviting viewers into a world where every detail pulses with life. Moore aspires to balance introspection and vibrancy, drawing viewers attention to the quieter moments often overlooked in day to day life.
Photographer Casey Moore holding up one of his hand-printed photographs
With a practice spanning over six decades, Pen Dalton navigates the shifting dynamics between painting and printing, image and text. Her work began deeply rooted in her childhood experiences with her father, who worked in the newspaper printing industry and introduced her to the expressive potential of text, print, and colour. These early influences shaped her exploration of oxymorons and binary perceptions: fathers and daughters, black and white, image and substrate, digital and analogue, mind and body.
Left: Bolus by Pen Dalton (acrylic paint and mediums on home mounted beech panel, 2019, 39 x 28 cm) | Right: Pen Dalton
Her work also interrogates formal oppositions—transparent and opaque, gloss and matte, impasto and smooth. “I am interested in the social analogies and metaphors that can be inferred from these relationships and in what lies in the vast territory between,” she explains. In recent years, Dalton’s practice has pivoted to become one of reconciliation, finding harmony within these binaries by merging contrasting marks on the canvas into a cohesive whole.
For more inspiration, take a look at our What Collectors Have Their Eye On collection, updated monthly with wish-listed and saved works by Rise Art collectors.
From vibrant oils to intricate threadwork, discover how Sophie Anne Wyth connects intuition, movement, and the fragility of the present moment through her deeply personal process.
By Rise Art | 06 Jan 2025
Your practice began through art therapy, which introduced spontaneity to your work. How does this spontaneity influence your process when approaching a new painting?
The impact of it is fundamental as it allows me to create without worrying about the result. As my practice evolved, it became a lot more directed but I keep from this initial approach the energy to start, avoiding any writer’s block or its equivalent. I give myself the freedom to make mistakes, be joyful about paint and I focus my attention on the act of creating itself.
Your art spans both abstract and figurative styles. How do you decide which approach to take when exploring themes like human psychology, sex, and love?
I’ve actually moved away from figurative art in recent years. I am currently obsessed with how colours vibrate next to each other, how some pop and others recede and what it says. Balancing shapes and creating balance is what currently dominates my practice. I want to represent the fragility of an instant, show how things are in constant movement and bound to change. I want to capture the beauty, the angst, and the general essence of the present.
Right: Sophie Anne Wyth in front of Inner Voice (pictured below) | Left: Counterpoint (oil on paper, 2022, 60 x 42 cm)
You’ve mentioned that your fashion background influences your art, particularly in terms of elegance and rigour. Could you describe how your experience in fashion shapes your mark-making and composition in painting?
The overlap between fashion and art is not a conscious one. For a long time, I thought of them as very separate things. I have recently started to play with colours with threads and embroideries instead of paint, creating abstracts this way. Making these soft paintings has been freeing as I made them using my sewing skills but deliberately not following any stitching rules, once again bringing freedom and play to the work.
Above all, it is very important to me that my art bears a form of elegance. The marks are considered and somehow contained, making sure the viewer is held and grounded in a certain aesthetic. I don’t know if it is important to me because I come from the fashion world, or if I ended up in fashion because this concept is important to me. But I truly believe that beauty impacts our lives massively, and that the environment we evolve in can support or hinder us.
Echoing by Sophie Anne Wyth (cotton thread on jute canvas, 2023, 23.5 x 33 x 3.5 cm)
Your work has been described as incorporating both elegance and grit. How do you balance these opposing qualities in your paintings, and how do they reflect your personal or emotional landscape?
I suppose this is how the continuous quest of oneself presents in my work. Each painting is an internal fight, a push to get closer to what I truly want to say. It is troubling that the meaning of each work is being revealed as it is created. I am constantly surprised by my own work, and I think it is why I keep making it. I get to understand a bit more about myself and the world with each painting. The key is to not think but feel, and be guided from within for each mark. The discomfort can be subtle and brought by colours that are just a bit off, not all together displeasing but also not fully comfortable.
Inner Voice by Sophie Anne Wyth (oil on canvas, 2024, 150 x 150 cm)
Human psychology seems central to your work. How do you channel personal emotional experiences or broader psychological themes into your art without being too literal?
The theme traverses me and I discover at the end of the work what I was trying to say all along. I am never too literal when I let intuition drive my hand. One colour calls for another and a shape for another. None of these things mean anything, they are moments and thoughts transformed into images. My work is like a meditation, lived in the moment and delivering meaning from within. I am always amazed how each work can be explained, the theme I quietly worked with in the background detailed with words once finished, when I didn’t even know I was putting these particular things in. They become clear once the work is finished. This is also why the titles are always given once the work is finished, once I understand it. Each painting is a research, some bring answers, most bring more questions!
Do you feel that your art offers you a sense of emotional catharsis or personal revelation, similar to the benefits one might experience in art therapy?
My art initiated in therapy but has evolved since. There is an internal quest, but I now think a lot more about my audience and direct it in a way that can be received and benefits the viewer. It is not a therapy for me but it is a way of remaining connected to myself and my emotions. I would compare it to meditation, which I don’t think can replace actual therapy work but is definitely an important support for a full life.
Fraichex by Sophie Anne Wyth (oil on canvas, 2023, 140 x 130 x 2 cm)
You’ve exhibited in both solo and group shows, including the Every Woman Biennial. Do you feel that these different contexts—solo versus collective exhibitions—impact the way your work is perceived?
During a solo show the whole space is yours to explore and create a conversation between pieces. For a group show, like Every Woman Biennial, you are a guest amongst others, and your piece resonates with works you didn’t know before the show. I like the discovery element in group shows, seeing how your piece has been placed in relation to others. It is also a very good way of being discovered and to meet excellent artists. Both set ups are important.
You’ve been a finalist for prestigious awards like the Celeste Prize. How has this recognition impacted your artistic journey and growth as an artist?
Recognition is necessary, it helps you to believe in yourself. Each external validation and peer recognition is a push in the right direction. That said, the key is to enjoy the achievements as well as to remain focused on the next goal, to never get complacent or self-satisfied. I just try to make sure I enjoy every step.
Sophie Anne Wyth during her Paris Residency in 2023
What kind of feedback or reactions do you receive from viewers and collectors who connect with the deeply personal and therapeutic aspects of your art?
This always makes me very happy when people comment on my work and tell me how it helps them question and see things differently. People mostly comment on the energy the work gives them or the soothing aspect of it. It seems that the fluidity and solidity of it comes through, and the sense of being held. There is no single response I expect from it, but whenever it makes people feel and respond I feel content.
Your work reflects your personal experiences and emotions. As you evolve, how do you see your themes or style changing in the next phase of your artistic practice? And what challenges do you face when sharing personal experiences with the public?
One recurring aspect of my work is that it surprises myself. It is what keeps me interested in it, the constant discovery of it and parts of myself within it. So my style changes “in spite” of me. I am not really choosing to introduce a new style or different methods. It comes from within and I don’t just allow but follow the impulses. I have in the past not allowed some marks or a certain fluidity to come through. I was amazed to see it presenting itself again a few years later, when I was ready. In terms of sharing personal experiences, abstraction is such that it is not literal and therefore doesn’t make me feel too exposed.
Towards Better Days by Sophie Anne Wyth (oil on canvas, 2020, 92 x 122 x 2 cm) SOLD
Do you have any upcoming exhibitions or projects where you’ll be exploring new themes or techniques?
I would love to develop a larger version of my thread and needle works. It would be interesting to use different widths of yarn, mimicking the size of the brushes, bringing in more texture. My existing embroideries are of a smaller size and have just been exhibited in a group show at Southwark Park Galleries. I will continue to explore the movement and fragility of all things in my abstract oil paintings on all scales.
Nelson Ijakaa, a Kenyan artist and advocate, has firmly established himself at the crossroads of creativity, activism, and technology. From his formative years in Nairobi to his current residency in Hamburg, Ijakaa has steadfastly championed the idea that art is not merely a means of expression but a transformative force capable of reshaping society.
Amidst the whirlwind of his residency, professorship, and activism, it felt like a real stroke of luck to find a moment to sit down and talk. I was very grateful to be able to steal him away from his commitments—particularly his role as an honorary professor at HFBK Hamburg, where he leads dynamic discussions on how technology shapes the visual arts—to hear his thoughts on augmented reality (AR), artificial intelligence (AI), and the power of art to interrogate power systems while amplifying African voices.
Witu Conservancy II by Nelson Ijakaa (acrylics and image transfer on canvas, 2024, 135 x 170 cm)
Our conversation meandered effortlessly, weaving through topics as vast as Kenyan Independence—central to the body of work currently available through Rise Art—to his mission to de-alienate contemporary gallery spaces. Listening to Ijakaa speak was nothing short of mesmerising; his words carried waves of knowledge, delivered with passion, conviction, and a certain ease that left me in complete awe.
I hope I can do justice to the depth of insight he shared during our discussion. To provide clarity, I’ve structured this feature into several sections, mindful of the complexity and sensitivity of the histories explored. I have tried my best to recount our discussion with care, with the support of Ijakaa’s guidance and edits.
The Political Backdrop of Nairobi and Its Influence
Nairobi has long been a city of contrasts: a bustling hub of culture and commerce shadowed by stark inequality and political unrest. Post-election violence in Kenya—most notably following the disputed elections of 2007 and again in 2017—has left deep scars. These events were marked by widespread violence, systemic corruption, and the brutal suppression of dissent. Nairobi, as the political and cultural epicentre of the country, became both a battleground and a space for resistance.
Right: Maandamano II (oil pastels, acrylics, and image transfer, 2024, 97.5 x 60 cm) | Left: Gallery visitor photographing Maandamano II
Social justice centres emerged in the city’s slums offering a place for marginalised communities to organise, speak out, and heal. These spaces were vital to Ijakaa’s artistic awakening, connecting him with the communities that would later inspire many of his works and his purpose as an artist. One of Ijakaa’s formative experiences was working near Mukuru, one of Africa’s largest slums, alongside his then mentor, Patrick Mukabi, at the GoDown Art Centre. Mukabi’s studio served as a refuge where people from all walks of life could create. “I was so moved by people’s circumstances,” he says. “I understood from my time here that this so-called successful country just doesn’t care for its citizens in a wholesome way.”
This proximity to Mukuru shaped Ijakaa’s understanding of art as a vehicle for social change: “I began asking myself, ‘What can I contribute to this conversation? What can I do to help?’” Amazed by the everyday resilience of Nairobi’s residents, Ijakaa set out to use his work to humanise and amplify the stories of those overlooked by society.
Maandamano II (oil pastels, acrylics, and image transfer, 2024, 97.5 x 60 cm) and The Crucifixion; (Maandamano) (acrylics and image transfer, 2024, 140 x 191 cm) are part of a recent larger body of work commemorating Kenya’s 60 years of independence. “In these pieces, I analyse and critique what it means to live in an independent Kenya today, contrasting the current reality with the spirit of optimism that characterised the immediate post-independence era. I draw on archival materials, including declassified documents and newspaper clippings, to construct a comparative narrative of the country’s lived experiences over the past six decades.”
The subjects of the portraits are young people from Anidan, an orphanage in Lamu, Kenya, where he taught during a residency in 2019. “To me,” Ijakaa emphasises, “these young, often forgotten individuals symbolise the state’s shortcomings in fulfilling its responsibilities to society.”
Shadow Art: A Light on the Invisible
One of Ijakaa’s most profound projects to date was his use of shadow art to highlight police brutality in Nairobi. In Kenya, the impunity of security forces is a recurring tragedy. Extrajudicial killings—where young men are arrested, disappear, and are later found dead—are not uncommon, especially in economically disadvantaged areas. “People had become desensitized to seeing bodies on the street,” Ijakaa remembers.
He used broken acrylic sheets, salvaged from Nairobi’s polluted rivers, to craft sculptures that cast evocative shadows. “These rivers are where waste is dumped—and, tragically, where people are discarded too. I wanted to draw that connection,” he says. The shadows formed by his installations were haunting, showing outlines of violence that viewers were compelled to contextualise. As audiences approached the work, sensors triggered lights that revealed the full narrative, creating an intimate, confrontational experience.
This tactile approach reflects Ijakaa’s belief that art should engage all senses to leave a lasting impact. “When people walk into a room and feel the art, not just see it, it stays with them longer,” he says.
Lalamika I by Nelson Ijakaa (acrylic and image transfers, 2024, 113 x 146 cm)
Decolonising AI: A New Form of Activism
Today, now residing between Arusha, Nairobi and Hamburg, Ijakaa’s teachings focus on the ethics of AI and AR, specifically how these technologies can empower or exploit creatives. His nuanced position balances optimism with caution. He embraces AI as a tool for enhancing artistic expression but warns against its misuse, which he calls “new-age sweatshops”—a mechanism that strips artists of their agency and reinforces global inequalities.
“When used unethically, AI becomes a new form of colonialism,” he explains. He points out that AI systems, often built on biased datasets, perpetuate exclusion and exploitation. For example, during an earlier collaboration with Greenpeace on decolonising visual imagery databases, Ijakaa encountered the stark limitations of AI systems trained on Western-centric archives. “For example, if you typed ‘snow in Nairobi,’ you’d see an image of Paris,” he recalls. The project aimed to create more representative datasets, showing what Nairobi—or any other African city—might look like in imaginative or hopeful scenarios.
Witu Conservancy by Nelson Ijakaa (acrylics and image transfer on canvas, 2024,135 x 170 cm)
Confronted by the exploitative underbelly of AI, Ijakaa began to shift his focus to ensuring African creatives were recognised as active contributors rather than mere consumers. “We need big conversations to happen around colonialism in AI,” he says. “This isn’t just about art; it’s about equity in the systems shaping our future.”
Breaking Down Barriers in Art Spaces
While Ijakaa’s work addresses global systems of power, his advocacy often begins on a local level–no doubt inspired by his time at the GoDown Art Centre. Central to Ijakaa’s philosophy is the need to challenge the elitism that sadly pervades many traditional art spaces, advocating for greater inclusivity and accessibility. “I want to break down systems that close people off from art,” he says. “Art is for everyone, not just for those who can afford to navigate its gates.”
At his own exhibition in Nairobi, Ijakaa once arrived without formal attire, his dreadlocks loose, only to be stopped at the entrance by security guards who assumed he wasn’t on the guest list. After an awkward exchange during which he had to prove he was the artist, he was eventually allowed to attend his own show. True to Ijakaa’s empathetic and perceptive nature, it wasn’t long before he invited the guards into the exhibition space and personally guided them through the show.
When recounting this experience, he was careful to emphasise that the misunderstanding and assumptions were not the guards’ fault but rather a reflection of “the power structures at play in the art world.” Far from being disheartened, this moment further motivated him to ensure that any exhibition spaces he is involved with welcome locals who might otherwise feel unwelcome in gallery settings. The artist passionately aspires to include anyone and everyone who wishes to engage in dialogue, expressing: “I want people to look at the work I make and see universality.”
Toward a New Canon of African Art
It is for this reason that Ijakaa presses the need to rewrite the global art canon. Why, he demands, do figures like Picasso and Matisse still dominate art history while equally groundbreaking African artists remain obscure? It’s no wonder people don’t feel welcome in these spaces where they haven’t ever felt represented. “African artists have always existed,” he asserts. “It’s time for their voices to be heard and their art to be experienced.”
Nelson Ijakaa at the Artist in Residence-Space during the Graduate Show 2023, Hamburg | Photography Credits: Tim Albrecht
He envisions a future where Sub-Saharan African artists are celebrated as integral contributors to global art history, not just as exoticised footnotes. “My mission is to ensure the art of this region isn’t forgotten but remembered and used to educate others,” he says.
An Enduring Past
The process behind Miaka Sitini II, which forms part of a diptych, involved gathering newsprint and documents from the period immediately following Kenya’s independence. These materials, also used in Miaka Sitini III, reflect the hopes and dreams of a newly independent nation, along with its early challenges and complexities. In Miaka Sitini II, this archival content is juxtaposed with contemporary news, encouraging reflection on what has changed and what has endured over the past 60 years.
Miaka Sitini II by Nelson Ijakaa (acrylics, sisal fabric, spray paint and image transfer on canvas, 2023, 130 x 190 cm)
“The main figure’s image is transferred onto the canvas alongside the archival material, while the background is painted in dark acrylics,” explains Ijakaa. “Monstera leaves, commonly associated with tropical forests, surround the subjects. In this context, the leaves signify the complexity and obscured layers of the subject matter, partially concealing the image transfers and evoking the depth and mystery of a tropical forest.”
A Multisensory Future
Today, Ijakaa’s practice remains deeply multidisciplinary. From shadow art to video installations, woodcut prints to image transfer techniques, his work defies the constraints of a single medium. “There’s so much pressure to have a signature style, but I believe in evolving organically,” he says.
Right: Miaka Sitini III by Nelson Ijakaa (oil paints, acrylics and image transfer, 2024, 143 x 106 cm) | Left: Detail image of Miaka Sitini III
With Nairobi’s young, politically engaged artists pushing back against government repression, Ijakaa sees hope. The city’s gallery scene has become a space for challenging, provocative work, often tackling taboo subjects such as queerness and systemic violence. “The creative output of this season is meaningful,” he says. “It’s a reflection of the resilience and spirit of the people.”
As Nelson Ijakaa continues to push boundaries in art and education, his work reminds us that creativity is not just an act of self-expression but a catalyst for change. Whether he is decolonising AI or amplifying the stories of Nairobi’s marginalised communities, Ijakaa is reshaping the world’s understanding of what art can—and should—be.
By juxtaposing the permanence of stone and marble with the transience of disposable objects, Waugh sparks an open and dissonant dialogue between piece and ponderer on consumerist culture, material value, and social norms.
By Sophie Heatley | 16 Jan 2025
When curating The Sound of Form exhibition, previous Rise Art Prize winner Tom Waugh immediately came to mind. If you’re unfamiliar with Waugh’s work, I highly recommend reading up on his practice and process. The sculptor transforms traditional materials, such as marble and stone, into hyper-realistic representations of ephemeral objects like cardboard boxes, blister packets, and plastic cups—the things we use once and then discard, oblivious to their ultimate destination as they pass from our hands to the eager, hungry mouths of our bins.
By juxtaposing the permanence of stone and marble with the transience of disposable objects, Waugh sparks an open and dissonant dialogue between piece and ponderer on consumerist culture, material value, and social norms.
It is hard not to be drawn into the immense sensory dimensions of Waugh’s work. The intricate details in his Anthropocene series preserve the fleeting imprints of human use, almost like fossils of our consumption. There is a documentary feel to each of his sculptures, ranging from crumpled ‘cardboard’ boxes to wheelie bins, without being factual or historical. They overtly challenge our understanding of waste culture without directly explaining anything at all– my favourite kind of intellectual confrontation, where you don’t realise you’re being provoked until you’re too deep in thought to turn back.
Crushed Box by Tom Waugh (Salvaged Portland Stone, 2012, 18 x 25 x 25 cm) SOLD
There is also an almost magnetic subtlety to their storytelling; each form carries a resonance that feels like a memory—perhaps of the things we, as consumers, have carelessly misused, underused, or left untouched, still in their packaging, before donating them to the local bin men. Out of sight, out of mind. The hyperrealism is… unreal. The dusty, rusty appearance of ironstone, the polished, manufactured sheen of white marble—expertly smoothed or encrusted by Waugh—are uncanny. It’s only when you move closer to the piece that you realise these aren’t discarded relics from yesteryear but exquisite representations.
“I love seeing the shift in perception when people engage with my work. When someone sees a cardboard box in a gallery, it often reinforces their prejudices about contemporary art. But then they touch it, interact with it, and realise it’s so much more than meets the eye. Something they thought was worthless suddenly becomes profound and takes on a new meaning; something valueless becomes incredibly significant.”
Size matters too. Larger-than-life works have a slightly different impact, blending the boldness of Pop Art with an unexpectedly Greek archaeological quality. By immortalising waste objects in materials of high value and amplifying their scale, his work transforms the mundane into the monumental. After viewing them, there is this strange moment when you can’t help but think: Wow, this is what the future ‘us,’ in the Year 3000, will be unearthing. Just as we’ve excavated The Rosetta Stone or, I don’t know, Knossos in Crete, imagining our ancestors’ reverence, they’ll dig up our rubbish and think we worshipped it, that we sacrificed ourselves for a plastic bag. And honestly, they wouldn’t be wrong. I love this tension—it’s eerie and endlessly fascinating.
Anyway, I digress. Yes, on observation, there is the memory it stirs. But then there is something else—equally neurological, perhaps, but more imaginatively stimulating: the sounds they seem to emit. It’s as if the pieces are saying, “Hello, it’s me, that plastic cup you thought you’d got rid of but actually just passed along for someone else to deal with.”
Waugh is no stranger to the terrifying waste mountains that accumulate across the globe—tidal waves of rubbish stretching endlessly across beaches, children scavenging scraps of metal, unwanted pens, and discarded parchments from last month’s waste spree, selling them to local makers. During university, Waugh spent time in India on an exchange programme, analysing and learning the traditional techniques of Indic carving, where he encountered the reality of untreated trash and disposables for the first time.
But back to the sound. Stone and marble are, by nature, silent and enduring materials, yet Waugh’s works suggest a narrative—or even an imagined “sound”—through their subject matter. The rattle of pills in Big Pharma III, or the satisfying crunch of foil in Big Pharma. Wassily Kandinsky once said, “No matter how abstract, every form has its own inner sound.” Here, too, another tension: the physical, unyielding permanence of the piece contrasts with the sensory experience it conjures.
I feel this soundscape deeply when observing these works; the hum of all the things we’ve left behind or overlooked, coming back to haunt us. The silence of these ghostly remains speaks louder than words. Waugh doesn’t need to colour them with explanations, anyone with an ounce of empathy for the planet will feel a rumble of guilt, of unease, the echo of something needing to change before it’s too late.
You can see works by Tom Waugh until April 2025 via our virtual gallery as part of our latest showcase, The Sound of Form.
Uncover six exhibitions we think you should see in London before spring, from Japanese Art History à la Takashi Murakami to tech-tinged dreamscapes.
By Sophie Heatley | 16 Jan 2025
With Christmas behind us and New Year resolutions underway (kind of), I can’t quite believe we’re already halfway through January 2025. Torn between being thrilled that the hardest month of the year is almost over and somewhat shook at how quickly it’s gone, I’m distracting myself with the fortification of my arts and culture diet. Now definitely feels like a good time to sit back, have a coffee, and plan a few exhibition visits. Here are six we think you should check out in the next few months.
Installation view, Japanese Art History à la Takashi Murakami, Gagosian, Grosvenor Hill, London | Photo: Prudence Cuming Associates Ltd
Gagosian London presents new works by Takashi Murakami, reinterpreting iconic Japanese art through his signature lens. Blending tradition and modernity, Murakami explores Japan’s cultural evolution post-Edo period, pairing mythical guardians of Kyoto with contemporary landscapes. Using AI, sketches, and past works, Murakami reimagines historical motifs with vibrant inventiveness. Highlights include his take on the Four Symbols and re-workings of Matabei’s Rakuchū-Rakugai-zu and the Rinpa school. Also for the diary: the artist will be in conversation with Hans Ulrich Obrist on December 11 at the Royal Academy.
Pace presents Neena, aan uthii—Acaye Kerunen’s vibrant UK solo debut. Translating to See me, I am here in Alur, this exhibition showcases sculptures, sound installations, and performance inspired by Ugandan communities and ecological knowledge. Based in Kampala, Kerunen combines visual art, performance, and activism in climate-conscious creations. Her vivid tapestries use natural dyes from roots, flowers, and grasses, blending rich hues like indigos, tangerines, and fuchsias that reflect Uganda’s diverse landscapes. I wouldn’t want to miss this immersive celebration of embodied knowledge and environmental artistry.
Lawrence Perry’s psychologically charged, witty paintings bring universal fables into sharp, contemporary focus. Blending sumptuous textures with uncanny worlds, his work explores themes of desire, violence, and image saturation. Ambitious and visceral, the show crowns Perry’s unique and arresting style, an aesthetic that fuses Renaissance opulence with 70s Californian excess.
Following acclaimed shows at Nottingham Contemporary and Dundee Contemporary Arts, GRIMM Gallery presents Borrowed Air, Martínez Garay’s third UK solo exhibition. Exploring “moments of rupture” where European modernity collides with Andean cosmo-visions, her works in printmaking, etching, and painting give voice to historically underrepresented perspectives. Pieces like Intrusos en sus tierras (2024) challenge official histories, using school textbook aesthetics and a striking brown-white chromatic motif to confront colonial narratives with political and emotional depth.
Showcasing a selection of new paintings across three different series: SYNACLIPS, FRONTRACKS SYNACLIPS SPE and CORTEXOPHIS, Jana Schroder: M. I. G. H. T. explores the Metamorphosis in Generative Human Thinking (M.I.G.H.T.), an acronym devised by the artist to evoke ambiguity and doubt. Immersed in a tech-tinged dreamscape, Schröder explores the clash between digital floods of information and our analogue minds, reflecting how constant connectivity is reshaping our perception and attention– and not necessarily for the better. Biomorphic shapes undulate in vivid pinks, greens, yellows, and blues, like neural networks suspended in water—a mesmerising look at our evolving relationship with technology.
I couldn’t not include Jonathan McCree’s Through The Wrong End Of A Telescope. A playful, improvisational journey, McCree’s third solo show with the gallery features a constellation of cardboard, cast aluminium, folded metal sculptures, paintings, and drawings in a fluid exploration of lived experience and non-linearity. Each piece invites viewers into a dynamic game of perception, challenging them to carve their own unique path through its emergent relationships.
Featured in The Sound of Form exhibition, Anysia Nefissi gives form to the formless. Through a subtle interplay of colour and shape, her works vibrate with sensory poetry. Each canvas becomes a passageway, an invitation to feel the echo of emotions, memories and spaces buried within us.
By Cécile Martet | 10 Feb 2025
How would you define your approach to colour and form in your work?
Colour and form have their own language, which I use to convey messages through my work. Abstraction, through colour and form, can transcend the limits of the physical by making the invisible visible. Each work is a transition from a formless sensation to matter. Colour and form allow me to question the senses and emotions. I then use this knowledge as the key to better understand the invisible world and the Self.
For you, can a shape or colour ‘resonate’ like a sound? If so, how does this translate into your work?
Synaesthesia is a perceptual phenomenon that combines several senses. For example, seeing colours when you hear music. Each sense is triggered by another, creating cross-sensory perceptions. My approach to the senses is not just visual, but kaleidoscopic. In my work, this translates into a practice that encourages sensory experimentation through abstraction. Forms are revealed in a play of movements and gestures that show up creatively through transparencies and dissolutions of paint as well as blurs and accumulations.
Anysia Nefissi, Pillowtalk (2023, acrylic on canvas, 54 x 44 cm)
How do rhythm and vibration play a role in the composition of your work?
Rhythm and vibration play an important role in the composition of my work. They encourage introspection and sensory experimentation. It’s a play between full and empty, silence and noise, vibration and mobility. This hybrid composition allows me to create sensory spaces where these dualities can be experimented with. For example, in my work The White Noise, the rhythm is suggested by the accumulation of transparencies.
Anysia Nefissi, The White Noise (2023, acrylic on canvas, 38 x 29 cm)
How do you choose your colour palettes? Are they linked to specific emotions or ideas?
My colour palettes are linked to psychology and Goethe’s colour theory. There’s also a lot of intuition in my work. I associate colours with emotions that are themselves linked to specific ideas. For example, in my work Thud, which is an abstract representation of a thud, I chose to work in a range of blues, going almost as far as black. This palette is linked to my idea of a thud and nothingness.
Anysia Nefissi, Thud (2024, acrylic on canvas, 79 x 61 cm)
To what extent does the theme of the exhibition ‘The Sound of Form’ echo your own artistic approach?
The viewer projects their dreams, fantasies, fears or oblivion into my work.The trace, the form of the invisible emerges and now we have to decode it. I explore the form of the invisible and the non-palpable through three aspects: the organic, myth, and sensory memory.
Do you think that silence can amplify the visual impact of a work?How does this influence your work?
Silence can amplify the visual impact of a work in the sense that it creates a mental space and an immersion in the work. Silence and absence allow the viewer to engage with the work in a physical way. Silence is necessary for the echo of the work to resonate.
Do you have a creative routine? For example, do you always create in peace and quiet, with background music, or does this vary according to the theme of your work?
My creative routine varies and depends on the theme of my work. It depends on whether I’m in the middle of research, experimentation or the creation phase. On the whole, I like to alternate moments of calm with music, like James Blake’s Say What You Will or Snoh Aalegra’s I Want You Around. I also sometimes listen to podcasts like Talk Art or Avec philosophie. Sound has a huge influence on my work.
Do you seek to create a sensation of movement in your work, or on the contrary, a calming effect?
Yes, I do try to create a sense of movement in my work through abstraction. Although my works project a calming effect, it is through form and colour that movement takes place.This impression of movement is only possible if you look deep ‘inside’ the work.
If your work could ‘emit’ a sound or a rhythm, what would it sound like?
If my works could emit a sound, they would have different tonalities depending on the theme I wanted to give them, alternating with silence. I like the idea of white noise, which contains all the audible frequencies equally distributed in terms of intensity. Each frequency has the same energy.
What do you hope viewers will feel or remember when they see your work in this exhibition?
I’d like viewers to be able to explore the world of sensations I propose by questioning their own perception and experiencing the power of colour and form through their own sensory memory.
From playful domestic scenes to captivating mirror fantasies, the art world is alive with boundary-pushing creators inviting us into their imaginative realms. This article highlights six exceptional women whose work promises to leave a lasting impression. From Brazil to Iran, these artists explore everything from the beauty of daily life to profound philosophical themes, each offering a distinct perspective.
Brazilian artist Aline Gaiad creates playful and personal domestic scenes, drawing inspiration from everyday life. Delicate curtains, eclectic wallpapers, and whimsical figures populate Gaiad’s quirky, dollhouse-like abodes, transforming ordinary spaces into richly imaginative, smile-inducing worlds.
Left: Chapter 7 (acrylic on raw canvas, 2024) by Aline Gaiad | Right: Aline Gaiad in her studio
Working in a distinctly figurative style, Yana Medow’s playful and humorous works express the plasticity and beauty of the human form while evoking off-beat situations with a jocular tone. Yana’s work has been exhibited across four continents and she regularly holds solo shows in Spain, France, and the UK.
Photographer Xidong Luo specialises in mirror fantasy, a combination of self-portrait and still life. Her work aims to express transient feminine beauty, the pain women carry, and the profound connectedness between women and nature. Her work is deeply rooted in Taoism and the philosophy that “Heaven and earth coexist with me, and all things and I are one”, implying the interconnections and interdependency between all things in the universe.
Apollinaria Manko, a talented Belarusian graphic designer, painter, and draftsperson, wields oils with the precision of an illustrator, crafting vibrant compositions that captivate and command attention. Through her art, a harmonious blend of simplicity and geometry, Manko explores themes of self-discovery and the complexities of human connection, offering a fresh perspective on the everyday and inviting viewers to see the world in a new light.
Apollinaria Manko surrounded by her signature colourful works in her studio
Camille Royer, trained in Paris at ESAA Duperré, the Sorbonne, and ENSAAMA Olivier de Serres, co-founded the Mâ Nouvelle Orfèvrerie workshop in Bordeaux in 2018. Her work, centred around metal, blends tactile sculpture with ceramics, glass, leather, and paper. Through techniques like hammering and patina, she explores the feminine body as a political and philosophical space.
Iranian artist Sanam Sayeh Afkan creates captivating worlds of illusion and dreams, where elements seemingly complement each other but never offer a clear meaning. With bold colours and sharp lines, her work invites viewers to embark on a journey of interpretation, leaving the outcome open to them. Drawing from art history and contemporary literature, Sayeh Afkan weaves deceptive, multi-dimensional narratives that immerse the viewer in seductive, timeless spaces. The banner artwork in this article is A Little Dreamlike Tale (Lilinaz and the Rabbits) (oil on canvas, 2022) by Sayeh Afkan.
