Skip to main content
Monthly Archives

Januar 2024

Ekaterina Timko | VENUS



Art direction and photographer:
Ekaterina Timko / IG @ekaterinattimko
Twitter: @timko_katerina
AI artist:
Dustin Hollywood / IG @dustinhollywoodphoto
Twitter:  @DustinHollywood
TikTok: @dustinhollywood
Threads: @DustinHollywoodPhoto
Videographer: Mohammad Sadoughi / IG @mobbrom
Stylist: Anna Douglas / IG @duglas_glow
MakeUp / Hair: Irina Yantsukevich / IG
Model: Evgeniya Avdeeva / IG @13avd
Nails: Aleksey / IG @unial.nails
All items are handmade by the stylist Anna Douglas / IG @duglas_glow
Skirt (mesh) design by @weirdogonzo

Interview with Fashion and Portrait Photographer Dmitry Bulin


Text by Irina Rusinovich 

Interview with fashion and portrait photographer Dmitry Bulin

Purplehaze Magazine is excited to feature Dmitry Bulin’s photography on our recent cover and took the opportunity to interview Dmitry about his approach to his art. Born in a small village in the southern part of the Krasnoyarsk region, Dmitry moved to Moscow in 2002 to study directing at VGIK (Russian State University of Cinematography). Inspired by cinematic images, he began capturing his college friends on a vintage Zenit camera, originally belonging to his father. As he received his first digital SLR camera as a gift after graduation, photography evolved from a hobby into a fully-fledged profession.


Images by Dmitry Bulin 

Images by Dmitry Bulin 

Upcycling Fashion

Follow Dmitry on his INSTAGRAM 

Gill Nunes | UNLEACHED



Creative Director/Photographer: Gill Nunes @nn.gill
Wardrobe Stylist/Creative Director: Joana Silva @joanasilva.stylist
Hair Stylist: Sofia Ribeiro @sofiaribeiro_hairstylist
Retoucher: Pedro Ferreira @peterfretoucher
Makeup Artist: Diogo Ribeiro @makeupbydiogoribeiro
Model: Yana @Best Models @yanashcher

Bodysuit: Patrizia Pepe Tweed Jacket: Loft Bag: MM6 Maison Margiela Jewellery: Rocha Carvão


Left | Trenchcoat: Mackintosh Puffer jacket: The North Face Puffer vest: Marant Etoile Balaclava: Own by stylist Right | Puffer Jacket: Arket Long Down Puffer Coat: Caroll Sunglasses: Miu Miu

Left | Dress: Flávio Brandão Bag: Ganni Right | Turtleneck: Cos Sunglasses: Saint Laurent

Left | Scarf: Acne Studios Vest: Boss by Hugo Boss Right | Dress : Flávio Brandão Turtleneck: Cos Boots: Moon Boots Sunglasses: Saint Laurent Special Thanks to Franco Oculista

Dress: Flávio Brandão Bag: Ganni




Photographer | Max Panov @_maxim_panov
Makeup Artist | Elena Kozina @elena.kozina
Wardrobe Stylist/Creative Director | Orika Lukmanova @orika.lookman
Model | Ksenia  @imugylk @T Models Management

White shirt: Uniqlo Sequins Skirt apron: 10 etudes

White shirt: Uniqlo Tights: Vivienne Westwood

Dress Giulia De Santis @gl.dsn

Coat: Simple life Tights: Vivienne Westwood

White shirt: Uniqlo

Story behind 

This medium was created to encourage our team’s creative director and stylist Orika Lookman make a painting right in the studio with people overlooking the whole – so intimate – process.

We were inspired by her previous works on transparent canvases and kind of forced Orika to create something new in a short period, exactly one hour and no longer.

As she told us after the shooting, it was her worst nightmare to paint before someone else’s eyes, frightened by the thought that the final result could ruin the idea, the shooting and the whole story behind it.

Our model Ksenia wore a shirt painted by Orika right in the studio too, and our makeup artist Elena painted makeup over Ksenia’s face trying to support the image on the canvas.

We call this story A Punk Muse, cause the very first glimpse of the idea was based on Orika’s endless love of the art of Dame Vivienne Westwood, who is still her real inspiration in art and life.

In Focus | London based artist Emma Coyle


Text by Irina Rusinovich 

In Focus | London based artist Emma Coyle

Renowned artist Emma Coyle is captivating audiences with her vibrant and graphic paintings that challenge traditional artistic conventions. Her unique style incorporates elements from advertising, magazines, and fashion, resulting in visually striking portrayals of stylish people. Having established herself in London in 2006, Emma Coyle’s technicolor paintings pay homage to the legacy of Pop Art while also breaking new ground. Departing from the historical conventions of the movement, Coyle utilizes bold contours and pastel palettes to depict her subjects, who exude self-assuredness while posing for the viewer. Notably, her work counters the long-standing influence of the male gaze by presenting dignified and fashionable women who reclaim their narrative.

In this exclusive interview, we aim to delve into Emma Coyle’s creative process, the inspiration behind her art, and the challenges she faced in redefining traditional notions of female representation.

How has your fascination with 1960s Pop Art influenced your artistic journey over the past 20 years?

Initially, it was the ‘look’ that first intrigued me. I have a strong interest in many art movements, but the impact of bold colours and even the size of some of the works which were created in the 1960s really interested me. In particular, James Rosenquist’s larger-than-life paintings and the soft sculptures of Claus Oldenberg.

Over the years I chose different themes to work with but kept a Pop Art style, images from Hollywood’s Silver Screen or Japanese advertisements of the 1920’s. In recent years I have chosen to contemporise Pop Art using current print media advertising images as my starting point. Returning to what first inspired Pop artists, an interest in using imagery that is familiar and current to create art.

Can you tell us more about your recent solo exhibition titled ‚The Best Revenge‘ at the Helwaser Gallery in New York? What was the inspiration behind the artworks showcased?

The Helwaser Gallery exhibition was a real turning point for me, to exhibit with such an accomplished gallery on Madison Avenue. The paintings on exhibit represented a growth in my studio work. A few years prior I had challenged myself to work on larger canvases, and experiment more with colour and compositions. Some of the work featured for the first time, off-centred figures, white painted backgrounds that contain small amounts of pigment, and collaging images together on the canvas.

Copyright | Emma Coyle 

How do you approach combining contemporary fashion magazine imagery and advertisements with traditional painting techniques to create your figurative work?

Preliminary work is especially important to each of my paintings. I constantly collect print magazines and every few years start tearing out hundreds of images. I spend months drawing and tracing, manipulating images, and combining groups of images together. Minimizing details and considering the possibilities of which colours to use can be a long process. Although an extensive amount of work is done before I move to the canvas, I can still mix paint on the canvas or rework lines throughout the painting process.

Could you share your experience of being represented by various galleries in London, such as Arte Globale, Contemporary Collective, and The Marylebone Gallery? How has this exposure contributed to your artistic career?

Expanding my audience has always been my drive for working with galleries. I have been very fortunate to work with some incredibly supportive galleries in London. Their continual hard work promoting my paintings online or including work in exhibitions has helped me to focus on the studio side and further develop my paintings.

Copyright | Emma Coyle 

Congratulations on receiving the International Art Market’s Gold List award. How has this recognition impacted your artistic practice and reputation in the art world?

Awards have a significant impact on any artist’s career and encourage you to work even harder. Whether an artist’s artistic drive is to achieve awards or they are received as nominations, the results are helpful to achieving international attention. The Gold List Award helped me to create sales, have work acquired by renowned collectors, and also helped achieve solo shows internationally.

How do you incorporate ideas of abstraction, minimalism, and negative space into your figurative paintings?

These are three very important aspects of my figurative paintings. They are aspects  achieved in my preliminary work for each piece. When making drawings for months on end, my main focus at this stage is to minimalize chosen images.

I want to almost flatten each figurative form as much as possible by taking away line work. By focusing on creating negative space and abstract space within each drawing it creates a minimal form.

Can you tell us more about your previous exhibitions in Ireland and the recognition you received as a promising new artist? How has your work evolved since then?

I received huge interest and support for my work in Ireland when I graduated in the early 2000’s. I was awarded funding, I had a solo show in Dublin’s Central Bank and I also exhibited at the Royal Hibernian Academy. My work was picked up by newspapers and I enjoyed the success of my early paintings.

My work has hugely changed over the years and has steadily evolved each year from my dedication to my studio work. I find my colour pallet constantly changes, the work is still very painterly, being able to see brush strokes on the canvas or paper. The themes of my painting series have changed throughout the past twenty years and the size of my paintings on canvas have grown. My recently completed one year painting project titled ‘Collective Selection [1]’ reached 366cm/144inches, the largest painting to date. My studio work progresses because of my interest in challenging myself in the studio.

We’d love to hear about your ongoing painting series ‚Sw16‘ based on contemporary print media images. What concepts or messages are you exploring through this series, and how do you hope viewers will interpret your artwork?

My ‘Sw16’ series is currently represented by Covent Garden’s Arte Globale Gallery. The paintings are very bold, bright and exciting. ‘Sw16’ series is a continuation from my ‘12.16’ series which is represented by Helwaser Gallery in New York. This new series is again exploring the use of colour, line work, and composition. When I am working on a painting or in a series I do not think of the narratives within the painting. This is something I leave to the viewer. For me my paintings are about the act of painting, composing a visual on a canvas or paper.

Thank you, Emma and good luck with your artistic endeavor!

Connect to follow Emma here and here 

Meet the artist: 5 Questions to SANTO


Text by Irina Rusinovich 

Meet the artist: 5 Questions to SANTO


Please tell us your artistic vita in a few sentences.

My education in design began at a design school in California, known for its intensive curriculum. This experience broadened my understanding of various design aspects, eventually leading me to roles in art direction, animation, and abstract painting. Over time, I found a special affinity for abstract painting. It resonated with me as it allowed the freedom to explore my own ideas rather than adhering to prescribed briefs.

Was there a pivotal moment when you decided to follow your passion? 

To be honest, since I was a kid. Art has been a part of my life since childhood, a realm where I felt most at ease, at peace – especially when other subjects in school didn’t come as naturally.

Can you tell us about the process of making your work?

My creative process involves thoughtful reflection on ideas that capture my interest, often stemming from personal experiences or observations. In my approach to visual art, I try not to overthink, allowing the art to flow naturally. Experimentation is a key part of my process, sometimes leading me to try new materials or techniques, which can bring unexpected depth to my work. I’ve learned to embrace imperfections, finding that they often add a unique character to my pieces.


What does art mean to you personally? Is there a goal you’re trying to accomplish?

To me, art is a personal meditation as well as an outward expression, a way to share aspects of myself with the world. Goal; It’s rewarding to think that my art might positively affect someone’s environment or mood, whether it brings tranquility or energetic inspiration.

What are your plans for 2024?

For 2024, my aim is to keep exploring and growing as an artist. I’m excited to try out new methods, play with different colors, and continue developing my own voice in the vast world of art.

Discover more about SANTO and her ART at HAZE.GALLERY


By /ART/, /NEWS/

portfolio insight 

In focus | Valentin Fedorov

Artist Statement

My images, regardless of the medium, take on a flat and abstract character. My work is dynamic and even slightly chaotic, I achieve this effect by using slower shutter speeds, and diagonal lines in the composition, outside of photography, it manifests itself in whiplash and quick movements with my hands or brush.I am interested in moving away from the figurative and documentary nature provided by photography through many techniques such as high contrast, where the image loses detail and turns into white spots on a black background.
In this way, I turn to graphic methods, which is why I am close to the techniques of creating prints using analog methods. At the moment, my skills include cyanotype, linocut, chlorophyll printmaking, and another supposedly authorial technique in the project ‚Muted Echo‘, where the image is almost broken up into fragments, which complements the main idea of the project – the process of forgetting.

Apart from making prints, I also like things that are handmade, so-called Art&Craft, because it implies non-idealities and roughness in the work and that each piece will be unique. So I have started experimenting with creating objects in clay, although this is still in the research phase and has not yet developed into conceptual works.

Short Bio:

Valentin is an emerging artist, born in Moscow in 1998. His childhood was spent in different countries, including Turkey and Kyrgyzstan, which gives his artistic practice a cultural diversity.
His approach to art is conceptual and interdisciplinary, speaking to the viewer from a personal perspective. After moving back to Kyrgyzstan in 2022, Valentin began working on ‚House 41‘, a landmark project in his artistic career. This project helped him to reflect on the experience of relocation and a new identity, existing as an outsider in a world where the inhabitants experienced the oppression of the Soviet Union, in the remnants of which he grew up.

Valentin has a photographic background and his work reflects his personal experiences and explores philosophical themes such as memory, temporality and death. For example, his project ‚The Fragility of Blossoms‘ embodies the idea of memento mori by presenting flowers in the form of diptychs, one representing life and the other death. The images are printed on a material that resembles X-rays, contrasting the normal image of a flower with one that has been destroyed: burned, cut, frozen, etc.
Currently lives and works in Bishkek, Kyrgyzstan.

Project „Birches“
I explore the notion of inheritance by the camera passed down to me by my mother. It’s a Soviet „Zenit,“ possessed a defect that resulted in distorted images, challenging conventional perspectives. Through a collage of combined film.
At first glance, the collage appears as a typical depiction of birch trees, a stereotypical symbol of Russia — my motherland.

From the project „Muted Echo“
At that moment, I was in emotional turmoil: fear of an unknown future, pain of loss, shame at my own helplessness in a destructive relationship.
Attempts to end this relationship stretched for six months, but eventually, I found myself abandoned. My feelings fluctuated between sadness, anger, and joy at the thought that he might be happy without me. And also shame, for what, I can’t remember anymore.
This period of my life is almost erased from my memory. I still have the photographic films from that time – I stopped shooting with analog cameras. I have transferred these images into a graphic in which I recreate the process of the decay of memories. A process in which the image breaks down into fragments, like an old painting being crumbled by the grains of time.
This visual metamorphosis serves as my way of recording and tracing the way in which memories fade away, leaving only traces of their former essence. So far, I haven’t fully lived through the experience, and it’s been a long time since I’ve been in a long-term relationship, but I’ve learned to take care of myself.

From the project „Muted Echo“

From the project „Muted Echo“

From the project „House 41“
In the intriguing canvas of life, each thread creates its own unique story. My journey took an unexpected turn when I was uprooted from my homeland by the Russian invasion to Ukraine. Finding myself in a country whose families suffered under the oppression of the Soviet Union, I now stand as a stranger in a foreign land.
The echoes of history resonate within me, shaping my perspective on life and the choices that brought me to this point. The decision to leave Russia, a stance against governmental policies, has not only altered my physical location but has thrust me into a whirlwind of emotions and challenges.
As I navigate this unfamiliar terrain, I have sought refuge in a shared living space, dwelling with nine others. Our bonds are forged in trust, mutual support, and a collective belief that together we are resilient. Living amidst this diverse group, I’ve come to appreciate the special intimacy that communal living fosters. In our shared moments, even in silence, we bear witness to each other’s vulnerabilities, glimpses of humanity laid bare.
This shared existence serves as a constant reminder of the fragility of life and the transient nature of our existence. Amidst the uncertainty, I find solace in the shared experiences that enrich our collective narrative . In the face of disaster, I have come to realise that the impermanence of life allows us to embrace each moment with deep understanding. It is through these shared struggles and triumphs that we find meaning and connection in the canvas of our existence.

From the project „House 41“

From the project „House 41“

From the project „House 41“

© Valentin Fedorov