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In conversation with VANESSA ONUK


Text by Irina Rusinovich

In conversation with artist Vanessa Onuk

In a world where art and science collide, Vanessa Onuk has found her unique artistic voice. Born and raised near Frankfurt am Main, Onuk initially pursued a path in medicine before following her passion for painting in 2022. With a clear vision in mind, she uses acrylic paint to create layers of textures and vibrant color gradients in her artwork. Experimenting with different canvas substrates, she discovered that working on pure, unprimed linen allows her to achieve the perfect mix of bleeding colors and precise applications. Onuk’s abstract landscapes aim to capture moments that mesmerize us, where we want to linger and absorb the beauty of our surroundings. By reducing her works to shapes, colors, and feelings, she invites viewers to bring their own experiences and memories to the artwork, creating a uniquely personal connection. Onuk’s intuitive approach offers a framework for emotions and memories to arise individually, resulting in a captivating and thought-provoking experience for each viewer. We wanted to know more about Vanessa and her approach..

Can you tell us about your journey as an artist? How did your upbringing and education influence your decision to pursue art professionally?

The interesting thing about life is that it always takes different paths than you planned. I am a trained doctor, still run a practice with my husband, and have already worked in one of the largest prisons in Germany in my career and am currently a forensic doctor for the police. This more scientific way of life is something that I would never want to miss, but I always missed the creative part of my life. My uncle is an artist and I have been fascinated by art since I was a small child. As a young woman and mother, I was unable to pursue artistic independence for many years. At the beginning of 2023, my husband gave the impetus to publish my pictures. I have now come to terms with the fact that I need both parts of my life to find inner peace.

What inspired you to start experimenting with acrylic paint and different techniques to achieve layers, textures, and strong color gradients in your artwork?

I have always been magically fascinated by bleeding colors and natural color gradients. At the beginning I had a lot of problems achieving these effects, let alone using them specifically, because the paint rested on the canvas instead of sinking into it. Due to the lack of unprimed canvases, I started experimenting with substrates to achieve the desired effect. While experimenting, I accidentally noticed how wonderful the color changes appear when the colors are applied in layers and I specifically tried to recreate these effects. From my point of view, this technique gives my images a lightness and transparency, overall the finish is matt with a strong vintage effect, especially when looking closely at the canvas, which reveals the unique structure.

Vanessa Onuk Catharsis acrylic on linen 160x80cm 2023

Why did you choose to work exclusively on pure, unprimed linen as your canvas substrate? How does it contribute to the desired effects in your paintings?

Part of the question has already been answered in the paragraph above. When choosing the substrate (cotton or linen), the difference is that the denser and evenly woven cotton allows very even, controlled transitions to be achieved and at the same time sharp, clear lines can be achieved. The end result is always a little sharper, less abstract. Pure linen absorbs the color more strongly, they dry much more transparently and brightly overall. At the same time uncontrollable bleeding effects occur at the edges. the application of paint on linen is more raw and leads to extremely unique, abstract effects.

How have your artistic experiments and discoveries evolved over time? Have you encountered any challenges or breakthrough moments in your pursuit of your artistic goals?

The artistic breakthrough for me personally was the moment when I was able to understand colors and backgrounds in their reactions. At the beginning of my artistic journey, effects were often products of chance and the actual idea behind the image was only partly possible. Over time I can assess the advantages and disadvantages of the bases of the colors and can influence them through the different degrees of pre-watering of canvas and paint in order to achieve my desired effects. This means that I have been able to offer corresponding commission work for a few months now, which I really enjoy.

Vanessa Onuk Gentle Reduction 

Can you share your experience of being nominated for the Finalist Awards in several art competitions and being featured in magazines and art magazines? How has this recognition impacted your career as an artist?

First of all, I obviously felt very honored, especially because I didn’t expect it after such a short time in the business. The really positive effect, however, is the increased visibility as an artist. Because in my opinion, the biggest obstacle as a “new artist” is the lack of visibility. Especially with the changes in the algorithm in social media and the flood of artists on large platforms, it is a good opportunity to set yourself apart.

What can we expect from your upcoming exhibitions? Can you give us a glimpse into the concept or theme of the exhibition and the artwork you will be showcasing?

I would be very honored if I had the opportunity to have a solo exhibition of my pictures in the future. Since I paint both abstract landscapes and figurative abstract paintings, an exhibition of one of the motif forms would be the perfect opportunity to present my way of representation in a larger collective of images. My big dream would be to be able to exhibit large formats as well, as I find the effect in large dimensions to be very impressive.

How do you feel about having your art represented in a respected online gallery? How does it influence the reach and exposure of your artwork?

Although I think that art is always best judged when it can be viewed in person, I strongly believe that online galleries offer the form of representation of the future to easily connect art lovers and collectors worldwide and make art more visible. For this reason, being included in a reputable online gallery is another of my artistic goals.


Thank you, Vanessa, and good luck with your artistic goals!

Official website 

Vanessa Onuk on  Instagram 

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




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 




Exciting news! Haze Gallery and PurpleHaze Magazine are thrilled to announce that we are currently hosting several open calls for creatives like you! If you have a passion for art, fashion, and pushing the boundaries of creativity, then this is your chance to shine and be a part of our vibrant community.

Read More



Dear artists, designers, and creative souls,

We are excited to announce an open call for submissions for our upcoming print art and fashion publication with the theme of „Street Art.“ along with our usual art & fashion sections. This publication aims to showcase the powerful and dynamic intersection of street art and fashion, fusing creativity, self-expression, and urban culture.

We invite artists and designers from all backgrounds to submit their original artworks and fashion designs that embrace the vibrancy and energy of street art. Whether it’s bold murals, graffiti, stencil work, or installations, we are looking for pieces that capture the essence of the streets and celebrate the rich artistic tapestry of urban environments.


• Sizes of the images 2 MB – 8 MB
• We only accept images that have not been published and/or previously shared on social media
• Team and wardrobe credits in .doc format
• Please include your, your team members, and the designers’ website & and social media information in the credits so we can tag them when we share the images online
• We copy and paste each name directly from the file. So, please check all the names for accuracy.

Deadline 15. APRIL 2023


Alain Egues | BLUE MOON 



Photographer | Alain Egues @alainegues
Stylist |            Sky Bulatovic @skystyling
M&H |  Tan @tan_hairmakeup
Model | Nomin G @mirrrsmodels
Photo Assist | Maren Nordtorp @marennl
Stylist Assist |  Melina Meckoni@melinamckn

Oversize Jacke & over-knee fur by Jana Toebrock Silver Dress by Mango Starshoes by Marina Hoermanseder

Pullover Marina Hoermanseder,  Leather BH or little Top Marina Hoermanseder , White dress over pullover and leather BH MANGO,  Lila skirt Marina Hoermanseder, Bag Marina Hoermanseder shoes Mango

Oversize Jacke & over-knee fur by Jana Toebrock Silver Dress by Mango Starshoes by Marina Hoermanseder

Full Look Marina Hoermanseder 

Dress black by Marcel Ostertag, Hat and blue big bag by Jana Toebrock, Sunglasses TOM Ford, Bellt with long stripes by Marina Hoermanseder, Jewellery by Moschino, Shoes Alexandre Vauthier

Max Mara Sun glasses, Jewellery by Mango Corsage Marina Hoermanseder/ Coat Marina Hoermanseder

Full Look Marina Hoermanseder Shoes Paris Texas Bikini Jana Toebrock

Alexandra Abramova | TRANSITION



Art direction & Photo|  Alexandra Abramova @abramova_sa
Model | Margarita Koroleva @margaritakorol represented by @agentproduction
Make-up & Hair | Mariya Shvets @marysieve
Style | Alena Petrova @alena_pro_fashion
Fashion | @oskuglik @alena_pro_fashion @itsnotliisaa