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Artist Spotlight | Ludovica de Santis

By /BLOG/, /INTERVIEW, /NEWS/

From the cinematic halls of Sorbonne University to the vibrant galleries of Athens, Ludovica De Santis has carved a remarkable path in the world of contemporary photography. With a background in art history and film criticism, she began her artistic journey assisting film productions and exploring analog photography—a medium that has remained central to her work.

Over the years, De Santis has seamlessly transitioned between documentary and fine art photography, capturing moments that resonate with poetic depth and intricate narratives. Her work has graced exhibitions across major cultural hubs like Paris, Berlin, London, and Amsterdam, earning acclaim from critics and magazines alike.

A multi-award-winning artist, De Santis has a portfolio that speaks volumes. From her groundbreaking series „Onironautica,“ which won first prize at the 2024 LensCulture Art Awards, to her earlier work recognized by the Julia Margaret Cameron Foundation, she has established herself as a force in the photographic arts. Her photobook „Zagriz,“ published by Altana, stands as a testament to her ability to blend storytelling with visual artistry.

In this interview, De Santis opens up about her creative process, her inspirations, and the evolution of her celebrated series „Onironautica,“ currently featured in the Athens Photography Festival. She also reflects on the delicate balance between analog roots and digital innovation, offering insights into the ever-changing landscape of fine art photography.

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Interview with TKV – The Kraljica Vila

By /ART/, /INTERVIEW, /NEWS/

Aleksandra Petković, known as TKV or “The Kraljica Vila,” is a Serbian street artist who has transformed the streets of Belgrade into vibrant spaces filled with meaning and emotion. Since starting her career as a teenager in 2004, she has used murals and stencils to explore themes of feminine identity, empathy, and the power of community. Her work often features striking female figures, blending aesthetics with social commentary and aiming to reshape perceptions of women in public spaces.
TKV’s art extends beyond visuals; her murals foster dialogue between viewers and their environment, breathing life into forgotten urban areas. As the founder of the All Girls Street Art Festival, she is dedicated to empowering female artists and encouraging collaboration. In this interview, TKV reflects on her artistic journey, her evolving views on identity, and the intersection between public art and personal expression

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Interview with celebrity photographer Inna Malinovaya

By /INTERVIEW, /NEWS/, Без рубрики

Text by Irina Rusinovich 

Interview with celebrity photographer Inna Malinovaya

Hi Inna! Could you share a bit about your background and what initially drew you to explore the medium as your primary form of artistic expression?

Reflecting on the 15–17 years since I first picked up a camera, I believe my connection to photography started quite intuitively. It all began when a classmate brought her camera to school and let me try taking a few photos. I was immediately drawn to the process — the idea that I could so effortlessly capture a moment in time was fascinating.

Later, during the era of online diaries, I discovered vibrant communities dedicated to photography and editing. These spaces deepened my interest, and I found myself increasingly immersed in the craft. From there, everything unfolded naturally. I started meeting new people, many of whom I wanted to photograph, and their feedback fueled my passion. Friends and even strangers would tell me how uniquely I captured their essence, which became a powerful motivator for me to keep going.

By the time I graduated high school, photography had become something much larger in my life. I landed a role as a concert photographer for a music website dedicated to rock music—a dream come true for a teenager. Photographing legendary artists like Ray Manzarek from The Doors (and even getting a high-five from him during a concert!) was unforgettable. I still remember spending the night before my final algebra exam at a Marilyn Manson show, completely engrossed in the energy of capturing such moments.

Photography, for me, grew from being a simple hobby into a way to connect with people, moments, and music, adding layers of meaning and excitement to my journey.

Your work blends elements of surrealism, minimalism, and organic forms. How do you approach balancing simplicity with depth in your visual storytelling?

I always follow the principle of less is more.

After finishing school, I enrolled in the British High School of Art and Design in Moscow, where I studied photography. We had a dedicated class led by talented and in-demand photographers. When it came time to choose a focus—fashion/art, architecture, or black-and-white photography—I naturally gravitated toward fashion and art.

We analyzed countless iconic shoots from the most renowned photographers and applied what we learned to our own projects. That’s where my journey with models began, as I explored ways to incorporate them into backgrounds or conceptual ideas I created. Through this process, I started to understand what truly resonated with me visually. At first, I often tried to emulate my favorite images, but over time I developed a clearer sense of what worked for me and what didn’t in a frame.

Then came the daunting question of finding my “style.” Honestly, it frustrated me to no end — I was constantly swinging between extremes. I adored the clean, straightforward aesthetic of Terry Richardson’s fashion shoots with direct flash, but I was equally inspired by David LaChapelle’s vivid, theatrical work filled with surrealism, pop art, and provocative imagery. I wanted to do both, but I felt trapped by the pressure to define a unique, recognizable style — something I was told every artist must have.

This mindset pushed me into trying to confine myself to a single aesthetic, which only made me feel stuck. Around this time, I started studying at the University of Applied Sciences of Europe in Berlin, where the professors had a completely different approach to teaching. They encouraged me to let go of the rigid idea of finding “my style” and instead focus on creating work that felt authentic to me.

As I embraced this mindset, I found that clients and collaborators were drawn to my vision, not just a specific aesthetic. It became clear that my strength lies in balancing simplicity with depth by prioritizing authenticity. I rely on intuition, careful composition, and storytelling to create work that feels meaningful.

For me, simplicity isn’t about stripping away complexity — it’s about distilling an idea to its most essential elements while leaving room for layers of meaning. That’s how I’ve learned to navigate the balance between clarity and richness in my visual storytelling.

Sasha Panika by Inna Malinovaya

In your portfolio, many pieces seem to explore human identity and its transformation. What draws you to these themes, and how do they reflect your perspective on identity and physicality?

The theme of people holds a distinct place in my work. I am a deep introvert: I don’t like being in crowded spaces, I find it challenging to form new connections, and social interactions often feel draining. To be honest, I don’t particularly like people.

You might ask, Why, then, are people the central focus of your art? And my honest answer is, I don’t know. I’ve spent a lot of time reflecting on this paradox, and the only conclusion I’ve come to is that, perhaps subconsciously, I’m trying to confront my own aversion to people through my creative work.

Yet, paradoxically, my entire creative practice revolves around people and their images.

A turning point for me was my encounter with Marilyn Manson. I was deeply struck by the enormous gap between who he is as a person and the persona he projects through his art, music, and performances. This dichotomy fascinated me so much that I ended up writing my bachelor thesis on the concept of personas, comparing the evolving eras of Madonna, David Bowie, and Manson himself.

This research, coupled with my growing connections to artists, actors, and musicians, only fueled my curiosity. Over time, I focused my work almost exclusively on artists, captivated by the way they transform and craft their personas. What truly amazes me is how these individuals can embody different versions of themselves, blurring the lines between identity and performance.

For me, exploring human identity and its transformation is a way of understanding this duality — the tension between the authentic self and the constructed image. It reflects my fascination with the fluidity of identity and the power of physicality in storytelling. Through my lens, I try to capture these layers, revealing both the vulnerability and the strength of those I photograph.

Your art feels cinematic and atmospheric, often evoking a dreamlike Are there specific films, books, or other media that influence your creative process?

Thank you! Cinema and literature are significant influences on my creative process, and I often find inspiration in works that explore complex characters, surreal aesthetics, or atmospheric storytelling. Visually, I’m drawn to the theatricality and vibrant color palettes of directors like Baz Luhrmann, Darren Aronofsky, and Tim Burton. Burton’s films, with their darkly whimsical worlds and hauntingly beautiful visuals, deeply resonate with me. His unique ability to combine fantasy and melancholy, while creating characters that exist on the edge of reality, often mirrors the surreal and dreamlike quality I aim to evoke in my own work.

I also find inspiration from the work of iconic photographers, each with a distinct approach to capturing human expression. Jack Bridgland’s striking use of vibrant colors, bold compositions, and attention to texture inspire me to explore a more dynamic, high-impact aesthetic in my work. Annie Leibovitz, with her powerful storytelling and dramatic use of light, has taught me the art of creating bold, narrative-driven images. Peter Lindbergh’s timeless black-and-white photography, known for its raw, natural beauty, has influenced my appreciation for authenticity and the depth of emotion in simple moments. The bold, provocative style of David LaChapelle, with his vibrant, surreal imagery, and the raw, honest approach of Terry Richardson, who captures moments with an unapologetic directness, also deeply influence my work. These photographers have shaped my understanding of the power of light, composition, and personality in creating striking, cinematic images.

Additionally, Ayn Rand’s philosophy of individualism and self-expression has had a profound impact on my approach to visual storytelling. Her emphasis on the power of the individual and their identity is something I aim to reflect in my images, capturing the unique and transformative qualities of the people I photograph.

Ultimately, I strive to create images that feel alive—imbued with their own narrative, tension, and atmosphere—drawing from the many forms of media that challenge and expand my imagination.

Copyright Inna Malinovaya 

Color and texture play a significant role in your work. Could you share how you choose your color palette and develop the tactile quality in your visuals?

Color and texture are integral to my work because they help convey emotion, enhance mood, and add depth to the narrative. I approach my color palette intuitively, often letting the subject, setting, and overall concept guide my choices.

For example, in some of my more cinematic and surreal images, I use rich, saturated colors to evoke a sense of intensity and to heighten the visual drama. I’m also drawn to contrasts—whether it’s the stark juxtaposition of light and shadow or the combination of warm and cool tones—which creates a dynamic tension in the composition.

Also, one of my core preferences is to keep everything in sharp focus. I love when an image is so precise and detailed that you can see every single lash. I’m not a fan of shots where the background is overly blurred or filled with bokeh. For me, sharpness creates clarity and allows every detail of the scene or subject to be fully appreciated, without distractions. This approach is especially important in portraiture, where I want to emphasize every nuance of the person’s expression and appearance.

As an artist working in both personal and commercial spheres, how do you maintain your creative voice when collaborating with brands or clients?

Until February 2024, I struggled to trust myself and my work. I worked on many projects „for the client“ that didn’t align with my style and couldn’t be included in my portfolio or shared on social media. I tried to convince myself that it was okay — these projects brought in money and stability, but deep down, I wasn’t satisfied. I shot „regular“ people and didn’t feel fulfilled by the results.

In February 2024, I experienced severe burnout that affected me both mentally and physically. I didn’t understandwhat was happening with my body or how to fix it. At one point, I couldn’t even look at myself in the mirror, and I didn’t want to leave the house. This prompted me to rethink everything I was doing. I decided to step away from „personal shoots,“ and soon after, I began to feel a physical improvement in my well-being.

Then, I received an email from the CEO of Zatchels, who offered me a product shoot, saying, „Shoot everything just like in your portfolio. You have complete freedom with the concept.“ This moment was a turning point for me. Whether it’s psychosomatics or coincidence, after that email, I felt the burnout fade, and my body responded positively to the change.

After this, I started reaching out to brands and artists I wanted to work with, and to my surprise, they started responding and agreeing to collaborate. Over time, brands and artists began to find me, offering projects where I could work in my own style. More clients began saying, „We’ve seen your portfolio and want you to shoot exactly the way you do. We completely trust your vision!“ This gave me the confidence to combine my creative process with commercial work, without losing my identity. Most importantly, it allowed me to find stability in doing what I love and paying my rent at the same time.

Now, I no longer have to fight to maintain my creative voice. Clients come to me specifically for what I do.

 

You often experiment with unconventional compositions and perspectives. What drives your exploration of these non-traditional visual approaches?

My exploration of unconventional compositions and perspectives is driven by a desire to challenge the viewer’s expectations and provoke a deeper emotional response. I’m always looking for ways to present familiar subjects in a way that feels new or unexpected. For me, it’s not just about capturing an image; it’s about creating a visualexperience that immerses the viewer, pulling them into the narrative and the atmosphere I’m trying to convey.

In many of my works, I intentionally break traditional rules of composition—whether it’s using negative space, playing with unusual angles, or placing subjects off-center. I find these approaches allow me to evoke a sense of tension, dream-like quality, or surrealism, while still maintaining a strong focus on the subject’s identity. These non- traditional perspectives also reflect my interest in exploring the idea of transformation and how we perceive the world around us.

I also enjoy experimenting with the relationship between the subject and the environment. Often, I’ll intentionally blur the lines between the two, whether through lighting, framing, or integrating surreal elements into the scene. This approach not only enhances the mood of the image but allows me to tell stories that feel more dynamic and multi-dimensional.

As a result, I believe that by pushing the boundaries of composition and perspective, I can create images that feel alive and invite the viewer to engage in a deeper visual dialogue.

Copyright by Inna Malinovaya

Copyright by Inna Malinovaya

Fashion appears as a recurring theme in your portfolio, but it’s presented in a highly conceptual way. How do you interpret the relationship between fashion and art in your practice?

Fashion has always been an important theme in my work, but I approach it in a conceptual, rather than purely commercial, way. For me, fashion is more than just clothing; it’s a form of self-expression, an evolving reflection of identity, and a powerful tool for storytelling. I see fashion as a language, one that communicates not just through the garments themselves, but through how they are styled, positioned, and interacted with in the frame.

In my practice, I often explore fashion as an extension of the human form, as a way to enhance or alter the identity of the subject. I enjoy exploring the intersection of fashion, art, and identity, using garments as a means to enhance or transform the subject’s persona. By combining fashion with surreal or abstract concepts, I aim to shift the focus from the clothes themselves to the deeper narrative they convey about who we are or who we can become.

The relationship between fashion and art in my work is not just about aesthetics, but about evoking emotion and provoking thought. Fashion, when approached conceptually, has the ability to transcend its usual role and become a medium for artistic expression—challenging the norms of both fashion and visual art. This is why I strive to push boundaries in the way fashion is presented, turning it into a dynamic part of the visual story, not just an accessory or trend. Eventually, fashion in my work is a powerful vehicle for exploring themes of transformation, identity, and the way we construct ourselves in the world.

Looking at the future, are there any specific themes, mediums, or collaborations you’re eager to explore next in your art?

Looking ahead, I’m excited to delve deeper into themes of identity, transformation, and the interplay between reality and surrealism, continuing to challenge myself and expand the narratives I create. I’m particularly interested in exploring more experimental approaches to storytelling, perhaps integrating motion into my work— whether through short films or mixed-media projects that combine photography with video, sound, or even AI-generated elements.

Collaboration is another area I’m eager to expand upon. I’d love to work more closely with musicians, actors, and designers who are unafraid to push boundaries, creating conceptual projects that merge art, fashion, and performance.

Collaborations with unconventional brands or institutions that align with my artistic vision would also be exciting opportunities to grow and innovate.

Eventually, my goal is to continue evolving as an artist, finding new ways to express the emotions, contradictions, and complexities that drive my work, while staying true to the themes and visual language that resonate most with me.

follow Inna on her Instagram here

AddSalt | Jiayan Wu’s fashion editorial collaboration with digital artist Tao Jingying

By /ART/, /INTERVIEW, /NEWS/

Producer: Yihan Shao
Photographer: Tao Jingying
Model: AddSalt

Interview with AddSalt

What was the catalyst that made you start being a fashion influencer?

At first, it was really simple — I just loved fashion. I enjoyed styling outfits, taking
photos, and sharing them. I realized that clothes aren’t just something to wear; they’re a
way to express emotions and attitudes. One day, I posted a few outfit pictures on social
media and unexpectedly got a lot of likes and encouragement. That’s when I realized I
could inspire others with my style, and that made me feel recognized. So, I decided to
take this more seriously.

How has your life changed since becoming a fashion influencer?

My life has become busier and more challenging. I’m constantly coming up with new
ideas and content; every day is filled with planning, shooting, and editing. My life has
also become more public, and with that comes more attention and expectations. But it’s
also taught me time management and how to deal with pressure.

What does fashion mean to you?

Fashion is a form of free expression for me. It allows me to present different sides of
myself through various styles and outfits. Fashion isn’t just about following trends; it’s
about finding an attitude and lifestyle that suits you.

How do you define your style? Has it changed over time?

My style is probably best described as ‘mix and match.’ I like to combine minimalist
pieces with bold elements. Over time, my style has evolved with my mood and growth. I
used to favor a sweeter, edgier style, but now I enjoy combining vintage and modern
elements. My style changes, but staying true to myself remains constant.

AddSalt

What gives you the most sense of accomplishment when maintaining your
image on social media?

The most fulfilling part is when I see that people are inspired by my content or that my
posts give them confidence. I get messages from followers saying that my outfit posts
helped them step out of their comfort zone or try new styles, and that’s what keeps me
going!

What do you think your audience expects from you?

I think they expect to see authentic and creative content. They want not just
fashionable outfits, but also a glimpse of my everyday life and my thoughts on fashion.

Do you ever change your content based on feedback from followers or trends?
Why or why not?

AddSalt

Have you ever felt that it’s difficult to show your ‘true self’ on social media?
Why or why not?

Sometimes, yes. Social media tends to show only the glamorous side of life, but the
real me isn’t always perfect. I worry that if I show my vulnerable or tired side, people
might think I’m not ‚inspirational‘ anymore.

Do you think the ‘perfect persona’ is something influencers must maintain?

I don’t think it’s a must, but the pressure can be real. People tend to appreciate a
positive and flawless image and that can make us feel like we need to keep up
appearances all the time.

 What’s the most stressful part about maintaining the identity of a fashion
influencer?

The biggest stress is the constant need to create high-quality content while also
keeping up with your image and maintaining your own personal brand. Sometimes, I
feel creatively drained or physically exhausted, but I still have to stay active online.

How do you handle stress when it gets overwhelming?

I give myself a ‘short break,’ even if it’s just a few hours without my phone or social
media. Sometimes, I’ll hang out with friends, go to an exhibition, or take a walk to reset
and find new inspiration.

Do you think the image you project on social media is different from who you
are in real life?

Not a lot, actually. I try to stay true to myself. But I do tend to be more polished and
planned on social media, whereas in real life, I’m a bit more spontaneous and casual.

AddSalt

Have you ever doubted your choice to pursue this path? What kept you
going?

Definitely, especially when I feel creatively blocked or face negative comments. But
every time I get a message from someone telling me they were inspired by my work or
liked my outfits, I remember why I started. That keeps me going.

Have you ever felt ‘trapped’ by social media?

Sometimes, yes. For example, when I’m out with friends or traveling, I often think about
how I can capture content for social media, which can take away from just living in the
moment. That can feel like being ‘trapped’ by the platform.

What’s the most tiring or difficult part of content creation for you?

The hardest part is keeping the content fresh and creative. Fashion trends change so
quickly, and audience preferences shift, too. It’s always a challenge to stay true to
myself while continuously innovating.

Interview with artist | Astrid Fuchslocher

By /INTERVIEW, /NEWS/

Text by Irina Rusinovich

Interview with Astrid Fuchslocher

In this interview, we get into the multifaceted world of Astrid Fuchslocher H., a Chilean-Italian artist and cultural manager whose career bridges the worlds of art and academia across continents. Born in Santiago, Chile, and currently residing in Italy, Astrid combines a rich artistic practice with extensive curatorial and cultural management experience. With a degree in Art from the Pontificia Universidad Católica de Chile and a Master of Science in Modern and Contemporary Art: History, Curating & Criticism from the University of Edinburgh, Astrid has established herself as a dynamic force in both the Latin American and European art scenes.

Having worked in cultural institutions such as the Chilean-British Institute of Culture, the FAVA Foundation, and as a consultant at the Open Art House Cultural Association, Astrid’s contributions to the field reflect a unique perspective that blends her Chilean roots with a contemporary European outlook. Her work as a curator includes exhibitions with notable figures such as Pablo León de la Barra, and her own visual art has been featured in solo and collective exhibitions in Chile, Italy, and France. Here, we explore Astrid’s journey, her views on cultural exchange, and her role in fostering artistic dialogue in an increasingly interconnected world.

What drew you to the specific medium you work with?

I was attracted by its ability to communicate, to transport us to another scenario or reality and its suitability for creating a real imaginary. In parallel, I like the fact that it is a 100% handmade technique and an artisanal process. Above all, a simple but at the same time complex, spontaneous, unpretentious and in my case also therapeutic task.

What are the biggest challenges and rewards of creating art in your chosen medium?

One of the challenges is that there are many exponents and that makes it difficult to stand out and/or create something original. I am referring to people who dedicate themselves to collage – analogue or digital – professionally or as a hobby. This added to the fact that it is a technique that is excluded from classical art and is sometimes considered ‘second class’. Consequently, and looking on the bright side, the fact that collage is currently such a massive medium means that there is an important community both physically and virtually around it, as well as various instances where this method is the protagonist.

Astrid Fuchslocher H

Can you tell us about a particular piece that holds special meaning to you and why?

It is difficult to think of just one work as a ‘favourite’ since each of my works has a theme, process and meaning that identifies or mobilises me. Considering this, if I had to choose just one work it could be ‘Between Life and Death’, as it is a work that begins this new stage of my work as a visual artist – after leaving practical art for almost 8 years – and that also gives rise to a more consequent, consistent and thorough line of work in terms of concept, aesthetics and technique.

How do you envision your art influencing or impacting the world?

I would like to imagine that my art transports and allows a journey to a new aesthetic, historical and ideological context. In a route that also promotes reflection from an artistic and philosophical perspective, with the aspiration of encouraging questions and exposing various problems that manage to shake the viewer and ultimately transform our society.

Astrid Fuchslocher H

What artists, past or present, inspire your work?

There are many artists who inspire and/or move me beyond the direct influence they exert on my work. With this in mind, and in a general way, I could name Friedensreich Hundertwasser, Olafur Eliasson, Jean-Michel Basquiat, Claude Monet, William Turner, among others. This question is difficult because there are artists who inspire me for their technique and results, others for their ideals and way of approaching art and others for being avant-garde and for their contribution to visual art.

Is there a specific social or political issue you feel compelled to address through your art?

I tend to think that there is nothing that I feel ‘obliged’ to address in my work, but I do believe that it is important for contemporary artists to reflect on and propose a discussion around issues, social phenomena and/or issues that afflict us as a society. This belief also extrapolates to topics that personally interest me such as historical evolution, feminism, social change, the passage of time and human life in general.

Astrid Fuchslocher H

What are your hopes for the future of your art?

My wish is that the people who contemplate it will be touched on a deep level, that it will produce debates on various issues and hopefully give them the possibility of delving into the complexity of our reality. From another angle, and on a practical and personal level, I would like my art to be a contribution to the discipline, to be recognized within its technique and to be consolidated in an international market in order to have greater visibility and impact.

What advice would you give to aspiring artists?

My advice would be for them to be tireless workers, to continue learning, improving themselves and questioning the statement of their work. Additionally, I would suggest that they acquire self-management tools and be resilient when facing and entering the world of art. Lastly, and most importantly, I would suggest that they make art that makes sense to them, that is honest, and that they enjoy the gift and privilege of being an artist.

 

Information about the artist

Astrid Fuchslocher H.

https://afhcollage.com/

@afh_collage

 

INTERVIEW WITH ARTIST | KSENIA SANDESKO

By /INTERVIEW, /NEWS/

Text by Irina Rusinovich

Interview with artist Ksenia Sandesko

Ksenia Sandesko, a Ukrainian-born artist making waves in the contemporary art scene, brings a unique perspective to exploring the complexities of human connection and isolation in our increasingly digital world. Her journey began in the Kharkiv Academy of Design and Arts, where she honed her skills in both graphic design and easel painting. Since moving to Moscow in 2020, Sandesko has immersed herself in the contemporary art world, participating in prestigious workshops and exhibiting her work at notable venues like BIS ART Gallery and NII SREDA. Her recent solo exhibition, „Physiology of Nature,“ even featured a collaboration with the ZVON dance-theater, seamlessly blending visual art and performance. In this interview, we dive deep into Ksenia’s artistic practice, exploring the inspirations behind her work, her evolving style, and her vision for the future of contemporary art.

 

Ksenia Sandesko

Hello Kseniya! Could you share a bit about yourself? Where are you from, and what has been your journey into the world of art?

 

It seems to me that I have always been in this world. In my childhood, I constantly drew, just like my mother, and dreamed of becoming an artist. And that’s how it turned out. I was born in Ukraine, attended an art school, and then enrolled in the Kharkiv Academy of Design and Arts. It was only after completing my studies that I began to think about what my art should be like.

 

Your work often blends figurative and abstract elements. What inspires you most when choosing your subject matter?

It turns out that in my earlier work (though it sounds strange to say, since it was only three years ago), there were many more abstract elements intertwined with bodies, forming a single whole. Now, I’ve noticed that the bodies are gradually becoming more self-sufficient, while the abstract background is becoming increasingly simplified. It’s interesting to observe this from the outside. The themes in my works often overlap; I’m mostly inspired by interesting poses, and then a composition is born around them.

Ksenia Sandesko

How has your artistic vision evolved over the years, and what key experiences shaped your current style?

I think the main change has occurred in the depiction of human figures. During my studies in academy, we often exaggerated and simplified bodies, which was influenced by the specifics of the academic school. Now, however, the figures in my paintings have become more honest and realistic. I no longer play with proportions or distort details, as I want to capture everything in its original form.

 

Can you tell us more about your creative process? How do you move from concept to the final piece?

In the past, to start working on a painting, all I needed was a simple pencil sketch outlining the bodies, and I barely needed any live reference during the process. Now, first I need to understand what I want to depict and what the main emotion in the work should be. Then, I spend a long time developing the composition, searching for many references, taking photos, creating a collage on a tablet, and often editing it in a graphic editor (this is more relevant for paintings in negative). Only then do I transfer the sketch to the canvas.

Ksenia Sandesko

What message or feeling do you hope viewers take away when they see your artwork?

For a long time, I didn’t quite understand what I wanted to express, and it even seemed to me that I was creating my works mechanically, with no real message behind them. I also didn’t feel a strong connection between my work and myself. But then I realized that, unconsciously, I had been conveying my inner experiences through my art, and it was a way to express my emotions through the images on the canvas. It’s no coincidence that the main figures in my paintings are people—naked, unprotected, vulnerable. Once, my psychologist suggested that I depict what my inner self would look like on a piece of paper. At that moment, I realized that I had been portraying it in my paintings for years. The people in them appear free, sensitive, merging into one. That is exactly what I was trying to convey—how important it is to know and feel oneself, how vital human connection is, and how essential a person’s inner life is.

How does your environment, whether it’s your city or the places you visit, influence your work?

I think this influence is minimal, as I rarely go out and I’m often lost in my own fantasies, which partially helps me in my art. My paintings seem to be in contrast with the real world; they are full of color, imagination, and freedom. Though, perhaps, this is where the influence of my environment is revealed.

What has been the most challenging project you’ve worked on, and how did you overcome those challenges?

Sometimes small works can cause a lot of difficulties, while large-scale paintings come together quickly and easily. Often, I don’t know how the process will unfold, and I end up reworking a painting almost entirely, like changing the background halfway through or completely altering the color palette. So, it’s quite difficult for me to choose the most challenging project, as there are many.

Ksenia Sandesko

What advice would you give to emerging artists trying to find their voice in the art world?

 

I would recommend paying attention to your natural traits and abilities and developing them to the fullest. It’s often difficult for emerging artists to find their own style, and they initially try to imitate other artists and experiment with different approaches. This is a normal process, and what’s important in it is, first, to notice what exactly attracts you to certain artists, and then to see what is inherent to you as well, and try to preserve and enrich that. As for themes and concepts, artists often create their works intuitively in the beginning and struggle to articulate the main idea. But often, that idea is already deeply embedded inside, and it just needs to be brought to the surface.

5 Q’s to the artist | Mako Lomadze

By /ART/, /INTERVIEW, /NEWS/

Mako, can you tell us about your journey as an artist? What initially drew you to pursue a career in fine arts, and what or who has influenced your work?

My journey as an artist began at a young age, influenced by a fascination with the natural world and a passion for expressing emotions and ideas visually. Growing up, I was surrounded by family members who valued creativity and encouraged me to explore different artistic mediums. This nurturing environment allowed me to experiment with drawing, painting, and sculpture, gradually honing my skills and developing a unique artistic voice.

Inspiration has come from a variety of sources, including the works of renowned artists, personal experiences, and my travels. Personal subjects evoke deep emotional responses through color, form, and composition. An ever-evolving art scene continues to inspire and challenge me to push the boundaries of my creativity.

The pursuit of a career in fine arts was a natural progression, driven by a desire to share my vision with the world and connect with others on a profound level. Throughout my journey, I have sought to create art that not only reflects my inner thoughts and feelings but also resonates with viewers, inviting them to see the world through a different lens.

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Meet Berlin – based fashion designer DENNIS CHUENE

By /BLOG/, /INTERVIEW, /NEWS/

Berlin’s fashion scene is buzzing with creativity, and at the heart of it is Dennis Chuene, a designer whose work defies the ordinary. Known for his bold, eclectic designs that effortlessly blend the avant-garde with timeless elegance, Dennis has quickly become a name to watch in the industry. His commitment to sustainable fashion and innovative approaches have set him apart, making his collections a staple on the fashion radar.

Today, we sit down with Dennis Chuene to talk about what drives his creativity, how Berlin influences his work, and his vision for the future of fashion. From his latest collection to his thoughts on sustainability, get ready to dive into the mind of a designer who is not just following trends but creating them.

Could you share more about your journey as a fashion designer and how you transitioned to establishing your brand in Berlin?

I started when I was 17 and remade my dad’s old shirt. I wanted to continue sewing then, but instead, I went to study marketing and advertising at university for a full year, while still making clothing. As you might have guessed marketingwasn’t for me at all so I dropped out.

Thankfully my dad supported my decision. That’s how I started studying fashion. However, soon I was forced to drop out again because I didn’t have enough money to pay for my course.

One of those days a strange lady ran up to me in a mall and I went: “I think you should come study at my school”. I declined straight away because I didn’t want to get any more formal training. She insisted and gave me her business card.

Shana Edelstein, London International School of Fashion. When I saw it, I thought: FUCK YES. It was cool and expensive and I wouldn’t be able to pay for it myself. So, I went to study at the London International School of Fashion in South Africa.

Still, at school, I occasionally got to know the top South African designer, David Tlale. We picked up a conversation andguess what? He started asking me about ME. Because he has already heard about my work from the Fashion Week andmy school. The very same day we went down for a drink and he hired me.

But there was also a brand that I wanted to either work or intern for. Every day for three months straight I would go to Strangelove, knock on their door, and ask them for a job. Every day they’d say no. So, I’d come again.

„Because today it is a “no”, tomorrow it might be a “yes”.

They hired me eventually. I was studying and working 2 jobs at that point.

In 2006 I worked on David Tlale’s Exodus collection with which he went to the Paris Fashion. In that show 70 to 80 % of the menswear pieces were straight out of my wardrobe: the pieces I would design and wear myself. We made a few other items but the majority of the collection was designed by me.

I am sharing this now because I am not the only one who has experienced it. My lecturer came to me after the showand said: “It’s a pity nobody’s ever going to know that that were your designs”. The hard part about being an employee in somebody’s company is that they take all the glory, and you are just a supporting act.

David was a great leader. He got me thinking out of the box and creating pieces within his theme. Nonetheless, the truthis the truth. They were my pieces.

After that still in 2006 I started my own label Vernac while still working for David Tlale. I was making upcycled China tartan bags. When I featured them in the show David told me to protect my idea because people were going to steal it. But I did not care, because

„I was more than one idea.“

Later I resigned and worked for a couple of other designers for a few years. But all that time I felt like I wasn’t being seen as a creator.

Hence in 2010, I moved to Cape Town. I was in a new city with 15 bucks in my pocket, no job, and no desire to do fashion any longer. Because it felt like I had prostituted myself to other brands and got nothing from it.

I started working at a call center. The level of frustration was rising. Those were 2 very bitter years of my life. Up until 2012 when I met my future wife and everything changed. Because she inspired me to design again.She said I was far too talented to work at the call center. She said: “Quit. I’ve got your back”. All everybody needs is just one person to believe in them, she was the person who truly believed in me.

„I will support you regardless, you need to just go back and do it.“

And I rekindled my designs. With my wife’s emotional and financial support, I went into denim and creating bags again,while keeping my job at the call center. I made a decision that I would only quit

when I’d make the equivalent of my salary with my designs. It took me about seven months until I could quit.

It was almost 2013. And I was developing Vernac making clothes and bags. The clothing part was more of a loveinterest and pleasure while sales of the bags kept everything afloat. Bags are easy, it’s just grab and go product. So Idid that.

When did you do your first Fashion Week show? And how did it feel for you?

In 2017 in Cape Town I had my first show. And oh, it felt great.But there was more to it than just my show. Remember how my future wife has been an integral part of what I do?

She was at the show that day. Nobody knew her. She is not a person for the limelight, but she is in the background of everything I am doing. So, when I was about to take all the glory for the show she helped me prepare…

„I proposed to her.“

 At the end of my show, I got on one knee with the ring in my hand and asked her to be my wife in front of 300 people and TV cameras. I had prepared a speech but all that came out of my mouth was some incoherent blubber. Thank God the ring was speaking for itself. And thank God that she said “YES”. I did it because everybody saw and applauded me and my work. But they didn’t know that none of it would have happened if she hadn’t said back then: “Quit. I’ve got your back”.

„I got the girl and I got the show.“

 

What happened afterward?

Cape Town was a transitional place where I found my roots, my way, and my love. But my wife wasn’t happy there anymore. She wanted to move back to Germany.

I agreed Because I’ve always had this idea:

„If I’m about to pivot, I do it on a high and not on a low.“

You got to make a change while you’re still hot. Because if you do it later, it will mean that you are looking for an opportunity.

„And you yourself are an opportunity. Your success is not dictated by your geography.“

So, we moved to Germany in 2017, same year when I did my first big show in Cape Town. But we didn’t move not to Berlin, no, we moved to a butt crack of Germany: a small town in Bavaria.

When and why did you move to Berlin then?

We stayed in that town for about three years. This is where we’ve started our family. But I couldn’t stay there forever learning German and working in a beer garden, I felt like I was losing myself. That’s why in 2019 I registered my business and got employed by someone who needed a seamstress or a machinist to produce jackets. Jackets are my forte, you know, I kill jackets.

I started producing my own clothing again and selling my designs in Studio 183 in Berlin. And my sales were going up. In the meantime, we had a baby on the way and I desperately wanted to move from that godforsaken place. Hence, I threw my weight at my work…

This is when COVID hit and killed my business: stores closed, and sales dropped to the floor. However, my brilliant wife had an idea. She offered me to make masks. I didn’t like the idea at first, but then I made several samples; we tested them and I started sending them out… soon after I was producing 160 to 200 a day masks a day. It was insane.

How did you go from masks back to clothes?

 I was making clothes all this time. But my mistake was trying to produce something cheap. Cheap clothing never resonated with my customers. Because they could tell that this was an act of desperation to make money and my soul wasn’t in it. In June 2020 we moved to Berlin. And I decided to rebrand, there was no more place for cheap items and no more place for Vernac.

I learned how to say Versace, it was time for people to learn how to say Dennis Chuene.

I started putting myself out there and got my studio in Berlin in 2021. My first Berlin Fashion Week show took place in February 2022. But I do not intend to take part in the Fashion Week anymore.

What inspired the rebranding from Vernac to Dennis Chuene and how does the new identity of your brand Dennis Chuene align with your design ethos?

 Living my truth. Before the rebranding, I wasn’t being completely honest about how I felt about things.

I’m a very emotional person and can be even melodramatic at times. And I create out of feeling that’s why I don’t draw: I create with fabric, and put my emotions into each piece. Hence, when the brand was called Vernac it did not translate MY FEELINGS. By opening a brand under my name I could finally be myself and show the process of repeatedly learning and unlearning who I am through my clothes.

Like the jacket I made that says “Dennis who?” has “DC” initials on it. D stands for Dennis, C for Chuene but also is my dad – Charles, and then on each big letter you can read “MARU” which is my son’s name. So that’s three generations of my family on one jacket.

Before I would not create products like that, I would go for an artistic attempt to please people. Now I’m making pieces that mean something.

In what ways does your brand aim to inspire creativity and push the boundaries of the fashion industry?

 

Most brands change their narrative every year. And my truth is never going to change.

„What’s true is true and remains true.“

I aim to create a transcending experience through clothing. I’m selling feelings, thoughts, introspection, and wisdom that’s been there long before me, but I’m recreating them through my own emotional experiences.

I’m hoping to coerce the fashion industry into finding better meaning and value of products instead of selling a fleeting, inconsistent narrative. My brand tells the truth: painful or not. And as Dennis Chuene I aim to inspire people to live their truth.

Can you elaborate on the concept of one-of-one products and how this unique approach resonates with your customers?

When I’m behind a sewing machine I create a feeling. I make my best attempt to translate it into a piece of clothing. I capture a moment. And a moment is a moment, it only happens once, right? It cannot be repeated. All my one-of-one items are created through this process.

“ This way every single one of my pieces tells the story.“

It’s not up to me to find the rightful owner of a piece. A client sees something online and comes to my showroom to pick it up, we start talking, I show something else, and if the story behind that piece resonates a client might leave with a completely different item.

Inside my jackets, there’s a blank space that I leave for clients to write down their feeling, their story and put a signature and a date on it so that both of us can come together as one through clothing. Someday, when both of us are gone we will leave behind a collective piece: I made it, you connected with it and somebody else is going to bear it and continue living.

How do you maintain a focus on craftsmanship and individuality while catering to a wider audience with your tailored apparel?

I do one-of-ones and I also do items that I can reproduce at a higher volume. The one-of-ones are mostly jackets. And shirts are my best-sellers, I can reproduce these in higher quantities. But I add a little tweak here and there every season, I never fully recreate pieces over and over again.

What are some key elements that distinguish your limited edition pieces and designs from mass-produced fashion items?

Hand-stitching is the distinguisher. About 90% of the pieces have hand stitches on them. However, I have three design languages.

  1. Hand stitches are by far the best for me. I love
  2. But I also use another technique that I call “The String Theory”. For this one, I manipulate a string into patterns on the surface of clothing. The technique is inspired by scarification: the patterns a sharp blade creates on
  3. The third language is upcycling. But I never make anything that looks like cheap DIY. Sometimes Iblend all three languages and sometimes I use just

Could you shed more light on your hands-on approach to creating products, such as being involved in the hand-crafting process and using only two sewing machines?

 Well, it’s no longer only two machines. But I wish to be completely transparent, I don’t have a whole team of people working for me. It’s just me. And I do quite enjoy the Japanese approach: one craftsman working on one process at a time. Keep it small and simple.

I’ve always thought that I should not limit what I can create by the equipment I have. When I sew you won’t ever be able to tell that a piece was made on just two machines. Whenever I have the right feeling I simply jump from one machine to another, set it up, and get to work. It makes the process so much easier.

Would you like to wrap up and say some last words for the interview?

 

It’s three words. I am… Oh, it’s four. I am dope as fuck. I do dope shit.

Credits 

photographer – Inna Malinovaya, @inna.malinovaya
styling – Sasha Chumachenko, @shura_delo_govorit
clothes/designer – Dennis Chuene, @dennis_chuene
shoes/accessories – designer’s property 
Interview by Irina Rusinovich @_irina.rusinovich_

Interview with multi media artist Azia Maria Sammartano

By /INTERVIEW, /NEWS/

Text by Irina Rusinovich

Interview with multi media artist Azia Maria Sammartano

In a world where art is often a reflection of the artist’s soul and experiences, Azia Maria Sammartano, known as Essereilnonessere, presents a unique blend of self-taught artistry and academic prowess. Based in  Turin, Azia’s journey through various disciplines such as human communication, neuroscience, and neuropsychology has shaped her artistic vision in profound ways. Despite her academic background not being conventionally tied to the arts, Azia’s dedication to self-improvement through courses in drawing, painting, and theatrical improvisation speaks volumes about her commitment to her craft.

Join us as we delve into the artistic universe of Azia Maria Sammartano, as she shares her journey of self-discovery, creativity, and the profound meaning behind her arts. 

Can you tell us about your background in both medicine and art, and how these fields have influenced your artistic practice? 

Many in history have been scientists and artists, just think of Leonardo, Michelangelo, A durer or Calder and not least the legendary Brian May, guitarist and NASA consultant. Combining art and science has always been the goal of research for cosmic harmony. I graduated in medicine in 2009 and chose to specialize in Phoniatrics out of extreme love and interest in the study of human communication, an aspect that the medicine I practice deals with. Sign language was my first great love, I had been drawing for a long time and I have always liked experimenting with different styles and many techniques. I then understood by studying and being interested above all in non-verbal communication that it itself was an intimate part of art. Communication and art are intrinsically intertwined, forming a powerful union that transcends mere words and strokes of a brush. It is through communication that art finds its voice, and through art that communication becomes a vibrant symphony of emotions. Each brushstroke, each word, each note, carries a message that reaches beyond the surface, resonating deep within our souls. The beauty of art lies not only in its ability to captivate our senses, but also in its power to connect us on a profound level. It is in the shared experience of art that we find solace, inspiration, and understanding. Through art, we can express our deepest fears, our greatest joys, and our most profound truths. It is a medium that allows us to communicate the unspoken, to bridge the gaps between cultures and languages, and to create a universal language that speaks directly to the heart. Art has the power to unite, to heal, and to ignite change. It is a testament to the indomitable spirit of humanity, a celebration of our creativity, and a reminder of our shared humanity. Let us embrace the intimate connection between communication and art, and let our voices be heard through the power of artistic expression.

How do you integrate scientific concepts and research into your artworks? Can you provide some examples?

Research in communication brings with it the desire to experiment with new ways of conveying messages, overcoming personal barriers and therefore those of humanity as a whole. I often bring the exploration of different modalities into my works, combining techniques that are not always associated. I like to use materials in an unconventional way, manipulation is often an integral part of the creative process. I always aim to use at least two different types of materials and styles. Just as human communication cannot be one and only, the work of art must use different communication channels. The pen combines with oil paint, newspaper and wire, with collage. Take for example ‚Belly‘ or ‚Panta Rei‘, his works are very different but exemplify scientific and artistic research. In the first work I initially used a part of my body, I modified it and then I divided it into different sectors just as Todd’s social networks are used. Each sector is a part of the human being, representing dreams, nightmares, desires, thoughts and relationships. The choice of the color black is an example of the oppression of women over the centuries, as can be seen from the description of the work. In the second work ‚Panta Rei‘, I chose to use modeling paste, acrylic colors and plastic support all tied with steel cables. The idea is precisely to create abstract living beings with pasta, each with its own color, bearer of a message, but each initially locked in its own sphere and place, chained in cables, but with each exposure the work can change having changed the individual addends and this leads to new balances, exactly like in human relationships. Furthermore, I almost never use noble supports because, just like human communication, it is often improvised, so the supports I use must also reflect this aspect.

copyright Azia Maria Sammartano

What inspired you to explore the relationship between human communication, neuroscience, and neuropsychology through your art?

Often in the part of research in the sphere of human communication we work with people who bring with them a whole emotional, cognitive, relational and linguistic-communicative baggage. Language is only one part of communication and paradoxically it is the least important. Nonverbal communication, which includes gestures, posture, facial expressions and tone of voice, can often convey more information and emotions than words themselves. It has been shown that the majority of human communication is non-verbal, in fact only a small percentage of communication occurs through words. Nonverbal communication can be more accurate and authentic than verbal communication, as it is often involuntary and reflects our emotional state and intentions more directly. It is therefore important to pay attention to non-verbal communication during interactions with others, since how we are interpreted and compressed can be very important. My field of work and constant research in non-verbal communication is visible in all the works through the use of different supports and materials as well as the unconventional way of using colors, to express that communication and art are two pillars of human expression that intertwine in a fascinating dance, creating a symphony of emotions and connections. Through the strokes of a brush or notes I try to communicate the depth of the human soul, transcending linguistic barriers and cultural divisions. Art becomes the universal language that speaks directly to the heart, evoking powerful emotions and inspiring change. Likewise, communication is an art form in itself, requiring mastery of human communication skills to convey thoughts, ideas and dreams. It is through the power of effective communication that we bridge the gap between individuals, fostering understanding, empathy and unity. In a world where words can both heal and harm, we have the opportunity to harness the transformative power of communication and art to create positive change. Let’s embrace the energy and vitality that these two beautiful forms of expression possess and use them to ignite passion, inspire creativity, and build a world that thrives on open dialogue and mutual respect. Together, we can shape a future where communication and art intertwine to create a vibrant tapestry of understanding, love and hope.

How do you bridge the gap between the inner and outer worlds in your artwork? Can you share some techniques or approaches you use to achieve this?

For many years now, I have been following yoga, meditation and personal awareness courses. It is interesting to note that finding yourself immersed in a period of meditation or deep introspection often leads to the personal production of significant works. This silent reflection often allows you to delve deeper into your emotions, thoughts, and experiences, ultimately leading to the creation of something meaningful. Emotional intensity can serve as a catalyst for creative expression. I always draw inspiration from emotions, be it joy, sadness, anger or love, sometimes even those of the people who are closest to me emotionally. These intense emotions can ignite an inner spark, pushing me to express my feelings through art. Furthermore, the society in which one lives just as often greatly influences my creative output. Social events, cultural movements, or significant changes can serve as a backdrop that shapes perspective and provides a unique lens to display emotions and ideas. When I observe or experience the impact of such events, I am often driven to create something that reflects the perception or reaction to these circumstances. The connection between meditation, emotionally intense events and creative production is a deeply personal and individual journey, but always leads me to productions that audiences perceive as highly engaging. it is a testament to the power of introspection, emotional exploration, and the ability to channel these elements into artistic endeavors.”

Azia Maria Sammartano at (UN) FAIR 

Your works often leave space for personal interpretation. How do you strike a balance between conveying your intended meaning and allowing viewers to bring their own experiences and perspectives to your art?

Art is a boundless realm of creativity and expression that has the power to ignite our souls and transcend the boundaries of reality. Within this vibrant world, abstract art stands tall, radiating energy, motivation, and optimism. It dares to challenge conventional norms, inviting us to explore the depths of our imagination and unravel the mysteries of our emotions. Abstract art bursts forth with vibrant hues and dynamic forms, exuding an electrifying energy that captivates our senses. It is a symphony of brushstrokes, shapes, and textures that dance together in perfect harmony, resonating with the beating of our hearts. Each stroke carries the artist’s passion and the viewer’s interpretation, intertwining to create a captivating narrative that speaks to the very essence of our being. Abstract art is a powerful force that pushes the boundaries of our perception, inspiring us to see the world through a kaleidoscope of possibilities. It embraces the unknown, encouraging us to embrace uncertainty and embrace our own unique journey. Through its mesmerizing presence, abstract art ignites a flame within us, urging us to pursue our dreams with unwavering determination. It whispers words of encouragement, reminding us that even amidst chaos and uncertainty, there is beauty to be found. It invites us to step outside our comfort zones, to explore uncharted territories, and to embrace the magic that lies within the realm of the unknown. Abstract art is a beacon of hope, a source of inspiration, and a testament to the boundless potential of the human spirit. Let it fill your heart with joy, ignite your imagination, and propel you towards a future brimming with endless possibilities

 Could you discuss some of the abstract and cryptic elements in your work? What messages or emotions do you aim to convey through these choices?

This is one of my favorite questions. Art is a boundless realm where creativity knows no limits. It is a powerful medium that allows us to express our innermost thoughts, emotions, and ideas in ways that words alone cannot capture. The beauty of art lies in its ability to transcend rationality and embrace the unconventional. By using elements non-rationally, artists can free themselves from the constraints of logic and light a fire in their work. For example, in some works such as NORIC which will soon be on display in Milan for ARTEMIDA, I chose to reuse an old VHS and join it in a collage with the idea of a way that now, if we don’t do something, it will only decay and implode. The idea of combining different colors and materials in that work left me free to imagine the world transforming, from a shapeless and devastated mass to a lush garden of a villa, if we all voted together for change. It is this courageous and bold approach that brings my creations to life, infusing them with energy, passion and meaning. Art has the extraordinary power to shake the depths of our soul, evoking a range of emotions that can only be described as transformative. It inspires us to think beyond the ordinary, to challenge social norms and embrace the extraordinary. As in the ‚Stromboli 2023‘ series, human and non-human forms come together to form wombs, humans that become flowers, flowers that transform into tentacles and tentacles that take root in the earth, mother earth that welcomes us and supports us and gives shape and the strength of being here. Or for example, in the latest works I am trying to explore different ways of analyzing the human time line within the circularity of history. The project is called THE LINE and expresses the difficulties of life, the small steps forward, the great emotional chasms that stop us, the hand of a friend or the strength of will that takes us beyond those barriers. All in constant black and white as a reminder of yin and yang, symbol of harmony, balance and energetic interaction. Through the unyielding spirit of art, we are reminded that there are no limits to what we can achieve when we dare to dream and create.

copyright Azia Maria Sammartano

Follow Azia Maria on INSTAGRAM 

Interview with an art collector, art advisor Sonia Borrell

By /INTERVIEW, /NEWS/

Meet Sonia, a versatile individual who wears multiple hats in the art world – art collector, art advisor, and entrepreneur. Originally from Barcelona, Spain, Sonia’s educational background in Law from the University of Barcelona laid the foundation for her artistic journey that began in 2008.

Over the years, Sonia has meticulously curated the Tryson Collection, transforming it into a vibrant showcase of contemporary art that reflects her personality and tastes. What initially started with Spanish artists has now evolved into a diverse collection encompassing Pop Surrealism, Urban Art, and Contemporary works, with a focus on emerging talents from countries like Japan, South Korea, United Kingdom, Indonesia, and her homeland Spain.

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