Artist Statement

My purpose is to express the immaterial essence of things in physical stuff: to make tangible the universal essence of the creation.

The unity and struggle of opposites is one of the three laws of Hegelian dialectics. Opposites are the contrast that exists in every essence and phenomenon. So every thing contains a contrast. You just have to see it. In a work of art, the strength of this contrast influences the impression of the work.

Artist Statement

Stefanie Carnevale was born in 1977 in Hobart Australia, she studied a Bachelor of Fine Arts at the University Of Tasmania in painting and sculpture (1997). Her work has been exhibited throughout Australia and overseas. Working mainly in painting, she uses nature to show life as a spiritual journey, with a combination of elements representing the interconnected web of life.

The Poetry Of Evolution is a painting that depicts bones re-forming a pattern or structure, the work references the ever regenerating states of nature. The work also shows the great contrasts that can occur in life, between what someone builds and the devastation life can bring, such as loss.

Curatorial Review

The Poetry of Evolution (2010) contrasts well with the black background against the bones, symbolising regeneration. The black background may perhaps symbolise mortality and loss. The skeletal form created by the composition of the bones is a metaphor for the framework of life. Bones are the remains of life and eventually decompose to become new life, which reminds us of rebirth and, therefore, implements a meditative characteristic to the work.

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Interview with Stefanie Carnevale

How did your upbringing in Hobart, Australia influence your artistic interests and connection to nature?

Where this started is when I was about 5 years old, I visited an art gallery with my mother. I saw a painting and got a strong feeling I’d be an artist when I was older – you could say I realised it was my fate. Throughout my life I’ve also been greatly effected by the wilderness of Tasmania and have integrated this into my art.

How has showcasing your work both in Australia and internationally impacted your artistic perspective?

I believe it has made me a more experienced artist.

You mentioned life as a spiritual journey through nature; how did you translate this concept into your work?

My art explores the meaning of life, and I use the style and symbolism of nature to depict this.

What inspired you to explore the theme of regeneration and contrast in your work; The Poetry of Evolution?

The Poetry Of Evolution (detail) is a painting that depicts bones re-forming a pattern or structure, the work references the ever-regenerating states of nature. The work also shows the great contrasts that can occur in life, between what someone builds and the devastation life can bring, such as loss.

Bones are central to the work- what do they represent in the context of regeneration and transformation?

In my work bones are symbolic of the framework of life. Bones have the ability to regrow and self-heal, the same as us in our lives.

How does the piece reflect the tension between creation and devastation, such as the contrast between building and loss?

The bones appear in a pattern or re-formation, which represents growth, but the black background shows that there can be devastation in life.

Loss is a recurring theme within your practice, how do you hope that your audience will connect with this aspect emotionally?

I hope people connect with my work on an emotional level through it’s depiction of the natural world.

How has your artistic style evolved over time; particularly in response to your own life experiences?

The work has evolved over time to retain certain symbols and styles, such as bones representing the framework of life.

Do you have any upcoming projects that you’re excited to share?

For now they’ll have to remain a mystery.

Artist Statement

In this new artwork, Laura’s captures a deeply evocative and timeless character—one who embodies a rare kind of wisdom that transcends age and is rooted in harmony with nature. The choice of grey hair as a symbol of maturity is particularly poignant, as it suggests a person who has lived and learnt yet who remains youthful in spirit, untouched by the pressures of time. Her eyes, conveying contentment, are like windows into her soul—reflecting not just the wisdom of experience but also the peace that comes from embracing life’s simple joys and truths.

This figure, embodying the essence of a “hippie,” seems to represent an idealised vision of how life can be lived with grace, without the external noise of modernity and materialism. Instead, she finds richness in the quiet moments—whether it’s in a serene connection to the earth or in the profound love and peace she shares with the world around her.

It’s also a powerful commentary on how one can age not as a process of decline but as a deepening of one’s connection to the world and to the self. Ageing gracefully in this context is not just about physical vitality but about the radiant inner energy that comes from living authentically, aligned with nature’s rhythms.

Curatorial Review

A Forever Young Soul (2024) features a female figure in the centre of the composition, who has been set against a golden background in which the colour emanates wisdom and a warm, welcoming feel. A pink tulip inside of a vase to the side of the woman complements her peaceful demeanour. The flowers at the bottom of the composition are blue and white, which harmonises the woman with the environment.

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Interview with Laura Bernardeschi Nelson

What led you to embody the essence of a “hippy” in A Forever Young Soul (2024). Is it from personal experiences, cultural observation or an inspirational vision? Furthermore, what is the process of visually representing this “radiant inner energy” within your work and your work critiques the “external noise of modernity and materialism”- how do you hope the viewer will interpret this message?

In this new artwork, Laura Bernardeschi Nelson’ s captures a deeply evocative and timeless character—one who embodies a rare kind of wisdom that transcends age and is rooted in harmony with nature. The choice of grey hair as a symbol of maturity is particularly poignant, as it suggests a person who has lived and learnt yet who remains youthful in spirit, untouched by the pressures of time. Her eyes, conveying contentment, are like windows into her soul—reflecting not just the wisdom of experience but also the peace that comes from embracing life’s simple joys and truths.

This figure, embodying the essence of a “hippie,” seems to represent an idealised vision of how life can be lived with grace, without the external noise of modernity and materialism. Instead, she finds richness in the quiet moments—whether it’s in a serene connection to the earth or in the profound love and peace she shares with the world around her.

It’s also a powerful commentary on how one can age not as a process of decline but as a deepening of one’s connection to the world and to the self. Aging gracefully in this context is not just about physical vitality but about the radiant inner energy that comes from living authentically, aligned with nature’s rhythms
Aircraft, traffic, and the voices of foolish people engrossed in pointless gossip are all sources of noise in the modern world. However, Laura stopped listening to this constant noise at one point in her life. For her mental health and wellbeing, it is pointless. These days, she is very picky about the friends and time she spends . Often, she would rather work alone in her studio and enjoy the sound of pencils and brushes on paper.

Silence is gold is her new life philosophy.

What truths or values do you believe are often overlooked in todays society that your practice and art seeks to highlight? How has your understanding of both wisdom and ageing influenced your work over time?

Laura has gone through an incredible shift in both her personal life and her art. Her transformation from focusing on abstract art and sales to diving deeper into social issues, self-discovery, and personal empowerment reflects a profound change in her perspective. She’s moved from a more external, perhaps commercial, approach to art to creating with intention, rooted in real-world connection and awareness.

Her daily interactions, especially with people who seem self-centred or harmful, have pushed her to focus on themes like self-love, boundaries, and standing up for what’s right. It’s clear that Laura’s art is now driven by a desire to promote change, to inspire people to look inward, and to reclaim their power. Her bravery in confronting challenges and not letting the negativity of others affect her speaks volumes about her growth. She’s shedding any fear of judgement or criticism, embracing her true self just as freely and unapologetically as her lovely cat.

The image of Laura as someone who is grounded, confident, and clear on what she stands for, both in her personal life and in her work, is empowering. She’s learnt to protect her peace, draw boundaries, and most importantly, to not feel guilty about it. Her commitment to not letting others—especially those who seem intent on bringing negativity or harm—control her narrative is inspiring.

In her art, I imagine she’s likely exploring ideas around empowerment, resilience, and the importance of self-care in a world that can often be draining or toxic. Her message feels like a call to action: to live authentically, to love oneself, and to challenge the forces that try to pull us down.

Artist Statement

My work as a photographer, educator, and qualitative researcher is deeply rooted in exploring the boundaries of human perception and imagination. Drawing from surrealism, fine art, and documentary photography, I strive to capture the extraordinary within the mundane, creating visual narratives that challenge conventional thinking and ponder the intersection of imagination and reality.

Curatorial Review

New York (2024) is a well-composed photograph in that it is clear that Guanhua Yao has paid attention to the light, framing and colour grading. The colour composition of the work is earthy, with warm orange-browns that come out of the historic brownstone buildings. In contrast, the much more modern skyscrapers contrast these brownstones with their cool blues and greys. The area in which this photograph was taken consists of the two periods of architecture from New York’s history while also showcasing the contrasts of the two eras through warm and cool colours.

The photograph has a very cinematic feel. The solitary figure in the centre of the composition captures the viewer’s eye as it juxtaposes the supposed busyness of New York. The smallness of the figure compared to the buildings around them also alludes to a meditative emotion. The viewer can picture themselves in the photograph, especially as it seems that the picture may have been taken at a much earlier part of the day.

Yao’s statement mentions the “extraordinary within the mundane”, which is captured through the photograph when taking the solitary figure in a supposedly busy city in context. The photograph thus feels as though it has frozen the city, withholding human interaction, allowing the viewer of the work to slow down when reflecting on usually fast-paced city life.

Overall, the photograph captures the great contrast between the old and the new in the context of its architecture while also capturing a scene in which what is usually a busy city has been reduced to a meditative scene in which there is only one figure left. This helps to turn it from a bustling city to a contemplative area in which one slows down.

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Interview with Guanhua Yao

You mentioned in your statement that you are drawn to surrealism. What is it about surrealism that influences your work and are there any specific artists from that movement you are inspired by?

Surrealism intrigues me because of its ability to unravel hidden layers of reality and evoke subconscious emotions through unexpected juxtapositions. It inspires me to explore fragmented identities and reimagine the boundaries of perception. I draw particular inspiration from René Magritte’s play with illusion and meaning, as well as Man Ray’s experimental approach to photography, both of which challenge conventional visual narratives and deepen my exploration of constructed realities.

When working on a project, how do you approach the mundane? What is the process that transforms them into a visual narrative?

I approach the mundane by seeing it as a source of hidden beauty and meaning. Photography lets me capture light, texture, and time in a way that reveals something new about ordinary moments. By focusing on overlooked details and reframing them, I turn the everyday into a visual story. This process transforms simple scenes into something deeper, showing that even the most common moments can hold unexpected richness.

Are there any personal experiences or moments that have helped shape your perspective as a photographer and researcher?

My background in architectural photography taught me to see space as more than structure—it’s a reflection of identity. Teaching visual storytelling helped me understand how different perspectives shape narratives, deepening my interest in cultural context. Additionally, my research on identity and postcolonial theory has influenced how I use photography to explore and reconstruct personal and cultural narratives. These experiences guide my work, blending art with deeper inquiry.

You mentioned that you are a qualitative researcher; how does this influence or inform your photography or vice versa?

As a qualitative researcher, I focus on understanding experiences and uncovering hidden meanings, which directly shapes my photography. I approach both with the same curiosity—observing details, finding patterns, and telling stories. Photography, in turn, sharpens my observation skills and helps me embrace ambiguity, allowing me to explore identity and culture in a personal and analytical way.

Do you see New York as a recurring subject in your practice and what does New York mean to you?

To me, New York symbolizes both diversity and connection—it’s a place where different cultures, histories, and identities collide, and where individual stories intersect with the collective narrative. Its urban landscapes, full of contrasts and contradictions, mirror the complexity of identity and existence, making it a rich source of inspiration for my work.

Where there any technical choices (editing, lighting (time of day) or perspective, etc.) that are crucial in achieving the mood of the photograph? If not, do you do anything to your photographs after taking it and what is the process behind that?

The light at different times of the day often inspires me. I usually work with the existing light rather than waiting for it to change. In post-production, of course, there’s much work to be done, such as reshaping the light and shadow, among other things.

Do you have any upcoming projects that you’re excited to share?

I am working on a portrait series that will be presented with a relatively detached, film-like or analogue atmosphere. The focus is on reflecting the state of the individual. The creative approach returns to the purity of photography itself, rather than an interdisciplinary approach.

Artist Statement

Sonia Trevisan is an artist, painter and ceramic sculptor based in the Welsh Borders. Her artworks celebrate the beauty, magic and power of nature, aiming to instill both awe and anguish. Through her art, Sonia seeks to raise awareness of environmental issues and urges viewers to admire the beauty and complexity of the natural world.

Inspired by poetry, natural sciences and her surroundings, Sonia explores the intricate dance between life and death, the impact of society on the environment, and the resilience of the natural world. Through her evocative paintings and ceramic sculptures, she showcases the wonders of nature, from the tranquil British countryside to the raw forces that shape Earth. Her contrasting forms highlight the tension between fragility and strength, a visual echo of the natural worldʼs ability to endure.

Her latest project, Chaos & Balance, explores the delicate interplay between destruction and renewal in the natural world. Inspired by the forces of tectonic shifts and volcanic eruptions, the artworks showcase the power of nature to both create and destroy. The collection of ceramic sculptures and watercolour paintings evoke images of both devastation and rebirth, highlighting the interconnectedness of these seemingly opposing processes.

Through the destructive yet creative forces, the dramatic forms aim to inspire contemplation on the cyclical nature of life and the resilience of the natural world. Chaos & Balance serves as a reminder of the interconnectedness of the environment, and invites viewers to admire the beauty and complexity of nature.

Curatorial Review

Surge and Stillness (2024) is a watercolour painting that successfully replicates the rawness and power of volcanic tension through the flow of the lava and its clashing with its cooling and the creation of rock at the end.

There is a great contrast between the lava cooling (and the resulting rock) and the vibrant, fiery tones of the viscous lava. This, therefore, has captured the energy of the natural process of volcanic activity through the violent creation of magma freezing into basalt….

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Interview with Sonia Trevisan

You live in the countryside; how does your surroundings influence your artistic practice, particularly in regards to your exploration of nature’s resilience and fragility?

My countryside surroundings deeply influence my art and inspire me to create work that reflects the resilience and fragility of nature. For my project ‘i am water’, I was drawn to the Wye River and Broadmead Brook, a local stream. Witnessing the sheer power of the river influenced my understanding of water as an indomitable force and informed the dark and mysterious forms I created.

Similarly, for my project ‘Dead & Reborn’, the neighbouring woodlands provided invaluable inspiration. Observing the intricate interplay of life and death, with fallen trees providing sustenance and shelter, deepened my understanding of the cyclical nature of existence. This concept of renewal and interconnectedness became a central theme in my artworks.

For my latest project ‘Chaos & Balance’ exploring volcanic and tectonic activity, finding direct inspiration in my surroundings proved challenging. However, Corsica, with its dramatic volcanic landscapes, provided a powerful visual when I visited. Witnessing the power of geological forces first-hand further solidified my fascination with the constant interplay of chaos and renewal within the natural world.

How do the natural sciences inform your work, especially when addressing tectonic shifts and volcanic eruptions?

My artistic practice is informed by my fascination with geology and geophysics. I find the intricate mechanisms that govern our planet awe-inspiring.

For my recent project ‘Chaos & Balance’, I studied volcanoes and tectonic shifts. My research revealed not only their destructive power but also their crucial role in creating the conditions for life. I was particularly intrigued by how these chaotic events ultimately lead to renewal and the emergence of new ecosystems. This informed the contrasting imagery within the series.

Similarly, my previous project ‘i am water’ was influenced by my studies on water erosion and its impact on landscapes. By exploring the geological process, I admired the immense power and transformative nature of water, inspiring the confident forms in my artworks.

You’ve mentioned that you are inspired by poetry; are there any specific poets or work of poetry that have inspired you and why?

Poetry plays a vital role in my artistic process, serving as a wellspring of inspiration and a catalyst for exploration. I’m particularly drawn to poets who explore themes of nature and activism.

Rupi Kaur’s poem ‘i am water’ influenced my project of the same name. The poem’s emphasis on both the softness and the strength of water, particularly as it relates to women, became a focus for my exploration of river erosion and its transformative power.

Similarly, Lawrence Ferlinghetti’s ‘A Vast Confusion’ inspired my project ‘Dead & Reborn’. The poem’s recognition of the essential role of death in the cycle of life, inspired me to investigate the impact of dead trees on the ecosystem, highlighting their contribution to the ongoing cycle of renewal.

During your creative career, has your perspective on art changed since the start? If so, how?

Initially, I simply captured the aesthetic beauty of nature through traditional landscape paintings. However, following my foundation degree, I started incorporating my environmental values into my art. I began to see my art as a vehicle for raising awareness about environmental challenges and highlighting nature’s vulnerability and resilience.

I now strive to evoke a deeper emotional response in viewers, not just admiration but also a sense of awe and fear. My art is no longer solely about creating aesthetically pleasing landscapes; it has become a powerful medium for conveying urgent messages about the need to protect our planet.

How do you hope your art raises awareness about environmental issues?

By showcasing the beauty and fragility of the natural world, my art aims to raise awareness about urgent environmental challenges, such as climate chaos and chemical pollution. I hope to evoke empathy in viewers, fostering a connection to nature and inspiring them to consider their own environmental impact.

Artist Statement

My aim is to produce visually stimulating silkscreen prints that intrigue the viewer and hopefully enable them to establish a narrative for themselves. Although I do have my own reasons behind each work and know what it means for me, I do not wish to give an obvious explanation for the work as I created it to remain ambiguous. I created the works as a series, and with the intention of them being viewed as a sequence, although they can also be interpreted as individual images.

My work explores the notion of dreams and hallucinations, or scenarios that could represent either of these. This stems from a fascination I have with listening to people’s interpretations and recollections of their own dreams, and the bizarre inner workings of our subconscious. When we dream we have no control over what our minds choose to show us, and I like to play with this vulnerability. As my work has changed and developed, I have built upon a ‘character’ as a way of creating a protagonist which appears in nearly all the works, sometimes multiple times in the same print.

This evokes ideas surrounding doppelgangers, identity and ambiguity. I often work with vintage photographs/retro imagery, taking images from theatre, cinema and the domestic setting, acting as a reference to memory and the past. I take inspiration from a variety of artists, mainly photographers of the surrealist tradition such as Francesca Woodman, the film work of David Lynch and Louis Bunuel, and the collage juxtapositions of Sigmar Polke. All of these artists work with narratives and play on ‘dream stories.’

My prints are all in greyscale, which I chose deliberately to evoke themes of memory and the past. I think each one has contrast as not only are they visually contrasting, but I play on the contrast between reality and the sub-conscious.

Curatorial Review

Greenwood’s series “Smoke and Mirrors” (2014) explores the subconscious, memory, and identity through the use of surrealist vintage imagery. Through monochromatic silkscreen prints, Greenwood creates a form of nostalgia and a mirror into the past, which allows the viewer to interact with the artworks by creating their own interpretations and perhaps entering the work themselves.

Emily Greenwood’s first work on the page brings the viewer to a domestic setting—a room that is usually a place for safety and the main space of a home. However, it has been distorted—it looks as though two of the same person are inside the work facing each other in a somewhat mirrored way. The two seemingly look at each other, creating an uncertain atmosphere, while the retro television plays an indiscernible film or show (however from the series we can understand that what plays on the TV is what is on the next print)…

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Interview with Emily Greenwood

Francesca Woodman, David Lynch, and Sigmar Polke are some of the artists you are inspired by. What about these artists have inspired you?

All of these artists work with narratives and play on ‘dream stories.’ Woodman in particular worked with role-playing and self-portraiture, which I have adopted in my own practice. I also love the collage juxtaposition of Polke’s work.

What about the physical qualities of silkscreen printing (such as the texture, layering and imperfections, etc.) help to convey the themes you explore in your work?

I think the process of printing adds to the vintage feel of my work in a way that other mediums, such as photography doesn’t quite capture. Each print is slightly different which I like, I also really enjoy the process of creating each screen and seeing it in print form. There is something about it that makes the works look older than they actually are.

Moving on from silkscreen printing- have you experimented with other mediums or techniques other than silkscreen- how has it gone? What do they compare to silkscreen?

I briefly tried displaying the works as stand alone photographs – as I said above, I enjoy the printmaking process and like the ability to play around with colours/textures in a way that Photoshop cannot achieve. I have also tried making a short film which I enjoyed but I think the stand alone images are more open to other people’s interpretation which I always like hearing.

Are there any limitations or rules you impose upon yourself when working with found imagery? What qualities are you looking for with found imagery for your work?

I try not to use anything with people in (aside from myself) and look for anything that fits the vintage/cinema setting. I like to use images that unnerve people in some way or look generally ‘odd’, just as they would be in a dream.

You’ve mentioned that you are fascinated by other people’s recollections of their dreams. Are there any recent dreams or stories that have influenced your work lately?

COVID19 influenced my work massively. I had an elderly relative in hospital with COVID and made a couple of pieces that reflected a feeling of being ‘trapped.’ Also not being able to physically make prints during that time was difficult as I was totally emersed in my work in the NHS.

What is the most memorable interpretation of your work by a viewer?

Probably a response I had to the second work in the series, which features myself inside a TV on stage, being held up by puppet strings and being operated by an anonymous figure. People have said they view it as a metaphor for being ‘puppets to the media’, which wasn’t my intention but I can see why people would draw that conclusion.

Outside of David Lynch and Luis Buñuel; are there any particular films or literary works that have inspired the dreamlike themes within your work?

I am also inspired by writers including Angela Carter and Gabriel Garcia Marquez who explore fantasy and ‘adult fairytales.’ I really love Christiane Cegavske as she uses stop motion and her work has a nostalgic feel to it. It reminds me of Bagpuss which I used to love watching as a child. And of course Alice in Wonderland by Lewis Carroll.

Could you share an example of one of your own dreams that have inspired one of your works?

I’ve had plenty of dreams about running away from someone, falling and being watched by someone in my sleep. Some of my pieces show a nod to this as the characters shown are often watching something or being watched.

Do you have any upcoming projects that you’re excited to share?

At the moment I’m concentrating on exhibitions, I’ve had a few online ones recently and have also entered the Royal Academy summer exhibition. I’ve also got an upcoming exhibition at Boomer Gallery in London which I’m quite excited about as I’ve never exhibited there before.

Artist Statement

Threshold Lab explores the intersection between technology and culture, examining their shared boundaries. It is a dynamic collective of six artists from diverse backgrounds in Interactive Arts, Architecture, Computer Science, and Technology Innovation, based in the USA and China. Their interdisciplinary approach combines creativity and technology to foster dialogue and drive transformative change between humans and AI.

ARTISTS IN THE THRESHOLD LAB

Amo Zeng
Amo is an digital artist who is into visualizing the invisible – she focuses on the connection between the virtual and physical presentation of the human body and gesture. She crafts interactive projections that transform the human body into a canvas and projection light into paint, establishing an intimate connection between her messages and the audience. Her works involve com puter vision, artificial intelligence, code, sensors and projection.

Ziwei Ji
Ziwei Ji is a new media artist and creative technologist who graduated from NYU’s Interactive Telecommunications Program (ITP) in 2023. Drawing inspiration from scientific facts, she applies computational techniques to craft surreal scenes and explores alternative ways to narrate the reality we inhabit.

Xiesiyuan Shu
Xiesiyuan Shu, a multidisciplinary designer specializing in landscape design and user experience design. Her work is deeply rooted in the integration of physical and virtual realms by leveraging 3D modeling, computer vision, and artificial intelligence. Drawing inspiration from social issues, traditional culture, and the intricate relationship between humans and nature, Xiesiyuan creates innovative and impactful designs. Moreover, Xiesiyuan’s artistic talents have earned her several prestigious international awards.

Devu
Devu is an AIGC multimedia designer, creative technologist and digital artist who focuses on the intersection of art, technology and culture. Devu is passionate about excavating cultural elements and transforming interactive experiences to make modern interpretations; Devu also immerse into connecting multimedia and AIGC-related technologies to expand the boundaries of perception and creative possibilities.

Yin Li
Yin Li is a multidisciplinary designer and product manager whose work traverses digital, physical, theatrical, and artistic experiences. Focusing on the nuanced intersection of emerging technologies and human connection, Yin creates immersive experiences that bridge the tangible and intangible. By integrating tools like artificial intelligence, interactive media, and spatial design, their work fosters a meaningful dialogue between audiences and their environments.

Sirui Li
Li Sirui specializes in interaction and spatial design, with a strong expertise in integrating data analysis and visualization. He brings a unique perspective to information visualization and demonstrates a deep interest in emerging technologies. Passionate about exploring the fusion of new technologies with design concepts, he strives to create works that highlight societal issues and inspire contemplation about the future.

Curatorial Review

When first viewing the work, Sweat for Generation seems like a simple contraption. Yet, as you get closer, you will realise that the work is a prompt page for ChatGPT connecting to a hand crank. Above the contraption, there is what looks to be paper or a receipt coming out of it, which seems to represent the response from the prompt…

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Interview with the Threshold Lab

How do you feel that Sweat For Generation helps to change audiences’ perceptions of AI and its energy economy?

Sweat For Generation challenges audiences to rethink the energy economy of AI by creatively tying human effort to machine intelligence. It reframes AI’s energy consumption — often perceived as intangible and detached — into something directly relatable: physical human labor. By integrating bodily sweat into the process of powering AI systems, the project creates an immediate and visceral connection between the human body, the energy economy, and the output of machine intelligence.

Can you share the collaboration process within the Threshold Lab? What is the process of creating an artwork collaboratively?

At the start, each of us wrote a proposal based on our interests, and we voted on the most exciting topic. From there, we brainstormed and held weekly meetings to ensure steady progress. Coming from different disciplines, we each contributed our expertise, taking on tasks that aligned with our strengths. When challenges arose, we worked together to brainstorm solutions and move forward as a team.

Going forward from the previous question- what was the process behind the “Sweat for Generation” work?

We’ve all seen AI’s rapid rise, with new tools emerging daily and people eager to try them out. But this accessibility comes with deeper issues—inequalities, misuse, environmental impacts, and the burden some bear from others’ usage. As artists, we feel strongly about reflecting on these dynamics, creating work that bridges divides and questions AI’s broader implications. Through discussions and iterations, we’ve crafted work that embodies these complexities and continues to evolve conceptually and in its forms of expression.

How do you think that art can be used to contribute to a conversation surrounding ethical uses of current technology and potential future technologies that may appear?

Our work aims to draw attention to the advent of new technologies, particularly AI, and the deep-seated issues of computational power waste and energy consumption that often accompany them. Behind many of today’s technologies lies significant resource consumption or waste. We hope for a future where technologies become more efficient and precise, while acknowledging that the development of any new technology inevitably involves resource expenditure. This is a reality that should not be overlooked. Through our project, we seek to inspire reflection on how technological advancements can balance innovation with sustainability, ensuring that progress does not come at an unsustainable cost to our environment.

(To Amo Zeng) What does it mean to “visualize the invisible”? How does this concept guide your work?

Visualize the invisible means to visualize the subtle connection between the reality and the virtual. I enjoy projects computer generated images (the virtual) on existing object in reality like human bodies, books, ceramics.

(To Amo Zeng) How has working with advanced technology (the computer vision, artificial intelligence, etc. for example) influenced your creative practice over time?

I’ve been using some computer vision techniques, mainly OpenCV to track objects or moving body gestures in space and generate images based on it with tools like openFrameworks, Kinect and Unity. Creating art with these tools has been giving me surprises since bugs in artwork sometimes give a more interesting output than what you planned at the beginning. 

(To Ziwei Ji) What does “narrating the reality we inhabit” mean to you, how do you approach and showcase this through your art?

I believe reality has multiple layers, many of which are not directly perceptible to us. I use technology as a tool to uncover these hidden dimensions of realities, and art as a medium to bring them into perceptible form. For example, in my project Re-Landscape, I collected soil data using sensors and translated the land’s unseen dynamics into the movement of a sculpture. Through this process, technology reveals the unseen reality, and art constructs a tangible way for us to experience it. 

(To Ziwei Ji) What role does audience interaction have in your surrealist storytelling?

It depends. In some installations, I use interaction as a gateway to invite the audience into the scenario. I love sharing speculative topics with the audience and seeing them begin to debate and exchange ideas. 

(To Xiesiyuan Shu) Can you share how landscape and user experience design influences your processes of merging technology and art?

Both designs are disciplines that merge technology and art. Landscape design transforms physical spaces into functional and aesthetic environments, blending natural elements with artistic vision, enhanced by technological tools for visualization. UX design, on the other hand, shapes digital environments by focusing on intuitive and engaging user interactions, where technology drives innovation while art ensures aesthetics. Together, these fields demonstrate how art and technology can collaborate to enhance both physical and digital experiences.

(To Xiesiyuan Shu) How has receiving international awards influenced your practice? What is the most memorable award you have won and what was the project behind it?

Receiving awards is both a form of recognition and a source of motivation for me. They inspire my practice and encourage growth. The most memorable award I’ve received is the UX Design Award, as it was the first international award I achieved.

(To Yin Li) How do you view the role of technology to enhance human connection?

I see technology enhancing human connection in three ways. It allows us to connect more tangibly and instantly through tools like video or immersive spaces, while expanding our sensory experiences with greater depth, richness, and new dimensions. At the same time, it introduces challenges that encourage reflection and foster deeper intellectual connections.

(To Yin Li) How do you design immersive experiences which encourage audiences to engage more with their environments?

Drawing on my background in spatial and stage design, as well as various art forms and digital technologies, I craft experiences that spark curiosity and meaningful connections with the environment, emotions, and people. Each experience is a dialogue, encouraging exploration and deeper reflection on the dynamics at play.

(To Devu) How do you utilise AIGC technology in your practice,what challenges do you face with this medium,and can you explain the process behind using it?

In my practice,AIGC serves as both a creative partner and a catalyst for innovation.I use it to explore themes of human experience and societal dynamics,generating initial concepts that I refine through iterative collaboration.The process begins with carefully crafted prompts that guide the AI’s output,which I then sculpt into cohesive artworks.This approach allows me to rapidly prototype ideas and experiment with forms that traditional methods might not easily achieve.However,the medium’s reliance on data means it can sometimes produce outputs that lack emotional depth or cultural nuance.Balancing the AI’s efficiency with the need for authentic human expression is an ongoing challenge.I address this by critically evaluating each output,ensuring it aligns with my artistic vision and ethical standards,ultimately creating works that bridge the gap between technology and human creativity.

(To Devu) What inspired you to explore the intersection of art,technology,and culture?

The intersection of art,technology,and culture fascinates me because it represents the cutting edge of human expression and understanding.Art has always been a reflection of our collective consciousness,while technology offers new ways to explore and expand that consciousness.By combining these realms,I aim to create works that not only captivate but also provoke thought and inspire empathy.

(To Sirui Li) What are some of the societal issues that you are most passionate about addressing throughout your projects?

I believe that art serves to uncover societal issues, while design aims to solve them. In the context of rapid technological advancement, I am deeply concerned about whether we have overlooked the negative impacts of technology and the accompanying resource waste. This is precisely the perspective our project seeks to convey. While the revolution of technology is undeniably urgent, it is equally crucial to carefully consider the potential negative consequences that lie behind it. We hope to inspire a balanced approach—one that embraces innovation while remaining mindful of its broader implications.

(To Sirui Li) Can you describe how you translate raw data into interactive designs? What is the process behind this?

Every day, we generate an enormous amount of data. When working with this data, my first step is to organize and clarify the logical relationships between different datasets, uncovering how they influence one another—this itself is a form of interaction between data. Once these connections are established, the next step is to effectively communicate the insights or stories hidden within the data. For this reason, I place a strong emphasis on data visualization. A well-crafted visualization not only captures the audience’s attention by highlighting key elements but also facilitates understanding by presenting critical data and demonstrating how variations in these data lead to different outcomes. This approach enables the audience to grasp complex insights in a more intuitive and engaging way.

Artist Statement

Charlie Valentine is a multi-disciplinary Photographer and Printmaker based in Nottingham, UK. Charlie’s work focuses on the everyday experience of noticed banality. Inspired by colour theory and abstraction, Charlie’s work is a combination of street and abstract photography, focussing on urban landscapes and the isolation of the overlooked objects within them. Attempting to reimagine the mundane, Charlie’s artwork seeks to reveal the charm of the ordinary, reframing the monotonous nature of day-to-day life.

Charlie studied Fine Art Foundation at Loughborough University and has a First Class Degree in Commercial Photography from the University of Derby. In 2021 Charlie was selected as the winner of the FORMAT Photography Graduate Award.

Focused on the subject of banality and the mundane, Charlie’s imagery is always centred around the key concepts of abstraction, light and texture.
Taking the overlooked, neglected and dismissed parts of Charlie’s every day surroundings, capturing them and reframing them, seems to give them more context and importance. Documenting what most would not notice, manipulating it and presenting it back to them in a vivid, dynamic and often abstract way, has a way of forcing people to actual consider the subject portrayed; giving context, importance and substance to the mundane, changing the unseen by the simple act of taking a photograph.

The images Charlie has submitted all focus on reframing banality and all lean heavily on either one, or many, of these key themes and use a combination of them to create high contrast compositions. Whether through use of vivid colour, linear compositions, abstracts textures or dynamic intersection of light and dark, Charlie feels the imagery submitted shows strong ties to the theme of ‘contrast’.

Curatorial Review

Headwires (2024) depicts a concrete wall with small cables through a photograph of a small section, allowing us to see the textures of the wall. The greyscale monochromatic tone of the work allows the viewer to examine between the shadows and the lights of the work. The shadow covers around a third of the wall and up to the halfway crack within the centre of the wall. This allows the viewer to guide themselves across the wall’s texture and draws attention to the cracks, grooves and weariness.

The cable splits the photograph into two sections: one uniform and perfect (the bottom half) and the other imperfect and showcasing the damage of the concrete. To explore the “noticed banality,” we are to look for elements that we do not see as we pass through these textures or structures every day…

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Artist Statement

I’m a Swedish photographer residing in Oslo, Norway. My photographic journey began in my childhood, when I first discovered the fascination of seeing the world through my parents’ camera. The joy of capturing life around me became so consuming that one Christmas Eve they gave me my own. Although experiencing a rough start into adulthood, with losing both my parents early on, I’ve always found solace and bliss behind my camera.

Since then, whether through street photography, portraits or with an artistic expression, my style of photography often shows that the ordinary everyday life can be interesting and beautiful. I like to place my subjects in a unique and distinctive composition. With my photos I want you to hopefully feel something subtle yet conspicuous. It is my wishes to have you exist only in this very moment.

Curatorial Review

Rusty Water (2024) is set beneath a bridge in Larsson’s hometown, which, with this context, gives the photograph a nostalgic and contemplative feel. The rust-coloured wall (and the water), along with the diagonal sunlight going through the composition, guides the viewer and creates a calming scene…

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Interview with Isabelle M Larsson

Can you share more about your childhood memories of discovering photography? What was it about your parents camera that got you interested in photography?

As long as I can remember I’ve been reaching for the opportunity to capture the loved ones and life around me, and the mere fact that my parents had an old camera they lent me was crucial for satisfying that need. I’m talking about one of those old cameras with a cubic ash on the top and a small mechanical arm. I remember the feeling of time standing still. As I still do.

You mentioned growing up in Sweden and now living in Norway; how have these two countries influenced your perspective as a photographer?

I strongly believe that wherever in the world I´d be born I would be wanting to take pictures Luckily I lived in two countries without raging wars or devastating poverty, and with both parents working full time most of my upbringing and buying me my first camera I was free to explore. I feel very grateful because of that. So many people struggling that never get to have hobbies or even dare to dream.

Your work ranges from street photography, portraits or with your artistic expression- can you tell us the process behind each type?

With street photography I need to stop thinking, especially right before something interesting comes before me that I want to capture. If I think too long the moment is over. Taking portraits is more of a planned deal, where I need to make the subject relax and feel good about themselves.
Getting them to get used to the camera if its new to them. The artistic approach is where I just exist and let my inner self speak.

Rusty Water (2024) is a photograph which you took in your hometown. Being your hometown, what significance does the location hold for you?

The area is a busy one, pretty near my home, with fancy stores and tall beautiful architectural buildings. I often take a walk with my camera around my neck looking for the less obvious. Like a bridge on my way to the library where there’s no one and life´s quiet.

Going further- how does revisiting familiar places, like this bridge, influence your creative process?

I want to catch what might be forgotten by others, maybe even unseen and I like to think that I have a keen eye for the less ordinary. This almost always effects how I go about with my photography.

The rusty tones in the water seem to beautifully blend with the texture of the bridge was this intentional or did it surprise you during the shoot?

I was first drawn to the lighting that day, this being a to me known area, and when I went down under the bridge I saw this beautiful rusty colour. I even like the green mold on the wall coming from the fjord.

The lighting in the photograph is mesmerizing and golden. Did you have to wait for the perfect lighting conditions for the photograph?

No, I did not have to wait for anything; it already spoke to me.

Did you experiment with different angles or compositions of the bridge before settling with this one? If so, what did the other ones look like and why did you settle with this one?

No, I did not. I liked the diagonal stripe of light, creating a clear contrast.

What role does nostalgia play in your artistic practice, particularly in context to photographing your hometown?

Going through life and experiencing the highs and lows leaves a feeling of nostalgia in pretty much anything I do. But also, being fond of a more futuristic outlook and having a love for living in the moment, I can’t say that one is more dominating than the other.

Do you have any upcoming projects that you’re excited to share?

I have several. One is that I want to make a documentary series about people who live outside the box and also people with hobbies I think are interesting, like graffiti artists and skaters. And those projects are not the only ones! I guess time is the only obstacle cause there is not enough of it!

Artist Statement

In these pieces the artist uses colour and light, or conceptions, for contrast. Contrast is essential in art to provide the brain with a focal point. In some cases that is near us, familiar, but the contrasting notion may be more important. Various styles of painting, printing and digital effects are used to produce these image. We are always contrasting – imagining ourselves other than what we are because we compare with others; it is kind to let people complement you but you must believe it. In their journey through life this artist has found a great deal of pleasure in noticing contrasts and making them sit in an image for the viewer.

Biography

Working class human goes to Oxford to learn and enter the field of biochemistry. From age 4 she drew, entranced by the idea of making worlds (a kid’s book). Her Dad being a draughtsman taught her how to shade; an art teacher battled a disinterested class to teach the perspective. Portraiture interested her in college, loving God means loving people. In New York working as a post-doc the Art Students League taught classical portraiture in oils. Leith School of Arts taught contemporary art practice encouraging experimentation while a figure course sparked an entry into the Royal School of Drawing. Ceramics also revealed a need to draw all the treasures, the jewels learned in a hesitant walk with the living God throughout work in computing and social services. Drawing is imagination. Contrasts make the focal points appear, whether made with light and dark, contrasting colours from the colour wheel (unblended), or with concepts.

Curatorial Review

Sunflowers and Roses Reflected (2025) presents a bouquet of sunflowers and roses that are realistically painted and vibrant. They are set against a digital reflection on the artwork’s lower half, in which their colours are inverted. This inversion of colour creates an immediate contrast to the work while allowing the viewer to see more details within the bouquet as the black background exposes the smaller details of the flowers…

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Interview with Dr Helen Imogen Field

You mention (and shown through the works in this publication) that you use various types of mediums like painting, printmaking and digital. How do you decide which medium is best suited to a particular piece of work or project?

For a major competition my most practiced medium is oils, closely followed by acrylic. Otherwise I often work in a medium as an experiment that I take through several projects (botanic drawings in gouache to life drawing from models). I need a push to try new things; the latest is combinations of ink and pastel, using a chinese calligraphy brush for a variety of lines; pastel adds pizzazz (working on pastel paper which takes the water without distortion). I set tasks like “15 minutes to a finished oil” as the fast works are very fresh.

Your academic background is in biochemistry, how do you think your scientific background has influenced your artistic practice and process?

The science helps me firstly because of learning to accurately draw what I saw under the microscopy; understand the colour theory which underpins impressionism (like dots on a TV screen) – the colour wheel is sciency and very useful to artists. The paints that mix to form different colours you just have to learn. Van Gogh chose to use strokes rather than dots, and I had not made the link between Seurat, colour theory and impressionism before – they were all experimenting with it. Learning to use the colour wheel to ‘soften’ a mix of the 6 primary/secondary colours is a recent lesson as my work was getting garish.

Particularly after learning Counselling, I love Betty Edwards’s work. She demonstrates how important it is for people to express themselves visually, to understand themself, as much by making marks as doing drawings; this is a field I’d like to develop for supporting mental health. Betty’s work convincingly addresses how the brain perceives the drawing, how your vision can affect your work, and how your brain can change things as they go in (including visual things). It’s why a crazy or unfinished painting can have more impact than a beautifully finished one, as it gets your brain busy. I hope that schools go back to allowing kids to be creative. It is so good for us all.

You have described contrast- light and dark, colour, or conceptual as key to your work. What has drawn you to this idea and how does it reflect upon your life experiences?

When at the Art Student’s League of New York we had endless conversations about Light; we were doing portraits as a class. It is light that causes shadows; if there were no shadows and no shades of colour it would be hard to make anything out at all (to see). In the same way, enhancing the shadows in a painting makes the light parts shout. Colour (good old colour wheel again) has the same effect – John Constable always added a red jacket to his landscapes, as red complements the green – the contrast gives your brain a reference point for the green.

Contrast gives a focal point; in The Night Watch (Rembrandt)the focal point is where the greatest light hits the greatest dark – in the centre of the painting (the rest is largely brown, but then coloured paint was expensive in those days and Rembrandt became very poor.

Contrast created digitally, like the colour inversion, can add or subtract from your painting creating a new work. When looking at photographs a great deal is gained by improving the contrasts and colours (away from greys), making the whole easier to see and more attractive.

Ceramics seem to have been an artistic turning point for you- how did working with ceramic media reveal new artistic or personal insights?

Thank you for noticing this. It was after leaving art (painting) for a while and learning at Bible College and Counselling that I found a simple drawing came out almost the way I imagined it, and often added insight that I had not expected. A picture I drew for my counsellor allowed her to interpret a situation correctly (anger hides a frightened person). On ceramics during this time, because I cannot produce two of a kind, I started carving little pictures, and thinking of different designs I found that the meditations of the morning would come out on the pots. They are always done freehand, along with some motifs I developed in childhood (horses, birds). Looking for a thread in all my diverse work I realised my strength was in drawing (accurately). There is not much drawing in Art Schools, I discover, so I was delighted to be taken in this year by the Royal School of Drawing for a year long stint of hard work in the drawing department.

In your work Sunflowers and Roses Reflected (2025), do the sunflowers or roses represent any symbolism?

No, but I think sunflowers always references Van Gogh. He trained as a pastor then became a brilliant artist; it’s a pity his brother (art dealer) did not believe in his work and sell it for him. It must be very discouraging and without God telling you, how could he know that he’d be famous in the future. So maybe the rose is a tribute to Van Gogh. I love how he developed impressionism with short strokes, and was so accurate in his colour transcription, taking the countryside to a new, brighter level.

In The beauty and discrepency of marriage (2024) you chose monoprint as the medium. How does this printmaking technique help to enhance the story of Psalm 45?

The monoprint relies, in this case, on the drawing. Simply drawing the subject of a poem (like the Psalm) allows one to reflect on it. Because I wanted to put something from my experience into this image, the image came to mind quite precisely, drawing on celtic designs and church tombstones – it occured to me that marriage (on earth) is pointing to something greater than we can possibly imagine, and I wanted to capture the beauty of that notion coming out of the pain that besets most marriages from time to time. A monoprint feels nice to the touch and has a uniformity that unites the two concepts in this picture.

From all the Hymns in the Psalms, what brought you to be inspired by Psalm 45 and how do you interpret it in a more contemporary context?

I hated abstract art and made myself study this; in doing so, a book on the schools of Modern Art showed me how it all developed and what the thinking and pressures were, from post-impressionism to the present day. My appreciation of abstract leaped up and freed me from the accuracy of form, which allows me to develop conceptual designs.

Psalm 45 is a beautiful Psalm about a woman who has to desert her native land to come to a king – who, if she commits is guaranteed besotted by her. This is what Marie-Antoinette had to do (and Judwiga, who left her true love to marry a Lithuanian heathen king, in order to bring Christianity to that land). My heart goes out to those who leave all they love for an uncertain future. I love that she was called Queen of Ophir and dressed in gold and a coat of many colours. I love that she had a mission to leave all her traditions and ways (her tribe) behind and start againg, alongside the powerful king. This king sounds to me like the one in Revelation, who rides a white horse and has a sword that comes from his mouth (his words), and who has king of kings and lord of lords tattooed to his thigh (depicted in the Inevitable artwork). I was interest in the imagery of Revelation because Kandinsky was fascinated with the 4 horses of the apocalypse, which motif became more and more abstract in his artwork (see above). Kandinsky was my starting point for trying to understand and delight in abstract artwork. Which learning really helps me understand that art is about how the artist is struggling to communicate their concept to the viewer, reaching out and barely understood. Art is powerful and a responsibility to produce, in the same way that “life and death are in the tongue”.

For today – this Psalm has always been seen as about the Messiah, that is the king who will save Israel (from her enemies). When Jesus came he was a disputed Messiah, yet he said that He is, and taught from the scriptures (old testament) that the Messiah would come first as a sacrificial lamb and then as King. TO cover the period in between he founded the church on a bunch of less educated non-religious men (alhtough after the Holy Spirit came there were 3000 converts who dispersed into the surrounding area; it is said that 2 thirds of Jerusalem converted (believed that Jesus was the Messiah) before the persecution started – then came St Paul who developed the teaching. His revelations, and those of John (the disciple who leaned on Jesus’s breast and calls himself the beloved disciple) the fisher of men – show clearly that Jesus will return to save His People (New) Israel (Israel was the name God gave to Jacob, before his family went to Egypt). They/we will meet him in the air with new and transformed bodies, like Jesus’s resurrected body. He will take us to live in the heavenly homes He has prepared for us after ascending back to the Father. This meeting is the one described in Psalm 45, for it is the King who is Jesus (who has all authority in heaven and earth, under God the Father alone, like Joseph under Pharoah) meeting his Bride who is the “Church”, that is Jesus’s own united global single hearted community of those who love him and “know their shepherd’s voice”, who treat him as Master. Since Revelation is so full of woe and gloom and suffering, this dramatic reversal is something we can hold onto to save ourselves from the terrors. And the Promises of God are all true, in Jesus. Many have lived by them and tell amazing stories…. deep dive.

Do you have any upcoming projects that you’re excited to share?

I am finishing a landscape for the Scottish Landscape Award competition that takes the “Spirit of Edinburgh” as a theme and includes the Covenanters (in the clouds and meeting in the fields). This is a fascinating movement and I enjoyed Melvyn Bragg’s podcast on it. The Covenanters followed the teaching that we (the church in Scotland) was one of the lost tribes of Israel, something I came across when quite young. We know from the bible that God is planting ‘foreign’ branches into his base olive tree, because the original branches refused to believe (Jesus said that our work is to believe – what He said – which includes what is in the Bible). Thus the story of the Hebrew Abraham leads to the Israelites rescued from Egypt (with 10 plagues and the crossing of the Red Sea, at a location whose place names are clearly named and easy to find) – from Israelites to the promised land of Canaan, to the Jews (one tribe of the twelve tribes of Israel, as most tribes were exiled) – through Jesus Christ (a Jew), to the Christian Church. When I was young I wanted to be Jewish but as a Christian now they are almost family.

Drawing intensely 3 days a week with the Royal School of Drawing will develop my craft in a way that may make my visual work a lot more exciting and powerful. I want to share the stories like the above, as they will save humanity.