Author: msp.adm@joshuaobaranorwood

Saguaro Lake (2025) is both realistic and slightly abstracted simultaneously as it uses a slightly geometrically abstract stylisation. Snyder is personally connected to the Sonoran Desert, which gives a much more personal perspective on this scene. The angular way that the background and the horses are painted gives a pristine feel to the painting. The…

The Flow (2022) is a set of three panels in acrylic on canvas, which all connect (or, more appropriately, flow) while also being distinct individually. The work was created while Messner was being assessed for autism, making the work much more personal to the artist and reflecting the growing discovery of this during its creation.…

Stepping Stone (2024) is found wood which is extremely weathered and textured from being used as a stepping stone and this texture is most likely a result of the wear and tear of people using it as one. The mud has decayed the wood; however, the wood was retrieved, cleaned and now serves as a…

Growth (2024) is a photograph of the overgrowth of ivy taking over a concrete wall which reclaims the usually industrial material with an organic and natural element. It has successfully captured nature taking back the world from human interference and removing the rigidity and sharpness of human architecture. The viewers attention is brought to the…

The L’antscrape series showcases works with wood ants to create an active work that allows nature to mould, erode and transform the semi-rotten timbers placed to be terraformed into their nest. The resulting biological artworks (as they have used the ant’s natural biological processes to create the work) are stunning, organic and highly intricate. Each…

Winter Lake (2025) presents a solitary scene set in the winter of a frozen lake; this peacefulness and solitude are exemplified by the use of pastel, which creates a soft and warm work. The work itself is plein air, which gives this lake a much more personal connection from Markava, helping us see the scene…

Shed Salty Tears Part 1 (2024) is an installation of ceramic and reclaimed material sculptures which exemplify its concern for the oceans which are in the process of being destroyed by humans. The centre of the installation showcases a female bust that expresses sadness and has an elongated neck. This sadness seems to be directed…

Neon Dreamscape (2025) is a digital pixel artwork that imagines a world set in the future and creates a speculative challenge to the viewer to question what we will have in the future. The landscape in this work has been transformed by the neon lights from the flying objects and, most notably, the skyscraper in…

Whisper in the Wind (2024) is a sculpture made from discarded metal scraps which, incidentally, through this medium, revive and transform the material, thus making it a sustainable work. A much more organic form has been created using a usually industrial and artificial material that would have gone to waste or a landfill. Thus, it…

These three works by Tristan Omar Mohamed, which are showcased in our publication (solitude: myself, solitude: angels and demons, solitude prayer) [all 2024 works], are black and white monochrome film photographs. The works use double exposure in which the artist successfully transformed this solitude moment (as suggested by the title) into a series in which…