ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Wendy Fournier painting then I get, that’s necessary for them. I wouldn’t want to take that away. I feel the paintings are for everyone. I share what I get from the paintings with others and yet I stay open for that to change and for the meaning to grow as I do. My only intention for the meanings of the painting is they are meant to help people and their highest and greatest good, they are meant to teach, help shift, help heal, help remember where we come from and who we are. How do your memories and your everyday life's experience fuel your creative process? Wendy Fournier: My work is an embodiment of who I am. I can’t really see where one ends and the other begins. Sometimes my paintings are created to help me understand something specific or heal something specific. In a way they are a culmination of my growth and a documentation of my spiritual evolution. My desire to paint is necessary. I chose to be this bridge, it is my purpose. I came from a childhood where my authentic voice didn’t matter, who I was was lost to me, and my sense of self worth was low. Becoming an artist for me is about empowering this part of me and creating balance for myself. Healing all of those parts is a process and I bring them with me. Understanding what enlightenment is, healing is, and all the magical and unseen things that make up the fabric of reality is what I am trying to discover. It is a dream come true to focus my life on such amazing endeavors. You are a versatile artist and you draw from your multifacered cultural substratum due to your studies in different healing modalities and religions, to create works of art able to connect your deep interest into modern physics and your love of ancient cultures: how do you consider the relationship between Past and Present playing within your artistic research? In particular, do you aim to create a bridge between Tradition and Contemporariness? Wendy Fournier: I believe we need to understand where we come from to know where we are going. We are meant to do what they did and more The best minds and musicians and artists did the best they can with what they had. We are constantly evolving. We spoke earlier about our psychological lenses and if you take that into the past, they were seeing and behaving through their own specific lens. Studying history has taught me that. We are meant to go beyond the limitations of what we are taught. We are meant to challenge the status quo. That doesn’t mean fighting, for me it is about becoming a master of self, and combining seemingly contrasting bodies of thought such as science and religion and finding patterns and similarities. Math and metaphysics, quantum physics and energy healing: there are commonalities in all things. I try to show this in my work. If you seek for similarities in anything, even a supposed enemy, you will find it. Over the years you have internationally exhibited in several occasions: how do you consider the nature of your relationship with
ARTICUL CTION A C o n t e m p o r a r y A r t R e v i e w Special Issue Special Edition your audience? By the way, as the move of Art from traditional gallery spaces, to street and especially to online platforms — as Instagram https://www.instagram.com/wendy.fournier.a rt — increases, how would in your opinion change the relationship with a globalised audience? Wendy Fournier: I love my audience. All of the people that understand and enjoy my work. I feel blessed that I get to paint for a living and share my gift to the world. I wouldn’t be able to do it without people receiving and supporting my work. I love that I can interact with people from everywhere. My work speaks for the spirit of human beings everywhere. For the most part we are all on our own path, learning and experiencing all sorts of things, trying to overcome things, facing our fears, we all primarily want to heal and want to experience love and belonging. All of those things supersedes race, religion, economic status, age, gender. I love that art can now reach most everyone everywhere. The online platforms allow cultures to interact and experience things not possible before. I am able to reach people all over the world with my instagram and facebook accounts. This wasn’t possible decades ago. So to be able to impact and interact with more people in a meaningful way is possible now. Experiencing art in person is a different experience. In person you experience art in a more personal intimate way. It is powerful to experience my paintings this way and encourage people to do so. To me art is meant to unite all people, to communicate messages in a multidimensional way, to share who we are, it isn’t always perfect but it is vulnerable, powerful, sometimes messy,and always authentic, genuine and real. Thanks a lot for your time and for sharing your thoughts, Wendy. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? Wendy Fournier: I am currently working on an artist collaboration to be seen at The Padzieski Gallery in Dearborn, MI in February 2022. This is new to me to collaborate and it will be fun. I plan on showcasing my work more around the country this year. I have been focusing so much time on commissioned work, it is time to step back out into the world and be seen more. As I evolve my work evolves. The world is going through a huge transformation. My work is documenting this process in a very specific, different way. I am excited to see where my work goes as I am excited to see where we take our planet. I plan on working on a bigger scale but I am open to where ever I feel called to go. I love watercolor, oil painting, and acrylic painting and I move between all three as I see fit. I am excited to continue to share my artistic journey with everyone and I am so grateful for all of the support. An interview by , curator and , curator
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Wendy Fournier sacred design
Hello water-ish and welcome to ARTiculAction. Before starting to elaborate about your artistic production and we would like to invite our readers to visit https://www.water-ish.com in order to get a wide idea about your artistic production, and we would start this interview with a couple of questions about your multifaceted background. Are there any experiences that did particularly influence your evolution as a visual artist? In particular, how does your cultural substratum direct your current artistic research? Hello ARTiculAction! Thank you for having me. It’s such an honor to talk to you today. Looking back, I spent most of my time by myself. While my parents were at work, I would play alone with my small wooden green house, arranging my tiny wooden bowls and spoons on a tiny table as if I’m inviting invisible guests to my little wooden green house. Sometimes my friends would come over with their Licca-chan dolls, but I didn't have any and wasn't interested in them. I was a tomboy type of girl and still I am. Well, I have so many stories to tell but if I tell you one now that would be a story of my cantaloupe. When I was 14 years old, I was drawing a cantaloupe on a canvas in my art class, and my art teacher told me to draw an eggplant as well. As I was reluctantly painting that eggplant, he came up to me from my behind without saying a word, snatched the brush from my hand, and he added a shadow to my eggplant to make it look more realistic. As soon as he did that, I turned blank…like totally blank, and I was almost crying with anger in the classroom. I moved my body closer to my desk, surrounded the canvas with my arms, and started painting the cantaloupe as if I were a mom protecting my child. I also stamped my thumbprint on to the cantaloupe in my painting like it’s mine! After I graduated from high school, I dragged my suitcase and moved to Santa Barbara, California. I was an art student there. After my graduation, I moved to Carlsbad, California. I did Jewelry design, Applied Jewelry Arts, and ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART meets water-ish An interview by , curator and , curator Making art for me is like inhaling and exhaling. If I stop making art, that means that is the end of my life. This sounds intense though I think so. As we are living on this planet with all the miracles, we get to see and feel so many colors around us. The trees, the flowers, the skies, the stones, the sound, the wind and everything. There is no need to hate or discriminate on the basis of colors because we are all colorful and unique each one of us. People can hate colors in my artworks instead and that’s okay. I’m making art not to be loved but to love.
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Edition Special Edition also I was certified as a Graduate Gemologist at Gemological Institute of America. While I was taking classes, looking at many colored stones under a microscope every day, I was so impressed by those beautiful colors that the earth produces. After GIA, I came back to Japan, started working there as a Jewelry adviser at a Jewelry shop, then I moved to Osaka and worked as a sales associate at a clothing store. I was promoted as a store manager there, then I moved to Tokyo to work as a Regional sales manager, then I moved to LA to work as a Jewelry category developer at their HQs. As soon as the company has gone bankrupt, I came back to Japan and started working for some luxury brands as their Visual Merchandiser/Decorator. I have learned a lot not only how to maintain the brand image, but also the beauty of their craftsmanship. It’s amazing to see all the details of the art pieces. Knowing designers and displaying their works of art for each season has been one of the best experiences in my life. I am still a Visual Merchandiser so I’m doing displays and everything, but I think,
C o n t e m p o r a r y A r t R e v i e w water-ish ARTICUL CTION A Special Issue working as a VM is helping me to understand the importance of fashion and the meaning of beauty of life. Marked out with such unique visual identity, the body of works that we have selected for this special edition of ARTiculAction —and that our readers have already started to get to know in the introductory pages of this article — has at once captured our attention for the way you develop such unique visual textures, that unveil the emotional bridge between the inner world adnd outside reality: when walking our readers through your usual setup and process, would you tell us how do you usually develop your initial ideas for your artworks? Do you create your works gesturally, instinctively? In particular, how do you consider the role of chance and improvisation playing within your work as an artist? I love tea so I make a cup of tea, and I start painting with watercolors. My art comes from somewhere inside of me. Maybe I’m not painting
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Special Edition with water, but I’m painting with my colorful blood and tears or something… Welcome to my imaginary world! I sometimes use my tears for my paintings though. Seeing the inevitability of coincidence as a happening that happens to me, I follow the movement of water, and I observe with interest the flow of water that occurs naturally on my paper. I let it drip, blot, and I let it be. Because I feel that the art that is created beyond my will is similar to the miracle of my birth, like I have no choice to make, but I am. Feeling the flow of water, my brush moves in a pleasant direction. In a way, it may be instinctive. This may sound like I’m crazy but I often see the lines of lights on a blank sheet of paper. I follow them with my brush quickly because they are like a flash and it disappears in a second. I don’t know what they are or why I see them. I think my art is improvisational, like playing Jazz or that sort. It's funny but as I check out my previous paintings, sometimes I don't remember my paintings in
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue water-ish front of me. I'm like who painted this…I can see these are painted by me tho. ..? haha. Inspired by the colorful vivid pallette, your artworks feature such wide variety of tones, often market out with unique, thoughtful nuances as well as bright tones. Moreover, we have particularly appreciated the way they create such dreamlike ambience. How does your own psychological make-up determine the nuances of tones that you decide to include in your artworks in order to achieve such unique results? Maybe I’m dreaming while I’m painting. I don't really choose colors, but I grab the color that meets my eyes. Or, I paint with colors that happen to hit my hand or fall on the floor by accident. The way I choose the colors is somehow unique. I naturally choose colors that have a connection with me, I grab the colors that my heart feels and my eyes see.
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Special Edition Although many people choose colors for their paintings and pick the colors they want to use, it does not apply to the way how I choose colors for my art. The colors in my art are somehow miraculously chosen. I can't really explain it. Maybe my colors are uncomfortable to your eyes, but it is my destiny to choose those colors and no one can really control that even myself. Life is unpredictable, isn’t it? We really appreciate the way you encourage the viewers to capture beauty in daily life, and in this sense, your approach seems to reflect Edgar Degas' words, when he once stated that “Art is not what you see, but what you make others see": how does your everyday life's experience fuel your artistic research? Wow, that’s lovely. I am touched by the birth of life, the existence of the universe, the earth, the moon, the sun and the fact that we are now living in it right at this moment. I am also moved by the fact that we can now see the light of stars from long time ago. And I believe that someday, when
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue water-ish someone feels the light that I’m feeling in my art, and if someone sheds tears, I will be happy and feel that I have finally connected with someone. It has nothing to do with race, gender, country, power, money, history, or cultural differences. At this very moment, I believe that there is a miracle that happens to connect our hearts through art. Your figures are marked out with ambivalent visual identity, that seems to unveil the bridge between the real and the imagined: how do you consider the relationship between reality and imagination, playing within your artistic production? Reality and imagination. I don't know which one is which. haha. As you have remarked in your artist's statement, There is no need to hate or discriminate on the basis of colors because we are all colorful and unique each one of us. Mexican artist Gabriel Orozco once stated, "artists's role differs depending on which part of the world they’re
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Special Edition in": does your artistic research respond to a particular cultural moment? Moreover, do you think that artists can raise awareness to an evergrowing audience on topical issues that affect our globalised society, in order to to make our world a better place to live for everyone? Yes, I do. As a reminder, we all started out as babies. When I was living in the U.S., I had strangers throw 3 raw eggs at me and they shouted racist words and laughed like devils. I was filled with anger and sadness for weeks. And as I was mixing the colors with anger and sadness, I thought, people who know how to mix colors would never do such a thing. Since then, I have consciously recruited people from various countries as I hire employees for my store. While working with staff from various countries, I have always lived my life as if I was protecting something as their mom, feeling that every human beings were born and raised in different countries with different cultures,
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue water-ish including myself, are living together in this small world. Moreover, we all will say good bye to this world someday. We can make this world a better place to live for everyone. Because there is art, we can feel love. We definitely love the way the unique combination between reminders to real human figures and such stimulating abstract feeling: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood? We all want to be understood. The same is true for not wanting to be understood, although it seems to be the opposite. I want an answer and I don't want an answer. That kind of thing will not go away as long as there is such a thing as human. You want everyone in the world to like or dislike your art, you don't want anyone to
ARTICUL CTION A C o n t e m p o r a r y A r t R e v i e w Special Issue Special Edition interfere, etc. I think we are always conscious of others in many ways. By the way, isn't it wonderful to have a heart to feel? In fact, there is nothing more delightful than realizing that you have your heart. I realized where my heart was as I was 9 years old. One day, I went to meet a choir and they were singing the song, "Deep River". I cried and that moment, I realized that I have my heart and joined the choir on that day. If you think you've lost your heart, remember, it's not your fault. No one knows what you are going through anyways so please don't give up. Your heart is definitely inside of you. No matter what happens, no matter what anyone says to you, it will never go away. I recommend you to be in the nature and breathe deeply. I know that the nature will surely give you a hand. You are a versatile artist and your artistic production challenges the logic of ordinary
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue water-ish perception: how do you consider the relationship between Past and Present playing within your artistic research? In particular, do you aim to create a bridge between Tradition and Contemporariness? Past and Present, Tradition and Contemporariness. That's a very interesting topic to talk. First of all, there is no such thing as time in art, I think. The Past and the Present, also the Future are the same as Now. Also, Tradition and Contemporariness are like the flow that is born one after another in the art world. People want to create something brand new in their lifetime, or they want to surprise everyone with something new. I think that's awesome. However, I am not interested in what others say is new. I love to create something new and surprise people, but, for me, the only thing that is new is the painting that I draw on a blank sheet of paper. Throughout history, people have been drawing. The days of drawing using traditional techniques
ARTICUL CTION A C o n t e m p o r a r y A r t R e v i e w Special Issue Special Edition and drawing like a photograph are still going on, and the standard of being good at it and being appreciated for it has not changed. What do you think about that? My heart cries every time I see portraits that people draw, not for their own credits but for someone who they like and appreciate. I think that’s beautiful. When I look at the Tradition and Contemporariness of art, it is like the flow of water in a stream. People would spend time on the shore staring at the flow of water. It is a very luxurious time. If you find a bridge is named water-ish, please try to cross it and have fun taking a selfie with the bridge. Over the years your artworks have been showcased in several occasions. Direct relationship with the viewers in a physical context is definetely the most important one, in order to snatch the spirit of a work of Art. However, as the move of Art from traditional gallery spaces, to street and especially to the online realm — as Instagram — increases: how
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue water-ish would in your opinion change the relationship with a globalised audience? NFTs. (https://opensea.io/water-ish) That's something every art lover hears a lot about nowadays, and many people are actually showing their artworks there. Especially in this day and age, both the physical and the virtual are like two choices people make. I exhibit my art in both places at a physical and a virtual as of now. I am very excited about the future of the digital world because people from all over the world can access art from all over the world at any time. Either way, whatever it is, I think how happy I am to be able to express my art freely. You are free to introduce your art to the world, or not to introduce your art to the world, the timing and everything is up to you. And with freedom comes responsibility. For me, it's either live or die. I locked my Instagram a few weeks ago. (https://www.instagram.com/water_ish) Sorry about that. Maybe I will be back soon. However, I'm adding pictures I drew every day. I have it linked to my website, so every day the pictures
that appear on my website are updated, so you can see them there. Or if you search for #waterish on Instagram, click Recent, then you will find my paintings there. Most of my artworks are showing to the waterish members at the water-ish museum on my website. And, only the water-ish members can access to my daily blog. Please subscribe and you will receive updates/coupons by email. If you have any questions/requests and comments, feel free to stop by and say hi via my twitter (https://www.twitter.com/water_ish) We have really appreciated the originality of your artistic production and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, water-ish. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future? Thank you so much for your thoughtful interview. I really appreciated that you chose my artworks ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Special Edition
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue water-ish for this special edition of ARTiculAction Art Review. I also would like to say thank you to all of you readers for reading this article to the end. I am currently having the physical and the virtual exhibitions at some art galleries in the US. And, I will be exhibiting some of my artworks at a gallery in Paris in February, 2022. My original merch is available on my website and part of the profits from the sales of the goods will be donated to hearing dogs. Also, please check out my merch at Superfan Mall online store at L.A. Comic Con. It's VR and super fun! I’m located in Artist Alley. (https://shop.comicconla.com/waterish/) I have many ideas and there is a mission that I am going to pursue. Please stay safe everyone and I wish you all have a colorful day! An interview by , curator and , curator
Hello Irene and welcome to ARTiculAction. Before starting to elaborate about your artistic production we would like to start this interview with a couple of questions about your background. Are there any experiences that did particularly influence your evolution as a visual artist? In particular, how does your cultural substratum direct your current artistic research? Irene Georgiou: I was born in Athens but grew up on the island of Samos in Greece. This fact affected me greatly as many of my works represent scenes from the Aegean landscape which I feel as a place free from the demands of modern life where a person can connect with nature and people in a simple and authentic way. When I reached the age to choose the direction of studies at the university that I would follow, I decided to follow culture and new technologies, I started to be inspired by different movements, while at the same time I perceived the landscape with its natural beauty, history and culture as a common good which needs maintenance and protection. Marked out with such unique visual identity, the body of works that we have selected for this special edition of ARTiculAction —and that our readers have already started to get to know in the ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART meets Irene Georgiou An interview by , curator and , curator I believe that art is a window through which anyone who looks can see our world differently. I hope through my art this window reveals something hopeful, something in which a soul could find an answer or a connection that will bring us closer to a peaceful and joyful world . I paint landscapes, as a response to everyday life. Modern individuals are called to face situations which are often unpredictable and sometimes cruel. Although I want my works to be a realistic representation of reality, however, with the use of vivid colors and the way light falls upon a scene, I make sure that I leave a romantic answer to our reality. The essence of nature at the sea, lakes, mountains and forests as well as the connection of people with nature at the urban and rural landscape inspires me and leads me to try to capture all these in my paintings. Lives and works in Greece
Naxos summertime
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Irene Georgiou introductory pages of this article — has at once captured our attention for the way you develop such unique visual textures, capturing the spirit of the landscape and unveiling the connection with our surroundings: when walking our readers through your usual setup and process, would you tell us how do you usually develop your initial ideas for your artworks? Do you create your works gesturally, instinctively? In particular, how do you consider the role of chance and improvisation playing within your work as an artist? Irene Georgiou: When I have an idea I keep a digital folder with reference images while at the same time I work with sketches on a small scale at an art journal. Then I look back to combine these two in purpose to make a draft. Although I use the photos as a guideline, I try to add a message to the theme by introducing structures and using colors. I return to the same painting many times as I work in stages, adding layers of oil. Inspired by the colorful vivid, imagery of your surroundings, your artworks feature such wide variety of tones, often market out with unique, thoughtful nuances — as Summertime in Naxos — as well as bright tones in Sunset over Field. Moreover, we have particularly appreciated the way they create such dreamlike ambience. How does your own psychological makeup determine the nuances of tones that you decide to include in your artworks in order to achieve such unique results? Irene Georgiou: My painting “Summertime in Naxos” is a nostalgia in my childhood, when I spent the summers on the island of Naxos as my grandparents lived there. I remember playing carefree in the whitewashed alleys of Naxos with my cousins and spending the afternoons at sea. The shades and tones that I used to create this painting are the means to capture the emotions of all these memories. We really appreciate the way you encourage the viewers to capture beauty in daily life, as in the interesting Lights on the waterfront, and in this sense, your approach seems to reflect Edgar Degas' words, when he once stated that “Art is not what you see, but what you make others see": how does your everyday life's experience fuel your artistic research? Irene Georgiou: The essence of nature at the sea, lakes, mountains and forests as well as the connection of people with nature at the urban and rural landscape inspires me and leads me to try to capture all these in my paintings. I believe that art is a window through which anyone who looks can see our world differently. I hope through my art this window reveals something hopeful, something in which a soul could find an answer or a connection that will bring us closer to a peaceful and joyful world.
sunset over field
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Special Edition Your landscape inspired paintings, as Deep blue, often feature such stimulating dreamlike ambience, that provides its figures with ambivalent visual identity, that seems to unveil the bridge between the real and the imagined: how do you consider the relationship between reality and imagination, playing within your artistic production? Irene Georgiou: Imagination and reality in all art forms is the great bet for any artist. The artist has to find a way to give both of them in some proportions. This analogy is, after all, art. I like to create paintings where the viewer can let his/her mind travel. To be able to see a real landscape through a different narrative which can be more hopeful. As you have remarked in your artist's statement, your art is a response to everyday life: Mexican artist Gabriel Orozco once stated, "artists's role differs depending on which part of the world they’re in": does your artistic research respond to a particular cultural moment? Moreover, do you think that artists can raise awareness to an evergrowing audience on topical issues that affect our globalised society, in order to to make our world a better place to live for everyone? Irene Georgiou: As a person, I am generally concerned with issues related to equality in society, the fight against violence and the protection of the environment. I recently participated in a global online exhibition to celebrate World Environment Day. There, together with other artists, we exchanged
C o n t e m p o r a r y A r t R e v i e w Irene Georgiou ARTICUL CTION A Special Issue
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Special Edition Lake Kerkini
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Irene Georgiou views on issues of protection and preservation of the natural environment. There are many organizations and associations where through art projects we are called to respond to global problems. Although you want your works to be a realistic representation of reality with the use of vivid colors and with the placement of supernatural elements, you make sure that I leave a romantic answer to our reality: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood? Irene Georgiou: As Charles Bukowski said: 'An intellectual says a simple thing in a hard way. An artist says a hard thing in a simple way.' If we assume that art can take the form of a discussion between the creator and the recipient, I prefer this discussion to be open and not guided, I mean that on the one hand I want to be understood in terms of the subject but on the other hand in terms of conclusions I prefer everyone can export their own depending on their personality and experiences. Direct relationship with the viewers in a physical context is definitely the most important one, in order to snatch the spirit of a work of Art. However, as the move of Art from traditional gallery spaces, to street and especially to the online realm — as Instagram — increases: how would in your opinion change the relationship with a
Deep blue
Samos Nostalgia
Milos Sobriety
ICUL CTION A C o n t e m p o r a r y A r t R e v i e w ART Special Issue Irene Georgiou globalised audience? Irene Georgiou: I started on Instagram in 2016 and it definitely helped me a lot mainly in reaching people. When I produce something I basically post it on Instagram. What I like most is the authentic connection with people from all over the world who share similar interests with me. Initially I don’t use Instagram as a marketing or sales tool, I just show my art through my personal path. Years ago, when social networks did not exist, no one could have imagined such possibilities. The artist today has the freedom to present his/her art on a global level and to acquire a personal space to talk about issues that motivate, express him or occupy him/her. To show essentially the personality behind a simple profile picture. We have really appreciated the originality of your artistic production and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Irene. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future? Irene Georgiou: I always like to try new things close to my painting style. I am currently working on winter landscapes as part of a series I will release. In the future, I would like the idea of working on a book about contemporary landscapes, perhaps in collaboration with other artists. This of course demands a lot of research time and knowledge on technical issues of publishing. In short I will have to learn from scratch things that are completely new to me, nevertheless this sounds like a pleasant experience that I wish I had. An interview by , curator and , curator Lights on the waterfront