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You are an established artist: yourworks have been showcasedworldwide and you were finalist atLab Venice`22 and at Art RevolutionTaipei, A.R.T. in Taiwan: how do youconsider the nature of yourrelationship with your audience? Asthe move of Art from traditionalgallery spaces, to street andespecially to online platformsincreases, how would in your opinionchange the relationship with aglobalised audience and how do youenvision the role of physicalexhibitions versus onlinepresentations in showcasing yourwork?The use of online exhibitions andsocial media platforms, such asInstagram(https://www.instagram.com/jaiodesign.abstractart), greatly enhances theability to expand the reach of variousartworks and significantly increasestheir visibility to a broader audience.However, it is important to recognizethat only through a dedicated physicalexhibition can the full expressivepower and emotional depth of theartwork be truly conveyed to theviewer. This physical presence allowsfor a more immersive experience,where the nuances of texture, scale,and color can be appreciated fully inperson.We have really appreciated themultifaceted nature of your artisticresearch and before leaving thisstimulating conversation we wouldlike to thank you for chatting with usand for sharing your thoughts, Jaio.What projects are you currentlyworking on, and what are some ofthe ideas that you hope to explore inthe future?At the moment, I am in the process ofpreparing for an exciting exhibition inthe beautiful city of Vienna. I amputting a lot of thought and effortinto each piece that will be displayed.As for the future, I am open towhatever directions my artisticjourney may take me, guided by whatthe canvas tells me along the way. It isalways fascinating to see howinspiration can strike unexpectedly.Let's see where my creative journeyleads in the coming months and howit evolves with each new artwork Icreate…scapeCONTEMPORARY ART REVIEWJaio DosAnjos LandAn interview by Josh Ryder, curatorand Melissa C. Hilborn, [email protected]
Hello Isabelle and welcome toLandEscape. We would start thisinterview with a couple of questionsabout your background. Are there anyexperiences that did particularlyinfluence your evolution as visualartist? Moreover, how does yourcultural substratum address thedirection of your current artisticresearch?Isabelle Seiler: I grew up in a smallhome in the Pacific Northwest with my5 siblings. I was always surrounded bynature and family. My family and Ialways traveled around the country alot. I got to experience a wide range ofthings because of my siblings' varyinginterests. Unlike my siblings I had a veryhard time with school and morebooksmart activities but I found a placein art and creative spaces growing up. Ididn't have a very glamorous childhoodbut I think it made me appreciate thingsI wouldn't be interested in otherwise.My digital paintings are particularly influenced by story telling and the ability toimply so much with a singular image. Finding the importance in the mundane andhow much effect little things are to a bigger picture. I show the beauty and significanceof everyday images. The average is incredibly impactful when you think about it,which is the purpose of my art. I find that most of my inspiration comes from myeveryday life and experiences wanting to express a feeling metaphorically or otherwise.An interview by Josh Ryder, curatorand Melissa C. Hilborn, [email protected] scapeCONTEMPORARY ART REVIEWLandEscape meetsIsabelle Seiler@xxxxxxxxxxxxxxx
The body of works that we haveselected for this special edition ofLandEscape has at once captured ourattention for your ability to elevateordinary experiences to an artisticlevel, transforming the mundane intosomething ethereal and captivating.We'd love to hear something aboutyour creative process. Could you walkus through the stages of creating oneof your pieces, from conception tocompletion?Isabelle Seiler: I will randomly get veryobsessed with an image or a feeling andI can't stop thinking about it until I paintit. The process is different dependingon the painting. Sometimes I makereferences by sketching or photos, orfind a preexisting one, and other times Idon't use any at all. I almost always usedigital oil brushes, I feel they makeeverything give a more visceral feelingthat i'm looking for. I don't really usedigital shortcuts like layers and clippingmasks to keep it looking cohesive. Ialways do it in a whirlwind spending allmy time working on it all at once, so Ifinish pretty quickly needing to get itout of my system.How intuition is important for you? Doyou plan out all the details from thestart, or do you discover new elementsto refine as you go along?scapeCONTEMPORARY ART REVIEWLand Special Edition
Isabelle Seiler scapeCONTEMPORARY ART REVIEWLandScreen Resolution
scapeCONTEMPORARY ART REVIEWLand Special Editionself reflection
Isabelle Seiler: I have a general ideawhen I start but I never know exactlywhat it will look like, especially withcertain story building details. I know thesubject of my paintings and as I paint it Iwill start making connections within it.As I continue I’ll add more to make itobvious to the viewer what I'm trying tosay. For example my paintings titled“sisters” I knew would be a paintingabout sisterhood and would featurebirds, but the rest was decided whilepainting.Your artworks exhibit a meticulous colorbalance. The orchestration of gentlehues and soothing tones creates a subtleyet powerful visual impact. Your colorchoices, be they delicate, nuanced, orpoetic, achieve an equilibrium thatgenerates tension and dynamic energywithin each piece. How does your ownpsychological make-up influence thenuances of colour that you choose toinclude in your works?Isabelle Seiler: I have two methods I usewhen choosing color with paintings like“Eternally Dreaming” and “AlmostNew” . I always underpaint with an“opposite” color. A color that doesn'treally make sense with the piece I’mdoing.A little always peeks through even if atIsabelle Seiler scapeCONTEMPORARY ART REVIEWLand
first glance you might not see it.Closer to when I'm finished I will wantto make something stand out and Iwill bring out that color I used in thebeginning that sticks out as differentto direct the viewer to where I wantthem to look. The second method Iuse would be for paintings likescapeCONTEMPORARY ART REVIEWLand Special Editionalmost new
Frozen in Time
Waking Dream
“Screen Resolution” or “”I don’t getit”” I have already chosen the colors Iwant to use, and will paint almostentirely in grayscale (a benefit withusing digital art). I find separatingthese two processes helps me focusbetter on the emotions I'm trying toexpress.We're particularly impressed withhow you elevate everyday scenes, asin the interesting Frozen in Time andEternally Dreaming. Can you shareyour thought process when choosingsubjects for your artwork?Additionally, how important is directexperience for your creative process?Isabelle Seiler: “Frozen in Time” wasinspired by a trip to an old cowboytown in Virginia City, Montana. I foundit beautiful how it felt time hadstopped in such a simple room. Theperson who lived there probablynever would have known how manypeople would see it. There were manyIsabelle Seiler scapeCONTEMPORARY ART REVIEWLandsisterhood part 1 sisterhood part 2
I dont get it
rooms you could see but that one feltalmost like someone was still livingthere, just in the next room. It made methink about how unique our everydaylife would seem to other people withdifferent experiences. Like howhistorians would find a diary of aneveryday person much more fascinatingthan an over-glorified story of a king.“Eternally Dreaming” had a similar Ideabut more modern with that specificfeeling you get when you're not fullyawake added in.Spinning Cycle features delicatebalance between realism and fantasy.How do you approach this balance, andwhat challenges do you face inmaintaining it? How do you draw uponyour own experiences or memories tofuel your imagination, and how do youtranslate these internal visions intoyour digital paintings?Isabelle Seiler: I was working toencapsulate the feeling when you'rereally high up looking at a view and thewind is blowing so hard you can't seevery well, and you're a little bit dizzyfrom being so high up. I suppose it'smore of the feeling I had looking at aview rather than an image I had in myhead of the view. I'm not thinking ofone individual time, but combiningmany at once to show what stood out.Ripple Effect emanates such sense ofserenity and comfort. In a world oftencharacterized by chaos, uncertainty,and sensory overload, your work seemsto offer a much-needed respite. We'recurious about your perspective on thisaspect of your art. How do you viewthe role of your dreamy, comfortingimagery in the context ofcontemporary society? Do you see yourwork as a form of visual meditation, agentle protest against the frenetic paceof modern life, or perhaps a reminderof the beauty that still exists in quietermoments?Isabelle Seiler: I would say I’m quite afrantic artist, not being able to relaxuntil I’m finished. In most cases themore calm my painting looks the morefrenzied I’m making it. I remember Icouldn't sleep when painting “RippleEffect”. It ended up being one thefastest pieces I’ve ever done because ofthat. I definitely find my art morerelaxing to look at than to make. Almostall my paintings are of the quietermoments in life, not silent, just not asloud. I find it easier to remember thosemoments and feelings when you’re notso overstimulated with noise.We find it truly fascinating how yourartworks delicately encourage viewersscapeCONTEMPORARY ART REVIEWLand Special Edition
Isabelle Seiler scapeCONTEMPORARY ART REVIEWLandRipple Effect
scapeCONTEMPORARY ART REVIEWLand Special EditionMorning Commute
to create their own narratives. Thisinteractive quality of your digitalpaintings, where the audiencebecomes an active participant in thestorytelling process, is particularlyimpressive. How do you strike abalance between providing enoughvisual cues to spark the imagination,while still leaving room for individualstorytelling? Additionally, how openended do you intend your works tobe in terms of their understanding?Isabelle Seiler: I never go into apainting knowing exactly what theimplied story will be but I do know theoverall idea, the hints are addedrandomly while painting. I try not toadd too many cues so it doesn’tconfuse the audience, I choose a fewdetails to highlight.I use placementand the amount of detailing to dothis. I do have my own story in myhead but in no way do I want to forcethe same idea on the audience. I onlywant it to be known that there is one.I want it to be up for interpretationbased on your own experiences, butwith a similar overarching theme incommon.We have really appreciated themultifaceted nature of your artisticresearch. Before leaving thisstimulating conversation we wouldscapeCONTEMPORARY ART REVIEWIsabelle Seiler Land
like to thank you for chatting with usand for sharing your thoughts,Isabelle. What projects are youcurrently working on, and what aresome of the ideas that you hope toexplore in the future?Isabelle Seiler: Thank you for havingme. Currently I’m excited for my art tobe a part of a gallery in october, and Iam planning a series of paintingsbased around local graffiti and theimpact small artists have on peopleand their daily lives.scapeCONTEMPORARY ART REVIEWLand Special EditionAfter school lessonsSpin CycleAn interview by Josh Ryder, curatorand Melissa C. Hilborn, [email protected]
Isabelle Seiler scapeCONTEMPORARY ART REVIEWLand
Hello Lewis and welcome to LandEscape.Before starting to elaborate about yourartistic production and we would like toinvite our readers to visitin orderto get a wide idea about your artisticproduction, and we would start thisinterview with a couple of questions aboutyour background. You have a solid formaltraining: after having earned your BA inReimagining the rich visual language of our Celtic ancestors, Lewis Deeney breathes new life intoancient Celtic designs with his innovative creative process consisting of vibrant colours,interconnected laser-cut shapes and expressive, abstract painting. A journey through time, bridgingthe gap between past and present, Deeney's work offers a regeneration of our collective history andthe ancestral wisdom locked within it.With no written account of what they believed, we can only understand the world of our Celticancestors through their visual imagery, and what we discover is a rich, diverse culture with anature-based spirituality. Living in harmony with nature was a way of life that was eradicated bythe colonial expansion within Britain. Celtic thought and belief were oppressed in favour of powerdriven agendas of control, seeing nature as a resource to take rather than a gift to be revered.Deeney's paintings are intimately inspired by the natural world and the cyclical, interconnectedworldview that was embodied in the pre-Christian, pre-western world of the Celts. The Celtic Keypattern that once decorated stones, ornaments and devotional objects has been re-envisioned,digitally re-created and laser cut into interlocking shapes.Through Deeney’s artistic endeavours, he aims to inspire a renewed appreciation for the richheritage and cultural legacies that shape our world. Inviting viewers to reimagine the familiar,question assumptions, and uncover the hidden narratives that lie within the intricate tapestry ofhuman history. To regenerate ancient ideas and belief systems, to shift our collective consciousnessto see nature as something worth worshipping. To regenerate nature we must first regenerate ourbelief systems, to inspire hope in the more beautiful world our hearts know is possible.An interview by Josh Ryder, curatorand Melissa C. Hilborn, [email protected] scapeCONTEMPORARY ART REVIEWLandEscape meetsLewis Deeney@lewisdeeney
Our Equilibrium, 2020Acrylic & Spraypaint on Reconstructed Bord, 104x76cm
Contemporary Art Practice, you nurturedyour education with an MFA Art &Humanities with Merit, that you receivedfrom the Duncan Of Jordanstone Collegeof Art & Design, Dundee, Scotland. Howdid your formative years influence yourevolution as an artist? Moreover, howdoes your cultural substratum address thedirection of your current artistic research?Lewis Deeney: I was a creative child, butart wasn’t my obvious path, I would jumpbetween different interests often falling inand out of them pretty intensely. I wasblessed to have supportive parents whofacilitated all these different endeavours,however, nothing really stuck. I didn’t evenpick art in school until I crashed the higherin S5, when I was around 15/16. This was aturning point for me as it was when artstarted to get some serious focus. I wasstill distracted but had begun moving alonga path and had some direction in life.Dumbarton’s a working-class place andcontemporary art is pretty non-existent, soI didn’t have much of a model for what anartist was, yet I knew at this point my placewas within the arts. I tried tattooing afterschool and soon realised fulfilling someoneelse’s vision was not my artistic path andthat I had to express my own experience,this led me towards studyingcontemporary art practice at DJCAD.Starting university four years after school Ifelt I was ready for it, embracing theexperience I let my creativity run wild. Iloved bold, colourful abstract painting, Iwas great at creating a mess and making itlook beautiful, but always felt there wassomething missing. I also loved geometry, Ifound the ordered complexitymesmerising, I was simultaneously makinggeometric work, but felt they lacked theenergy of abstraction. Combining thesetwo seemingly incompatible interests wasan epiphany moment for me. I beganputting my paintings through a bandsawand ultimately a laser cutter. I could cut mygeometric designs out of my abstractpaintings, unifying the two separatethreads I was exploring. My passion wasgaining momentum during my studies, andin 3�� year of art school, after discoveringthe creative process that is still thefoundation of my practice today, I had adirection for my creativity and a clearervision to strive towards. It was the birth ofme as a genuine artist.There’s a ‘piecing together’ element of mypractice which is uniquely suited to mymind, kind of like a mosaic or jigsaw, whichon reminiscing over my childhood ismirrored in my love of Lego. I loved Legothat much my parents thought I might’vebecome an architect. It wasn’t simply thebuilding I obsessed with; it was thecreation. My Dad would play a game withme where he’d empty the box and I’d needto keep building until I had used everypiece. I rarely followed the instructions andinstead built my own worlds and storiesfrom bin bags full of random Lego pieces.Fast forward 20 years and I’m building myown abstract worlds out of laser cut shapesand paint.Lewis Deeney scapeCONTEMPORARY ART REVIEWLand
The body of works that we have selectedfor this special edition of LandEscape hasimmediately captured our attention foryour innovative approach to revitalisingCeltic art, seamlessly blending ancientdesigns with modern techniques. Couldyou walk us through your creativeprocess in more detail? Additionally, we'dlove to hear about any challenges you'vefaced in marrying these ancient motifswith modern production methods likelaser-cutting, and how overcoming thesechallenges has potentially led to newartistic discoveries.(here we have reserved space for The SkyscapeCONTEMPORARY ART REVIEWLand Special EditionThe Sky Is Dreaming Triptych
Is Dreaming collection)Lewis Deeney: Early in art school I had themisguided belief that the more difficult anartwork was to create the better it wouldbe, more time and effort equals a betterartwork, a simple naive equation that hasan element of truth but misses the bigpicture. Difficulty is relative, what isdifficult for one person could be easy foranother and vice versa. This insightrevealed to me that what was obvious forme personally was not obvious for mostpeople, and this was key in discovering myunique gift. If we listen to ourselves andfollow our unique train of thought, we willLewis Deeney scapeCONTEMPORARY ART REVIEWLand
scapeCONTEMPORARY ART REVIEWLand Special EditionComplexity of the Simple, 2022 Acrylic, metallic pigment, spray paint, varnish, thread & drawing pins on canvas, 40x50cm
Lewis Deeney scapeCONTEMPORARY ART REVIEWLandeventually discover something worthfinding. The destination is not obvious,neither is the path, but there is wisdom inlistening to our inner voice and followingour intuition, following the obvious signsright in front of us we often overlook. Weeach have a unique and valuable gift wecan discover. The uniqueness of theInner Puzzle, 2020, Acrylic On Reconstructed Board, 70x70cm
scapeCONTEMPORARY ART REVIEWLand Special Editionworkings of my mind are evident when Idescribe my process to people, there is astruggle to fully conceptualise it, but forme it’s obvious because my brain forwhatever reason seems to work this way.I imagine lots of creatives having a similarexperience.Awakening II, 2021, Mixed Media on Reconstructed Board, 73x73cm
Lewis Deeney scapeCONTEMPORARY ART REVIEWLandRivers In The Sky, 2022, Acrylic, metallic pigment, spray paint, varnish, thread & drawing pins on canvas, 40x50cm
Digital Divinity, 2021, Mixed Media on Reconstructed 56x79cm
The essence of my process is to creategeometric compositions digitally, ofteninspired by a rough sketch on paper, thisdigital design is then laser cut into wood,creating a variety of weird and wonderfulshapes which I then paint and reconstructback together. Like a big complex jigsawpuzzle I have made for myself. Every piecehas its own unique place and contributesto the whole image. The main challenge istranslating an image into only shape, forexample, I cannot cut a line without firstturning that line into a shape, there is alimit in the complexity I can achieve duescapeCONTEMPORARY ART REVIEWLewis Deeney Land
to the minimum size a shape can be.Working in pen, pencil or paint I couldachieve much more detailed shape andgeometry. This has been a particularchallenge with The Sky is Dreaming seriesas I am evolving existing Celticcompositions rather than creating entirelynew ones and an iconic part of Celticartwork is intricate line work, which is alimitation of my creative process I had toadapt to. Creativity, however, can blossomwithin constraints, and this is the mainscapeCONTEMPORARY ART REVIEWLand Special Edition
constraints I come across when making mypaintings and this will be a contributingfactor of the style my works are known for.Your use of laser-cut shapes and vibrantcolours breathes new life into traditionalCeltic motifs, creating a striking visuallanguage that bridges past and present.We're interested in how you select andadapt specific Celtic designs, and howyou decide on the balance betweentraditional elements and contemporaryinterpretations in each piece.Lewis Deeney: I like to let ideas guide me;I believe ideas are gifts we receive ratherthan personally author. The difficulty isusually committing to an idea rather thancoming up with one, for an idea to exist,others must die, at least temporarily.I briefly lived in Northern Ireland for abouta year and spent a lot of time looking intomy own heritage, Scotland and Ireland areso closely linked culturally it gave me aunique insight into, and curiosity about,where I came from. Before this I wasdrawn towards exotic and excitingphilosophies from the far east, overlookingwhat was in front of me. My attentionshifted from the far to the near and Celticculture really resonated with me, it spoketo me in a way I had previously neverexperienced. So, in selecting designs towork on I followed my intuition, almostletting the designs pick themselves. I wasdoing a lot of reading and research intoCeltic art and culture at the time, so I wasimmersed in it and surrounded by Celtic artand ideas.Some of the imagery is so iconic I didn’twant to stray too far from them butaimed to evolve and refine them. Themodern aspects come from the creativeLewis Deeney scapeCONTEMPORARY ART REVIEWLand
process and the expressive vibrantcolours, and the traditional elementscomes from the geometriccompositions. This combination createsa dynamic painting with a rich concept,that balances paying homage to the oldwhile embracing the new, evolvingancient Celtic imagery into thecontemporary world.We really appreciate the emphasis youplace on nature-based spirituality in yourartist statement. How does thisphilosophy manifest itself in your choiceof colours and forms?Lewis Deeney: A nature-based philosophyis most evident in the flowing forms andgeometric compositions. The interlacing ofCeltic knotwork continues into infinity, it’san endless, continuous cycle, like nature.Every piece, no matter how small, basic, orseemingly insignificant, plays a pivotal rolein the overall painting which conceptuallyreflects the interconnectedness of nature:every piece plays a part. The Celts had anature-based belief system which theyreflected in their artwork, and I aim toreflect in mines. This is evident in theorganic forms, lots of curves and very fewstraight lines and sharp angles, as naturedoesn’t do straight lines. This series doeshave some straight lines but way less thatmy previous work, aesthetically, I do love asharp angle.My use of colour is very intuitive, thegeometric designs cannot be as intuitivebecause they need to logically fittogether, however, with colour I can leanright into my intuition. I am inspired bycolour choices everywhere, not onlyscapeCONTEMPORARY ART REVIEWLand Special Edition
nature, so visually, nature is often not adirect influence on my colour palette. Ibelieve that our human intuition is ignitedby nature and comes from it, so inconnecting with my intuition whenpainting and selecting colours, I amscapeCONTEMPORARY ART REVIEWLewis Deeney Land
connecting with nature. For example, if Iam unsure of my next move in a colourscheme, I will often leave the studio, gazeinto nature with my feet on the grass tothink and reflect. It’s not that I’ll see thecolours combination in front of me inscapeCONTEMPORARY ART REVIEWLand Special EditionThe Clouds Believe in Magic, 2024Acrylic, Spray Paint & Metallic Pigment on Laser Cut, Reconstructed Board, 71x71cm
nature but by being in nature my mindopens to new possibilities. Its like I get abetter reception on my antenna of ideas.We're particularly intrigued by how youtranslate ancient stories from Celticmythology into visual form. Perhaps youLewis Deeney scapeCONTEMPORARY ART REVIEWLandThe Summit Answers the Question (The UK’s Highest Painting) 2024Acrylic, Spray Paint & Metallic Pigment on Laser Cut, Reconstructed Board, 39x39cm
could share with us a specific example ofa Celtic legend or belief that hasprofoundly influenced one of yourpieces. We'd be fascinated to hear howyou interpreted this narrative visually,and how you feel your modernreimagining adds new layers of meaningto the original story.Lewis Deeney: These paintings are moreof a window into a past world rather thanretelling the stories of it. The paintings’purpose is to ask questions that act as astarting point for a narrative which iscompleted with the viewersinterpretation. An example of this wouldbe my interpretation of ‘The Wild Beast’which I have titled ‘The Wild Beast ofRealities Imagination.’ The image iscredited to the Picts of North-easternScotland, who lived until approximately900AD, not much is known about them,but their origins are speculated to dateback thousands of years. They are theones who famously defied the Romansand the term Picts, comes from theRomans, and means ‘Painted Ones.’ Wedon’t know what they called themselves.This image has been found many timesacross ancient Scotland, so it meantsomething to them, but we don’t knowwhat. We don’t even know what animal itis, is it real or invented? What we do knowis that it had significance, carving intostone is no easy task so motivation musthave been high, but what motivated themto do so? The celts didn’t write muchdown, we are left myths, third partyaccounts and the artwork they leftscapeCONTEMPORARY ART REVIEWLand Special Edition
scapeCONTEMPORARY ART REVIEWLewis Deeney Land
scapeCONTEMPORARY ART REVIEWLand Special EditionWabi Sabi, 2020, Acrylic, Pigment & Resin on Reconstructed Board, 133x77cm
behind, which raises so many questionswhich I do not believe I have the answerto. My goal is for more people to askquestions about Scotland’s ancient pastand in relation to examples shared, whatis this being and what does it mean?In depicting a narrative there is theassumption of a conclusion which Icannot offer, I hope to start a narrativethrough presenting a thoughtprovoking image, shrouded in mystery.Breathing new life into the Celticlegends by reinventing them in novelways will add layers of meaning to theoriginal image which will unfold inunexpected ways when engaged withby an audience.The works from your Chaos & Ordercollection, as The More Beautiful WorldOur Hearts Know Is Possible and WabiSabi, are characterized by a rigoroussense of geometry: are there specificinfluences, techniques, or methodologiesthat guided you to develop suchgeometric feeling?Lewis Deeney: When I first developed mycreative process, I was inspired by themandala, a universal, geometric symbolthat radiates outwards from a centralpoint. It is found across cultural time andspace with consistent characteristics andmeanings. The mandala is a form of visualmeditation, in creation and observation,and a means to unite the practitionersinner and outer world, a balance ofopposites and expression of anLewis Deeney scapeCONTEMPORARY ART REVIEWLand
interconnected world. I was firstintroduced to it through Yogic philosophy,as I have practiced Yoga daily for around adecade now. After developing my creativeprocess in third year of art school, Itravelled across India the summer beforethe fourth and final year of myundergraduate degree, returning inspiredand full of ideas.I began by creating mandalas, however, Iquickly developed my own variation. Iwould begin with a complex mandala as ablueprint and select interesting shapeswithin it, so overall the composition wasnot symmetrical but there were areas ofsymmetry within it and the image stillexpanded outwards from a central point. Iwas also reading about Gestalt psychologyat the time, which states that the mind fillsin the gaps of what it believes to be there,simply put, if a person is standing behind awaist high wall, we still assume they havelegs even though we can’t see them, ourbrain unconsciously completes the image.From this I realised that although the fullmandala was not visually evident, theessence of it still was, and our mind wouldfill in the gaps of what it believes to bethere and construct the mandala in theviewers perception. This results in acompelling image when done correctly, asit’s a delicate balance to achieve. Employingthese ideas resulted in the geometricstructures of the series.The concepts within my Chaos & Orderseries echoes throughout all my othercollections of work and is the foundationalphilosophy behind my creative practice.Chaos refers to the expressive painting,the energy of abstraction, and orderrefers to the structure of the geometry,both combine to create a delicate anddynamic equilibrium.Your works often feature both intenseand delicate, thoughtful nuances, asscapeCONTEMPORARY ART REVIEWLand Special Edition