2 O i s c 0 s t u 2 o 0 b e e r n o .

2

"Sculpture and installations have a more intellectual approach. They are less direct and ask much more initiative from the audience"

EXCLUSIVE INTERVIEWS: Wolfgang Stiller Iwona Tamborska Marek Emczek-Olszewski Art and lifestyle magazine Madam Jejette & More www.luxurysplashofart.com Photography by Marek Emczek

Editor's Note Dear Reader,

Welcome to the second issue of Luxury Splash of Art.

I am delighted to present you the new art and lifestyle magazine; magazine with a twist, magazine about CREATION, magazine created by like minded people who think outside the box. Why ‘Luxury’ some might ask? It is important to mention that word luxury (in this context) has nothing in common with the material world, things… or those who are wealthy and at the top of their carrier … on the contrary, we are aiming to present the wider aspect and perception of creation. We are all creators, we create every day and that luxury is in us. As a very young magazine at the beginning of the exciting journey, I am thrilled and grateful to all artists who gave us support and trusted us when we invited them for an interview. And thank YOU, Dear Reader, for being here with us. It only confirms that what we do is needed, especially in such uncertain times. Art and creation are very powerful, it is a tool to get through dicult and hard times, it can be used to express feelings and show the beauty of the world but it also can be used to fight for other people’s rights. In October issue, we interviewed photographers, art historian, fashion designer, painters, coach, jewellery maker… who told us their inspiring stories, why creation is so important and how it changed their lives. One sentence that really stuck to my mind comes from an interview with photographer Cover Artist Wolfgang Stiller Wolfgang Stiller who told us that ‘If we limit our encounter with the work to the intention of the artist, we deprive ourselves of some unique experiences’.

Kamila Krzyzaniak - Editor in Chief at Luxury Splash of Art LuxurySplashofArt Team Contributors:

Editor-in-Chief: Dieter Hanf Kamila Krzyzaniak Patrick Quenum Luiza Laskowska Deputy Editor: Maria Grossbaum Agnieszka Kowalczewska Information Design Manager: Filip Adamczewski www.luxurysplashofart.com Instagram: Luxury_Splash_of_Art Marketing Director: Facebook: LuxurySplashofArt Ludi Holman [email protected]

Luxury Splash of Art 2 Photography by Luke Foreman Luxury Splash of Art

Iwona Tamborska

I don’t think of myself as a “jewellery maker”, but more like someone, who tells stories. The only difference is – I sculpt my stories in silver. Sometimes those stories are short, sometimes they are bitter-sweet fairytales, that often have a hint of nostalgia over the passing of life and it’s meaning. But they have one thing in common: they are not just jewellery. They always have a reason to be. Thanks to them I am the Saul Bell Design Award Finalist and I was invited to China, Australia, UK, France, to share what I hide in my works. JEWLERRY AT FASHION ITS FINEST Interview with Iwona Tamborska

“Rękami Stworzone” in Polish means “Hand Created”. “Created” – not “made”, because the act of creation implicates a trace of the soul in the final object’s form. This jewellery is one of a kind. These pieces were handmade from the very beginning and emanate with the artist’s fantasy and unique style. They touch the heart directly because this is how the beauty works – it moves deeply. All of them can be considered works of art. LSA: Through your art what do you want to tell Luxury Splash of Art: I am following what you do for some time now and other people? for me, it is an inspiration. Your work is beautiful and unique; I can see a lot of work and heart in every piece. Can you please tell me why you IT: “I think of myself as a storyteller, only those decided to create? When did it start and what is your background? stories are written with silver”. A sensitive soul can read in my jewellery stories about the beauty of Iwona Tamborska: It’s very nice to know that you follow my work – thank you. the world, about how one doesn’t need to search For someone who creates, it is always very important to know there is an far because all the tiny things around are “audience”. I started to walk this path over 10 years ago. I used to be a magical. I practice the art of noticing, even the landscape architect. But I got sick and landed in a hospital. After the surgery, smallest things, try to understand how those are there were complications with my vocal cords (I lost the ability to speak). I built and why things work the way they do. That was lucky enough, that my convalescence took only 4 months and I was able moment is followed by appreciation and seeing to speak again. It was a time of slowing down and asking myself questions its beauty. Those small details stimulate my about the right choices in life, happiness, regrets. I tried to live according to a imagination; make me see the creature/the new rule I gave myself: “If you would know you would die in a year, what phenomenon as something purely magical and would you want to do tomorrow?” On my list, there was a big regret – that I amazing. And that is what I show in my jewellery: didn’t follow my strong need that I always had: silversmithing. During my the magical world that we are surrounded by, the time of picking a path of education, being a jeweller was something only a stories that might be happening around us if we closed caste had an access to (at least in my opinion). The internet wasn’t so could only notice them. common, the knowledge was hidden away – so I never considered it. But after my surgery, I got very determined and found myself a 4-day course, which So, I try to tell those stories of beauty and magic got me started. It was a big investment for me at that time, but I’ve never around us, but also of sorrow and deep emotions been so clear about anything before. The next years were very intense, lots of that we struggle through every day – often self-learning, experimenting with chemicals and materials, investing in tools, unnoticed. And those emotions are also what digging up the knowledge locked in the internet (there were still no tutorials makes people more beautiful. I don’t want my on youtube, etc.), countless failures and self-doubt, moments of desperation, jewellery to be trivial – I want it to be a breaking down. statement of a soul. From time to time (in my own opinion) I manage to achieve that. And But here I am. I still experience the above, but there are some diplomas on sometimes I make things just for fun. the wall, that keep me focused and give me pride: the Saull Bell Design Award, The Krakow Scholarship for Gifted Creators, The Sydney Art School LSA: What inspires you? Do you have an (who invited me to teach there), and the exhibition in the Chinese National image in your head of what your next piece Museum. will look like; do you follow your intuition?

This March 2020 I was supposed to take part in Amberlook - the biggest fashion show in Poland devoted to jewellery and clothes (last year Lady Gaga’s designer took part in it), but Covid put a hold on that plans. Luxury Splash of Art 5

IT: The idea just hits me. I see a stone, a shape, a creature – and I instantly have a picture in my head of what it could be. Sometimes I see random photography of scenery– and I know this is something I would love to always have with me. Sometimes I draw something just for fun, and after years with one look I see a potential in it as jewellery. I never draw jewellery as an object (only if a client wants me to), because I see no sense in that. So I guess what I see is moments, feelings, stories – and I translate that into jewellery.

LSA: Do you have your favourite artist that inspires you?

IT: Of course! There are many! From the past, but always eternal jewellery artists: Rene Lalique, Georges Fouquet.

And from the present ones: Austy Lee, Wallace Chan, Claudio Pino, Ilgiz Fazulzyanov, Sevan Becakci.

Outside of jewellery world: photographer Kirsty Mitchell.

Sculptors: Michelle McKinney, Małgorzata Chodakowska, Dashi Namdakov, Johnson Tsang, Yuan Xing Liang.

Painters: Klimt, Alphonse Mucha, Aya Kato.

LSA: Not only your art is unique and one-off but also your photos are very artistic and beautiful. Can you please tell me where the idea of presenting your work on young girls came from – it looks amazing!

IT: The author of those photos is Margo Skwara. She is a Polish photographer living in Luxemburg. One day, I posted a challenge that I would send my jewellery to a photographer, who would want to create something interesting with it. I wasn’t interested in typical “product pictures”, but I wanted “stories”. Out of many, Margo wrote to me. I checked her portfolio and really loved her style. Her works, balanced with light and colour, bring to mind peaceful paintings of masters of Renaissance. One could say she paints with a camera. She is famous for creating in the “fantastic-realism” style by joining everyday beauty with elements of magic. You can check out her work on her fanpage https://www.facebook.com/margoskwara/ and her website www.margoskwara.com

LSA: What is your creative process like? And what is the most challenging part of your work?

IT: This process is long – I might have a general idea in my head, but there are always difficulties when it comes to transcribing “the story” to a wearable object – as it has to be comfortable, not too heavy, safe and well constructed. It is very different from The most difficult fact about working with jewellery is, that making even the making a sculpture, because people expect perfection and almost smallest amendment or change requires a lot of work. It requires removing indestructibility from jewellery, while it has to remain light, the stone (risking it might brake), using a torch and taking the risk of fragile and ethereal in perception. destroying what already exists, cleaning the object with acid, polishing the whole item (sometimes for hours) in a lot of dirt and dust, experiments to get Sometimes, when the shape is ready, I have the biggest problem the right colour again, setting the stone again in full precision, gold-plating in deciding on the proper colouring – because often the object again. Often at the very end of the work, it turns out that something went seems lifeless and “empty” until the right dynamic of shades and maliciously "wrong" - scratches, micro-cracks, etc. And I have to start work colours appears. again...

This is extremely frustrating and time-consuming. The most ungrateful things are the tiniest details, that almost no one notices when they are done Stories written with silver- properly, but everyone would point out when they are not perfect (like simple fastening, prongs that hold a stone, etc.). Another thing is that even small Unique jewellery which is one of a kind mistakes in this form of art cost a lot, as the materials and tools are expensive, therefore the need to create is often limited by the financial resources you have.

6 Luxury Splash of Art Vestibulum morbi blandit cursus risus at ultrices mi tempus imperdiet.

Continued...

ILSA: What is your most important tool in your studio is there something you can't live without?

T: It is my Dremel micro-polisher. It is a small tool, which I can use precisely to polish, cut, drill, etc. Because of my highly detailed, 3D works, I would not be able to polish them manually – but still, I consider it manual work. It is literally hours that I spend with that tool working on a single object with the highest concentration. Dremel Polska was even a sponsor of silver and bronze needed to complete my Fairytale Chess pieces. In exchange, I recorded a short film showing the process of creation of those pieces with their tool.

LSA: How long does it take for you to create a piece of jewellery? Do you focus on one piece or you work on few at the same time?

IT: Counting from the creation process to getting the final form - it takes at least a month. And I don’t work on one item – I can’t concentrate like that. I have to shift my attention to about 3 works at the time. This gives me time to collect my ideas and find solutions for difficulties, which have appeared in the process.

LSA: Has your style changed over the years? How?

IT: It has changed a lot. I feel I have made huge progress in terms of skills. My works are more precise, there is more patience in them. Things that were very hard for me before, I can achieve more easily now, therefore I push myself to go further, to explore new levels of skills and techniques. I also feel that my artistic taste has grown over the years and in that sense, my works are also better. But I always feel it needs more, so I keep working hard.

LSA: Do you have the piece that you are the proudest of? Which one and why?

IT: Yes, I do – but there is a few.

The Inside Story, The main concept and inspiration behind this necklace was my surrealist drawing. It tells a story of beauty, imagination and innocence that all of us have inside and how easy it can be hurt by those, who are greedily attracted by those features. The innocence is represented by two people inside the rose, who are awakening. They are protected by a spiral cord that also pierces through a hand, which is trying to get the rose, causing it to bleed (garnets). To the left from the rose is a pack of winged spheres that are guarding the key-hole: the entrance to this universe. There is a tiny human trying to get to that hole from the top. The key to the rose is, in fact, held by a dragonfly-like creature, which is ridden by an archer. They are also protectors of this delicate imagination land. The piece is kept in 3 colours: red, white and black. Some parts of silver were oxidized black, some were polished and some were kept white-like, to bring out the expression of emotions in the picture. The hand and the key-hole entrance are rough and cracked, as they have a connection to the “outside” world. This piece was a finalist in the Bead Dreams 2016 contest, USA.

Wonderland, This necklace was inspired by a photo from the “Wonderland” series by Kirsty Mitchell. The centre is a woman’s face, which I decided to sculpt in porcelain. She is surrounded by silver butterflies. I wanted for this piece to have a certain nostalgia and mystery, although the butterflies are often associated with happiness and lightness. After all – Kirsty Mitchell created her Wonderland as a way of coping with her mother’s struggle and death from cancer. I wanted to achieve the effect of sinking in butterflies. But a butterfly was not supposed to be a symbol of something beautiful, but a symbol of how life is fragile, of the silent sadness fluttering around a soul. I wanted to show that feeling when you know a dearest person is going to die and you can’t do anything about it. The only thing you can do is to accept it. And this is the stage of acceptance, of the pain laying down on your soul, but kind of sweet and serene at the same time. The porcelain whiteness of the mask, which you wear and sink in the feeling, with which you can do nothing and which can be understood by so few.

This piece was exhibited in the National Museum in China, 2017 and was selected for exhibition in the Precious Gallery during BIJORHCA PARIS 2018.

Luxury Splash of Art 8 Photography by Margo Skwara

Triptych, The jewellery was inspired by an old Russian fairytale book. It creates a scene; where all three pieces (bracelet, ring and the thimble) play a part. The ring is a magical flying island with a bottle of real honey, which plays the role of a treasure. All the creatures in this work are racing to get it. The rider of the butterfly (thimble) does not want to take part in the race but doesn’t know that Fate is controlling her destiny in this story. The Fate is represented by the face on the bottom of the thimble.

This piece made me a finalist in the Saul Bell Design Award 2017 (USA). It was also exhibited in the National Museum in China.

LSA: What differs you from other artists?

IT: From most jewellery artists (not all of them) – probably the fact, that my goal is not to make jewellery, but to show a piece of a soul.

LSA: How would you describe your art to someone who never saw your artwork?

IT: I create miniature silver sculptures that are usually used as jewellery." More poetically: "I tell stories that are written with silver." And there are often insects as a strong motif of my jewellery.

LSA: Are you working on any new project at the moment? What is your dream project?

IT: I have those “dream” projects all the time. I try to make them whenever I have time or enough materials to work with. But I would LOVE to make some fairytale jewellery for a movie.

LSA: In 2019 you had your exhibition “Beauty trapped in time - Eternal connections” – an exhibition of Polish culture in China. That is a big achievement; can you please tell me more about this? Are there any plans for more exhibitions (after the current situation calms down).

IT: The exhibition “Beauty trapped in time” was in 2018 and it was set in the Chinese National Museum (Guizhou). It was a big thing for me because I was invited as the guest of honour to China and also as a painter to make a mural in the Museum as part of a life-event. The exhibition was not mine, though. It was a group exhibition of Poland’s best jewellery artists, who create with amber. At the same time, it is the biggest Polish jewellery exhibition in the whole of Asia. The exhibition presents over 240 art pieces of 51 exquisite Polish art-jewellers. The event was huge and it was a huge success. Many government officials appeared, TV stations, not to mention the hundred thousands of people, who visited the exhibition.

After that, I went to Australia to teach at Sydney Art School, who generously “imported me from Poland” to offer me a position as a jewellery teacher. After that, I took part in an exhibition in Paris during Bijorhca (the biggest professional jewellery show). 2018 was a year full of surprises and wonders for me.

9 IT: In January 2019 I was asked by the Polish Institute in I THINK OF MYSELF Beijing to design a logo to commemorate “70 years of Polish- Chinese diplomatic cooperation”. I was especially pleased of AS A STORYTELLER, it because I am a graduate of (among others) Comparative Civilization Studies at the Jagiellonian University, and Far Eastern culture was my speciality. I was glad that in this ONLY THOSE STORIES work I could use my knowledge from studies and my travels in Asia.

ARE WRITTEN WITH The concept of “Peony flower and pansies” was chosen above my other ideas – Peony is the most recognizable floral symbol of China. After talking with the artists in Kaifeng, I SILVER learned that, according to poets, “only something so full and so beautiful can be a symbol of China.” Depicted in the paintings – with colourful flowers and black leaves it means Another exhibition in China- “Eternal connections” was in 2019 and it was something noble. Pansy is a symbol of Poland widespread in located in Kaifeng in the “Millennial Park”. I was also invited there in a China. The graphic form of the logo refers to the style of Art similar manner. Both of them were organized by Mr Sebastian Tajl (who Nouveau, and in particular to Wyspiański’s stained glass promotes Polish art in China) in cooperation with the Foreign Center of (and wall decorations using pansies in the Franciscan Church the Polish Tourist Organization in Beijing, the Polish Institute in Beijing in Krakow). During the implementation of the project, and the International Amber Association. The honorary patronage over unfortunately, I found out that the idea of the whole the events was taken by the Ambassador of the Republic of Poland. undertaking changed a bit and my work will be used to create pins offered as a gift to guests of the Polish Institute About my other plans, which due to the Coronavirus 2020 epidemic have and other personalities in China. The logo was taken over by changed rapidly: in March 2020 I had a plan to take part in the some other idea. amazing Amberlook Gala fashion show (which I’ve mentioned before). There were also plans about an exhibition in Luxembourg (under the LSA: What would you tell our readers? Would you like to patronage of the Consulate of the Republic of Poland), in December share your advice for a starting artist? 2020 there were plans about another exhibition in China. At the moment nothing is certain and things change every day. IT: This is not an easy path. Climbing to higher artistic-craft levels requires huge sacrifices - time, thoughts, emotions, LSA: You also designed a logo for the Polish Institute in Beijing. Can money, spending a lot of time in solitude. For me, it also you please tell me more about this? required continuous training of humility and self-discipline. Perhaps finding someone who is a mentor on this path reduces these negative aspects.

REKAMI STWORZONE – Iwona Tamborska (http://rekamistworzone.com/en/home/)

Interview by Agnieszka Kowalczewska Luxury Splash of Art

T i l o

K a i s e

r Interview next issue ART AS MY FIRST AID Maria Foudler

Maria-Grossbaum was born in Russia, industrial city of Perm in Western Urals. Brought up during communism time when borders were closed to foreigners, she describes the city as ‘old with mysterious spirit of ancient culture’

How art helped me to go through very difficult time

Maria was surrounded by art since she remembers ‘I was exposed to creation since very early age. My mum was an artist and she was taking me to local galleries where I learnt about classic art, old church icons, sculptures etc. I loved visiting my grandparents who were interior designers, whenever I went to see them in their studio located in the rounded tower at the outskirts of Perm, I felt like in heaven. The place was full of paints, brushes, stamps, pencils, different types of textured paper and canvases. So while I was growing up I was painting and drawing’ www.abyssimo.teachable.com

www.youtube.com/c/MariaFondler www.facebook.com/groups/abyssimo

12 Luxury Splash of Art " I wanted a name that would reflect vast endlessness, like sky or ocean. "

She was growing up dreaming to become an artist and she did everything to follow the path. She never gave up. After a few unsuccessful attempts to get to art school, she was finally accepted to the Institute of Fine arts in Tel Aviv. ‘I studied commercial art, graphic design and animation. This profession helped me to find a job in Toronto and in 2000 I moved to Canada. At that time, I didn’t create at all, I was focused on improving my graphic design skills. The turning point came in eight years later when I became a freelance graphic designer and was involved more in art and creating abstract on canvas. That reminded me how much I loved painting. Returning to art was an amazing experience and I couldn’t understand what took me so long and why I wasn’t listening to my inner voice’.

While Maria was making her dream, of becoming an artist, comes true and was polishing her artistic silks she also learnt how to play the bass guitar. Music was always her big passion. In 2010 she went on a tour to England and States with her band. She also participated in a few big art shows in Toronto, which gave her the confidence to work harder to achieve her goals.

‘2011 was the year of changes and challenges, I am grateful for those challenges as they brought me to the place where I am right now. My daughter was born that year and I had to go back to work to be able to support my family. Feeling stressed and overwhelmed, I realised that I need to find an alternative way to make money and to do what I love. Response from the Universe came really quickly and soon I became a mixed media teacher. At first, I had mixed feelings about revealing my know-hows and professional secrets but then I realised how different we all are. Our interpretation of beauty and This is how Abyssimo was born, mixed media technique that is very perception of the world might differ in so many ways. therapeutic. It helped Maria and her students to go through very rough and difficult times. Word “Abyssimo” was created by the artist I kept my day job as a graphic designer and was a teacher at herself and comes from the word abyss. ‘I wanted a name that would weekends. Soon, I opened an online mixed media school which gave reflect vast endlessness, like sky or ocean. That also connects to me a lot of flexibility and opportunity to grow as an artist, meet new what I am inspired by the most – nature and natural light. I'm people and travel. Finally, I quit my day job at the corporation and endlessly inspired by its beauty. That's why I use in my paintings created my first mix media course, which was positively received’. objects that attract light, glass, crystals, rhinestones and semiprecious stones. While having everything in control, teaching, being an artist and having her dreams come true, Maria found out that she had serious Right now, I want to take it to the next level and organize art retreats health problems that stopped her for a moment. At first, she was in beautiful areas of our amazing planet. We just need to wait for the devastated, shocked with no energy to create left. ‘Being current situation to calm down. I strongly believe that art can save surrounded by very supportive friends and family and inspired by people from depression, health problems, solitude and any sorts of stories sent by my students I started using art as therapy. The more I troubles and pain. Art helps us to reconnect with ourselves in many painted, the more I saw the purpose in life again, not just as an art different levels. It took me 42 years to understand it and find myself. teacher, but as someone who helps others through art. That was Now I’m here for you all. Mixed Media totally rules!’. truly amazing discovering’. I

m o c . r e l l i t s g n a g f l o w . w w w r e l l i t S

g n a

g

f l

o W

Luxury Splash of Art IInsnsppiireredd bbyy mmaatteeriariallss ttoo ccrereaattee aarrttwwoorrkk lliikkee nnoo ootthheerr..

"Sculpture and installations have a more intellectual approach. They are less direct and ask much more initiative from the audience" LUXURY SPLASH OF ART: You were born in Germany but you travelled and visited many countries all over the world. How did your artistic path start and what was your inspiration? How would you describe the creative scene in each of those places and what impact did it make on you and your work?

Wolfgang Stiller: I started to draw and do some stages design for theatre productions during my last years of college or better the German equivalent to college. I had a very inspiring art teacher who really fuelled my appetite for art. So I am a kind of late bloomers. Not one of those artists who draw since they were 4 years old. I was also not what one would call a natural talent. I had to study hard to learn some skills. I travelled, lived and worked a lot in other countries but this never had a direct impact on subjects I was working on. Sometimes it would determine the materials which I was using for my art production but I always follow certain subjects I am interested in and never really react in a kind of spontaneous way within my art practice. I wouldn’t know how to describe the creative scenes in those places. I wonder if one actually can since it is always just a glimpse we are into those new places and it is a very subjective one anyway. As I said before, I follow up on specific projects I am interested in and therefore I am not affected immediately by other cultural approaches.

LUXURY SPLASH OF ART: I personally find your work very imperceptible to the detail. Your sculptures installations are made in different mediums (wax, metal, bronze, minerals etc.) showing all expressions in all our senses. Can you please tell me where you find your mediums and how do you do the research? Do you feel that there is a physical presence or are you just simply exploring possibilities? What do you want other people to feel or think when they look at your work? What does your work aim to say?

WS: I don’t think art has the power to make people think or feel in a certain way. Movies and music have this seductive power. Sculpture and installations have a more intellectual approach. They are less direct and ask much more initiative from the audience. Even if I could influence other people's emotions and feelings I wouldn't be that interested in doing so. As I said before, I am interested in certain themes or subjects and try to reflect on them. Some people use words to do so, I am using materials and space. I have my reasons why I am doing my work. I need to have that.

What I do is a reflection of contemplating things I am interested in but I don't expect that other people get this exactly and I don't think it is necessary. When we are confronted with an artwork we always bring our personal experiences and history into this observation or reflection. Sometimes this can be much richer and more original than the intention of the artist. If we limit our encounter with the work to the intention of the artist, we deprive ourselves of some unique experiences.

I always like to approach a work directly without running to the little paper on the side giving away the name and title. If the creation doesn’t attract me by itself I am not even interested in learning the idea of it or even the name of the artist. That being said I think it is always a useful reference to hear what the artist's intention was.

I have no special preference for any material. First, I have an idea and then I look for the best material to realise it. Every material has its very own characteristics which makes it unique. I like to use this sometimes in the opposite way like with those waxworks I did.

They look like frozen ice which is quite the opposite of melting and heat which we usually expect when we think of wax. Materials have a physical impact on the viewer which is one of the many reasons why I like sculptures.

16 Luxury Splash of Art LSA: Matchstickman – Human Heads – I really love them because you focus on the actual human figure. What is the process of creating them and how much time do you need to see the final stage? What kind of materials do you use and what is the story behind these creations? How people in different parts of the world react to those sculptures/installations?

WS: I started with this idea while I was living in China for 2 years. I was involved in a movie production doing some dummies. The movie was about the massacre the Japanese did in Nanjing during the occupation of China. I saw photos of the beheading of people which made a very strong impression on me. Seeing a human head without its body has a very strong and different impact. After finishing the production, I had those head moulds sitting in my studio and was playing around with them until I got this idea for the ‘Matchstickmen’. It was really more of an accident than being planned right from the beginning. The first versions were much simpler and more like heads which were put on top of a pole the way people would do during wars in former times. I got interested in the human head without a body as an artistic subject and tried out several possibilities over the years. The latest version of the ‘Matchstickmen’ became much more sophisticated with more details. I use all kinds of people from all over the world as models for my Matchstickmen. No women though but this is more because of practical reasons. I always ask for bald models and normally the male head is bigger. So it has no hidden agenda besides being more practical. They can be interpreted in different ways. Some people read them as burn out, some find them funny or even a kind of pop art. To me, they are a metaphor for the impermanence of our human existence. People react very differently to them.

I don’t think it is a regional question but more a subjective one. Many people love them, dislike them. Kids mostly like them a lot. I also get all kinds of weird reactions on Instagram. I get called racist by some people because the heads are black. Women complain that I just use male heads. I have Jewish people telling me I can't do burned heads because I am German. It is a pity when people are not able to think outside of their little box and try to fit the outside world into their little worldview. So there are many different approaches towards my work and it is beyond my control what people think about my work.

LSA: You are an Artist/Sculptor. What makes you different from others? Do you need inspiration, perhaps a reason or certain intention which reflects your work?

WS: As I said before, I am interested in certain subjects and reflect on them in a different language. Sometimes, I get inspired by some material which gives me an idea for certain work. That happened more often when I was an artist residency and didn’t want to do the same as what I do in my own studio. So I would roam the streets or landscape and discover something to work with. Most of the time I have a subject I am interested in and look for some material which would express this in the best possible way I can think of. "If we limit our encounter with the work to the intention of the artist, we deprive ourselves of unique experiences"

LSA: Apart from your sculptures and installations you also do fantastic drawings. Quoting your own words once you said that they reflect a subconscious of your site. In what way? What kind of drawings do you do? How do those drawings come to your mind, is it just simply spontaneous creativity which comes to your mind or the beginning of yet another project or perhaps the inspiration to the future sculpture creations?

WS: Installations and sculptures take a lot of time and planning. There is not much space for being spontaneous. Drawing is very relaxing and I just start not knowing if it will turn out more figurative or more abstract. No planning. Mostly. If I do a jellyfish drawing/painting it is different. Then I am really interested in a good result and there is planning involved. When I just draw it can easily end up in the trash bin since the quality can vary. I hardly ever do project sketches.

LSA: Being in the art world for a while now what do you think about art today? Do you think we as artists are still unique and have our voice? Do you believe that artists still got the power to influence others? In your opinion, does a modern artist create to gain only for success and money? Where do you think you would put yourself in as per today?

WS: Well, that is a dicult question. I don’t want to be one of those guys who say everything was better back then. Fact is that things have changed in a more commercial way and I am not really interested in most of the top-selling „artists“. I don’t go to see shows that often anymore and if so it is mostly some older masters I am interested in since they remind me why I am doing this and why I started this 40 years ago.

LSA: Finally, what are your plans for the future? Where can we see your recent exhibition?

WS: I am working on several different new projects and if Covid 19 will allow it there are shows planned in France, Finland and Italy.

Interview by Kamila Krzyzaniak

18 Luxury Splash of Art The blue city Kiss through the glass

Unexpectedly, our life became virtual in many aspects of our life: work, study, going to the museum or opera - all through the screen of the monitor. And the feeling is the same as from a kiss through the glass. There is not much we can do at the moment, our trip to the fabulous blue city will be interesting, although also virtual. Jodhpur is an unusual Indian city, reminiscent of bright blue unforgettable in the ring of a gray harsh desert. It is so-called ′′ The land of death ". It's like a transparent drop fell from the sky into dry sand and a miracle city was painted in blue and blue colours got splashed around. The city was founded in 1459 at the foundation of a flat exaltation. The fort was headed by Rao Jodha, Rathore, the ruler of the Rathore dynasty, who decided to move the capital. According to legend, in order to build a fort, he evicted from the plateau the only inhabitant - a hermit who cursed Jodh with the words: ′′ And your citadel will ever suffer from thirst!" And although the ruler tried to built a temple for a hermit, every four years drought struck the city. There is a special well on the central square of Jodhpur, where residents of the city gain drinking water. And you want to drink in the Blue City constantly because it stands on the very edge of the huge desert Tar.

Nine streets cross in the city, each of which lives representatives of a certain caste or a certain profession. Unlike the major cities of India, where saree festive clothes, they are constantly worn here. Traditional gold and silver decorations are perfectly harmonized with this outfit. Indians believe that blue colour protects home from heat; cooler if the house is blue. The second reason is that mosquitoes don't like this colour. And there are a lot of mosquitoes here. When they see blue, they don't sit on the walls. In 1847, Maharaji Man Singh was gone, all fifteen of his wives traditionally decided to deprive themselves of their lives. Before climbing the funeral campfire, they tricked their palms into the henna and put them on the wall. A few years later, in memory of this event, the prints of their hands were knocked out in stone. You can see them on the wall of the fort today. Jodhpur is a city of artisans, but the main income comes from tourists. This year, most likely, the city will face some difficulties.

Luxury Splash of Art 19 Furniture art or passion

The idea of the Art & Furniture project is to create unique and outstanding furniture in the design of are markable artwork. Highest standards in quality and working ethic is a benchmark to fulfill. The artwork is one of a series of artworks about emotional states of mind, here Passion. It shows pure flames

Passion shows all eye-catching flames in different tones of red, some blue flickering spots. It is an abstract reflection about the total emotional and personal concentration to one subject or person in one’s life. Passion may burn and hurt sometimes, may drive one to extreme power and performances. Without passion, humankind would not be there, where it is… in bad and good aspects. Passion may lead to misbehaviour, but in its best way it boosts you up. The wooden frame was produced by hand in Verona, Italy and upholstered in Prague, Czech Republic

The beech frame is elegant, light and gives enough room to present the design of the artwork, but got also enough details and presence, that it will be part of the art as well. It was painted in black like the frame of the artwork.

Dieter: One evening in June 2019 I noticed a post of Bea on one of her designed chairs on Instagram. To that time, I was working on an art project about women’s emotional worlds and looking for interesting models. I loved the way she was presented there, open-minded, totally vibrant and natural. Impressed by that, I contacted her and we discussed possibilities about a photoshoot in Prague. Meanwhile, I got in touch with a producer of sports clothing from Pakistan. He was able to produce fabric of all kind and more exciting he was able to produce individual designs. I started to dream and think about possibilities..

Bea and I followed each other for a while and regularly stayed in touch, as she loved my artworks, as I loved her designs. One day we had a conversation about the design and art and came up with the idea to cooperate and to create something unique and extraordinary. It should be something mind-blowing. I came up with the idea to produce ensembles of art and furniture in the design of my artworks. I asked the Pakistani producer if he could deliver the fabric in my design in the quality we need. As soon as I received the confirmation, the Art & Furniture project was born.

We planned the first prototype in November 2019, decided which frame and artwork we wanted to go for, did the calculation, researched for all needs and regulations and started to work. We were and still are in flames for that project. By that, it seemed natural for us to choose one artwork to give the project the design and title.

Furniture from a new perspective - story by Bea Dušek & Dieter Hanf

Bea Dušek, In 2004, Bea completed her University Degree, PhDr. of Public Health with an emphasis in infectious and non- infectious diseases and built her professional career around clinical research. Bea is art-oriented since her early childhood and maybe for that reason, she has an extraordinary sense for design. She recognized her passion for upholstery, while she lived in England during her professional career in medical research. As of 2012, she decided to study original upholstery techniques and started to produce her own accent chairs and continued with her production while she moved with her family to Wilmington, North Carolina, 2015-2017.

After her family relocated back to Prague, she and her husband opened family-owned Dusek Design Studio, focusing on hand made décor production for high-end clientele. Shortly after, Bea started to partner with Italian producer of luxury furniture based in Verona and to date uses their handcrafted beech wood frames for her projects. Bea also partners with the most famous fabric houses producing top fabric designs such as Designers Guild, Christian Lacroix, Ralph Lauren, Williamem Yeoward, Osborne & Little, Nina Campbell, Mathew Williamson, Casamance, Camengo, Misia, Casadeco, Caselio and Texdecor.

Each project is hand made from start to finish and overall chair design is also hand-painted by Bea using special markers prior to production. Bea features her artwork in December 2019, attending Czech Design Week; was also invited to national Czech TVNova and has been recently contacted by several 5* hotels managers, to add her upholstery projects to lobby and bar areas (Four Seasons, Radisson Blue Carlton and Savoy).

Dieter Hanf, Dieter got an informal art education by his father, who was a very talented amateur artist. He was taught in composure, conceptual planning and framing technics by Wolfgang Gödderzt, a well know german artist, who won several prices in art and design. Dieter got also an education in photography by two engineers of photo technics and started to work with fine art photography in 1978 as a self-employed photographer with his own studio. Dieter changed his profession several times but stayed tuned with photography. After studying philosophy and German language he finally works as a teacher today. Dieter did Fine Art Photography all the years without exhibiting his art. In January 2018, he decided to publish his artworks at LinkedIn and got wide international attention and invitations to exhibition straight away. He is one of the EDGIC artists and showed his art in Lisbon, Berlin, Paris, as well as Zurich, New York and will be presented in Barcelona and London soon. Nearly all his art is based on photography, no matter if it refers to documentary, abstracts or figurative art. Dieter loves to play with genres, extend all limits to show hidden aspects of life. He loves to create big formats and large series up to 30 pieces. His actual project is called City of Gold – living in 2050

Dusek & Hanf - Art & Furniture - Passion

Luxury Splash of Art "Painting is a very solitary experience which I love - but it is also really wonderful SANDY DAMON to share and be inspired by the vision of other artists." The speaking voice, sound or rhythm are often inspirational in the initial visualisation of Sandy's paintings. IN LOVE WITH COLOURS

Luxury Splash of Art: How old were you when you knew you wanted to become an artist? Sandy Damon: As far back as I can remember I was always drawing - My favourite gifts as a child were art-related gifts and throughout my education, I made decisions to choose art-related subjects. Being an artist was choosing me I think. When I finally made a decision to be an artist (in my late 20’s) I clearly remember realising that it would have to be a commitment. Whatever else I was doing in my life (to pay the bills or family life) I needed to also put time aside to paint.

LSA: What was the most important lesson you learned at Art University? SD: Studying art was a wonderful time to ‘play’ which I feel is such an important lesson in itself, especially in a creative arts education. Creativity, at its best, has always had an element of play. The most valued lesson that I took away with me when I graduated was given by one of my tutors. During a tutorial one morning, when she came to see me working, she advised me on how to ‘step-back’ from the painting I was working on before I felt it was finished. To catch that moment is an instinctive gut feeling that I have had to learn to listen to over and over again. Overstepping this boundary could be a moment which could ‘kill’ a painting.

LSA: What do you think makes the difference between success and failure when trying to establish yourself? SD: This question makes me smile, I might not be the right person to answer. The word success is very evocative - In the eyes of the world it means popularity by the masses and financial rewards - And failure is the opposite. I am not avoiding the fact that we all have to live and pay our way and by doing this we need to try our very best to get out there in all the ways offered to us, but, we can’t steer too far away from our passion. I believe the meaning of success is when we make a piece of work which is true to one’s self and to have a passion and drive to paint, whatever the obstacles or outcome. Failure is when you lose hope and the connection to the part of you that wants to follow your passion, simply by comparing yourself to others or listening to the world's meaning of success.

LSA: How do you structure your day working from home? Describe your ideal day at work? SD: My day usually starts with a cup of coffee and looking at the work I did "Painting is a very solitary experience the day before - I then do a dog walk and have a bite to eat and then I start which I love - but it is also really my work-day. I have had to be strict with my work time (and space) during the pandemic. When working from home, I see many endless disruptions. My wonderful to share and be inspired by ideal day is when I am halfway through painting. Painting is all about the the vision of other artists." practice for me. I love the process of making marks and layering colours. Those wonderful moments which produce marks I hadn’t planned are really exciting - standing back and taking in the outcome of ‘chance’ is what I constantly practice. The best moments in the painting process for me are LSA: What mediums do you create your work in? when I become the observer and not only the mark maker. SD: My primary medium is oils on canvas. I also enjoy working in watercolour and working with paper-mâc hé. I spend quite a lot of time working online, it is sometimes like a second sketchbook of ideas and possibilities.

LSA: What did you develop, try or learn to create your artwork? SD: The hardest thing I have tried to do when the painting is to be true to myself. It is more difficult than all my other practices. One has to dig deep for the courage to work instinctively. The process, for me, has always been personal and not commercial. When I recognise my story then it becomes simple and is the stepping stone to making a piece of art. The world around me is filled with colour, shape, sound and movement, however surprisingly, the world around me does not inspire me to paint what I see. If I see a beautiful landscape I will drink in its beauty and maybe be inspired to take a photograph, but, if I see the same beautiful scene and I hear someone singing in the distance, that will be my inspiration to paint. The amazingness of it all. A voice travelling on the breeze being as much part of the landscape as the trees. I am fascinated by these details.

22 Luxury Splash of Art P A I N T E D

I L L U S T R A T I O N S LSA: What does art mean to you? SD: Art to me is another dimension of me being who I am. Making art makes me happy. It is as much part of me as eating, sleeping or playing. Without these elements aligned I might feel there is something missing. When I make art I want the audience to see their own story. I try not to give them any leads, sometimes I will avoid giving the work a title. My fascination and pleasure are hearing the viewer’s interpretation of my work through their own story.

LSA: How do you seek out opportunities? SD: Being an artist is a very solitary lifestyle and I really love this. However, I also enjoy collaborating with other artists, musicians, dancers and storytellers. This year (2020) has been a very strange year. With the pandemic, I have needed to bend and adjust and find a way to go forward. Planned exhibitions have had to be cancelled until further notice and all the rules seem to have changed or are in limbo. Gallery and studio visits and collaborations have all had to be put on hold. Although it appears bleak at the moment, I think that this has been a fantastic opportunity to find other ways to show and sell work. With galleries being closed and people not wanting to visit them in the same way, even when they reopen, online platforms have become an avenue that has taken on a much more important role in offering ways of exhibiting, marketing and selling one’s work. In a way, the pandemic has been a time of alternative thinking in many areas -including my role as an artist. Galleries and art sellers have all had to rethink their strategies. This could be a good time for visual artists.

LSA: Who are your biggest influences? SD: I love colour, even white on white is inspiring. I almost taste in colour. My influences are artists such as; Winifred Nicholson, Edward Bonnard, Giorgio Morandi, Marc Chagall, Vanessa Bell, Edward Hopper and paintings by Sean Scullyto name a few. I am also influenced by the written and spoken word, wonderful poets and authors who write in colourful and graphic visuals ie works by GabrielGarcía Márquez. Books filled with colourful visuals and atmosphere. I feel they all use ‘colour' in a way that sings and almost lifts one off one’s feet.

LSA: How do you navigate the art world? SD: Art Fairs have been a brilliant playing field when looking for an outlet for work. Dozens of galleries under the same roof. If I see a gallery with work I love or a collection of works in the same vein as mine, I will make a note to contact them. It is easier than ever now to submit work. One used to have to take in a heavy portfolio, but nowadays all I do is present my work through my website. Art competitions and residences, lectures, discussions and classes are all available online these days. The world seems to have evolved into another era, in a period of a few months. I look forward to seeing where this is going.

LSA: You published and illustrated children’s book, how did you get into illustration? SD: Illustration, with its storytelling qualities, has always been in the background since I was very young. I spent many years captivated and entranced by the Edmund Dulac children story illustrations. There were many draft copies of ‘books’ over the years but the first book I published was ‘A Pearl of Erst’. I started writing it for my daughter when she was very young. Some years later when my niece (who was an avid reader) was at the same age as my daughter had been, I decided to illustrate and self publish for their birthday gifts. I have also published and illustrated a diary - inspired by wonderful quotes by Prem Rawat and my illustrations.I will be publishing another children’s book in the next year, which will be a children's storybook with a difference. will include stories written by adults and children to a selection of paintings and illustrations. I am very excited to see what comes of this project. LSA: Which current art world trends are you following? SD: Street Art is one of my passions. I am fascinated by its transient nature. It can change day to day and sometimes hours on hours. One day you might have seen a piece of art which will be covered over the next day by a new piece of art. Street Art seems to be a two or three- dimensional living art. When Street art is being most effective it is speaking for the ‘common man’ and not dictatorial. Graffiti artists that I follow are doing art about what is going on under the surface of our communities and cultures. Saying things we are all might be thinking but feel afraid to say out loud. Banksy is one of my heroes saying things in a clear and effective way. In some areas of London ‘graffiti’ is now a tourist attraction. The best guides are those who are street artists themselves (because they will have a wonderful knowledge of where to find the really interesting works) It has also become a well earned an alternative source of income. Another important art trend (in my mind) are those artists who are using their art to express their concerns about the state of our planet at this critical time. An example is photographer Edward Burtynsky. His large scale images, which sometimes look like abstract paintings, are horrific to witness and amazing at the same time.

LSA: Also, you are the founder of the group Arts4Giving – Tell us more about this? SD: Artists are regularly asked to donate art for charitable fundraising projects. I have always been happy to be able to help in this way. However, a few years ago there were numerous requests for artwork and I feel these requests weren’t taking into account that artists also need money to make art. Sadly, I also witnessed that some of the donated art pieces were not respected in the same way as a purchased piece of art would have been. Arts4Giving came about because I (and another artist I knew) wanted an alternative way in supporting fundraising causes through their work. The Arts4Giving Platform has a ‘feel-good’ factor for everyone involved. For each piece sold under the umbrella of Arts4Giving, 20% of the asking price will go to a charity of the buyers LSA: Do you have a personal mantra? choice. The buyer feels good about purchasing something they will SD: See every open door offered as a gift, and go forward without fear. cherish and will also feel good because their purchase has raised funds for a charity close to their heart. For the artists, they feel good knowing LSA: Upcoming books, exhibitions, plans? that their sale has also raised funds for a heartfelt chosen cause. A win- SD: The project I am currently working on and very excited about is under win situation I think. the umbrella of Arts4giving - It is a storytelling project with a difference. Choose a picture on theArts4Giving site and write a story. It is an international project inviting voices and stories from around the world. You can find my project on https://damonsandy.wixsite.com/arts4giving.The sale of this book will go towards raising funds for a very relevant cause close to my heart, a Food Program run by The Prem Rawat Foundation (TPRF). This is a wonderful foundation, giving children and vulnerable adults clean, healthy, local and sustainable meals. I think that Covid19 has given us a clue as to what we were doing wrong. If we are to be brave enough, it is now time to try and put things right. I feel that the fallout will last for many years and will affect all of us and especially the vulnerable people in our societies. Many years of greed has taken us to a very strange place. Kindness has to be the next phase. https://damonsandy.wixsite.com/sandy

Interview by Kamila Krzyzaniak

Interview with Luke Foreman next issue Marek Emczek Olszewski - Photography from intensely minimalist to intensely complex "I use the medium of photography freely and instinctively, at times beyond its conventional role, form and expectations constantly experimenting, discovering new meanings. Attempting to move imaginations. From sharp, colourful geometric shots to soft and calming landscapes. From intensely minimalist to Intensely complex. Looking for beauty and poetry in the mundane. Hunting for treasures"

Born in Poland in 1981, has been living and working in London since Showing emotions in my work is very important to me. It’s been a 2006. Obtained his photographic diploma at RACC in Richmond long journey to get to a point when I could confidently say that upon Thames in 2011, however, he is mainly a self-taught emotions are there, that I can feel them when looking at my work. photographer, continuously experimenting and discovering new ways I had to learn to express what I feel with the medium of of expression. He is attracted to non-obviousness, light and shadow photography, and it wasn’t necessarily the easiest of the play, movement, reflection, geometry and extreme minimalism. challenges. But when you are in harmony with your internal voice, Member of Free Painters and Sculptors collective (founded in 1952 in then the language of feelings and intuition is naturally being London), Association of Polish Art Photographers (ZPAF, founded in projected into your creations. It’s a constant work in progress. 1947 in Warsaw) and Association of Polish Artists in Great Britain (APA UK, founded in 1950s in London). LSA: Your photographs are valued for their creativity. Where do you get your inspiration from? How do you Has exhibited in many galleries and art fairs in London, Kent, prepare for a session? Brighton, Brussels, Barcelona, New York, South Korea, France and MEO: The inspiration comes from a variety of sources, but mainly Poland (including two solo shows) where he has achieved recognition my imagination, triggered by emotions I feel when listening to and significant sales. Marek’s photographs can be found in private music, watching films, reading or even dreaming. For example, collections in the UK, Europe and USA. His work has been featured minimal soundscapes by William Basinski or Richard Chartier and bought by some of the world’s leading architects and interior draw delicate and elusive landscapes in my head. These feelings designers, including Candy & Candy and a high profile commission stay with me for a long time and, consciously or subconsciously, for Qatari Headquarters in London’s Mayfair. Awarded with prizes inspire my creative projects. and distinctions in competitions organised by Royal Society of Chartered Surveyors (Infrastructure Photographer Of The Year), My preparations for photo sessions are near to none. It simply Construction Industry Council, Compas Oxford University and involves packing my quite standard equipment, and then American Society of Civil Engineers. spontaneously choosing right places and moments to capture. I Represented by several art galleries including T5 Gallery. just have to make sure my batteries are suciently charged, and my head is ready for creative action. LUXURY SPLASH OF ART: You create great photographs that many people display on their walls at home. What is the LSA: How did your professional adventure within most important thing during a session? How do you bring photography begin? Who did you want to be when you and show emotions in your work? were a child? If you know you have a talent for what you Marek Emczek Olszewski: The most important thing during my photo are doing, are you able to predict if you’ll be successful? shoots is a simple rule: being in the right place at the right time. The vast majority of my photographs are taken during my travels. Discovering new places and trying to find my compositions in new environments is a crucial part of my process. It also involves a decent dose of spontaneity. MEO: A road to my professional photographic career was twisty, LSA: You have travelled a lot, what have you gained from bumpy and not at all transparent. The first symptoms of my that experience? Do show it in your work? Why do you passion appeared in my early teenage years, but shortly love travelling? afterwards my life has been taken over by certain struggles and MEO: Traveling is my petrol. Discovering new places, cultures, changes. Photography came back to me in the middle of my cuisines, nature, and obviously, people is an essence that keeps twenties, but as a hobby - I did not think at that point that it me excited and adds colour to my life. could become anything significant. I was taking photographs for my own pleasure, but in time my work started to gain more and It gives me a fresh perspective in looking at things. Makes me feel more interest. It motivated me to organise my first solo exhibition that we, human species, are all the same, despite apparent visual in 2011. This exhibition was reviewed by one of London’s lifestyle differences between us. We are all part of one history, Earth magazines. Based on that article I was invited to my first history. Being open, experiencing different perspectives, learning professional group exhibition held in The Royal College of Arts. local histories, discovering wonders of nature and architecture is And since then it started rolling - more and more exhibitions, an invaluable help in understanding the world, that is still full of press exposure, big art fairs, sales, commissions. And slowly, step unknown wonders. My work mirrors my feelings, thoughts, by step, I became a professional artist. The line between an experiences and values, so I’m sure travelling is putting a amateur and a professional is thin and very subjective. significant stamp on it. And on a more obvious note: my work relies on the beauty of nature, captured in many different places I was one of these children who did not know who they want to on the planet. So the impact travelling has on my creativity is the become. My interests were changing very quickly. I could not most significant. concentrate on one subject for too long. In my late teenage years, I was not sure what field of studies to choose, so I changed it several times - I studied Geodesy, Protection of Environment, Film LSA: Is photography passion or just work? Would you and TV production... But somehow I always knew that it’ll come to consider yourself a Photographer, Artist, both or me at some point. And it happened. Maybe a bit later than something else? expected, but happily. MEO: Photography is a passion that became an important part of my work. I try hard not to lose the right balance. The creative One cannot be sure of anything in life, it is so unpredictable. That process itself must always remain a passion for me, involving the includes potential future career projections, based on freshly whole of my spirit. If that ever changes, I’d consider changing my discovered talent. What is certain to me: it’s worth trying, being profession. consistent, patient, and to believe in it. But as we know, there never is a guarantee. Especially in such a transitory field as art. Exhibitions, art fairs, press, social media - although still very much enjoyable, is a part of the story that I fully see as work. At this It is dicult to push forward if you cannot see immediate results. point in my career, I consider myself as an artist, using a medium However, if may be worth it. of photography as a tool of expression.

LSA: Do you think talent is genetic determination, something that grows with age, needs to be discovered, LSA: Your origin is Poland but you’re based in London. developed or a natural talent? Why have you chosen in London instead of somewhere MEO: Firstly, talent needs to be discovered, then nursed and else? explored. Also, tested in dicult times, sometimes challenged and MEO: I’ve never planned for London to be my place on Earth. pushed out of the comfort zone. The nature of talent is When I arrived here, my plan was to stay for one year, to polish mysterious, but I believe it’s a magical mixture of all the aspects my English, to meet new people, to gain new experience. you mentioned. But in a meantime, I got amazed by London’s versatility, http://www.emczek.com/ awesome, ambitious people, an abundance of their stories, multicultural nature of the city, easy access to art, music, theatres. It felt just right and inspiring. Also, I’ve met my partner, who eventually became my husband two years ago. It all made my decision to stay very easy. Luxury Splash of Art

LSA: What is the current buyer guides for purchasing your photographs? MEO: My photographs are available to purchase in exhibitions, art fairs, on online platforms, or by direct contact with me. All details can be found on my social media (emczek) and my website (www.emczek.com).

LSA: During a pandemic, many museums and art galleries suggested visiting online. What do you think about such an initiative? MEO: People need constant contact with art, so online exhibitions are a good alternative to visiting museums and galleries in person when no other options are available. It works well as a temporary measure. But, obviously, nothing can compare to seeing and experiencing art ‘face to face’.

So let’s hope it’s not a permanent thing, and we will be soon able to freely visit exhibitions, as in pre-pandemic times.

LSA: What suggestions would you give a new photographer who’s just starting? MEO: Listen to your internal voice. Involve your heart. Experiment. Be brave. Be open. Be patient.

LSA: Do you have any plans in the near future? MEO: I’ve got few art fairs planned and applied for, including London, New York and Toronto.

Unfortunately, we do not know at this stage if they will take place, due to possible restrictions related to the pandemic. In September I’m participating in Quarantine Art Exhibition that takes place in Athens, and ‘Identity’ exhibition in London. Plus, I work on a few more art/business projects in France and the UK. Also, I’ve recently been experimenting with mixed media. My plan is to connect photography with paint, gold leaf, acrylic mediums and resin. First attempts have already happened, and it looks promising and exciting.

Interview by Kamila Krzyzaniak

28 KamilaKart

@KamilaArtist @KamilaKArtStudio

www.kamilakart.com

Luxury Splash of Art Luxury Splash of Art

How to connect Entrepreneurs & Artist

Together with the Partners from the Rotary Club Karpacz- Karkonosze and Rotary Cub Jelenia Gora, we organize Auctions of Works of Art Our goal is to support artists, create opportunities for two environments to meet: entrepreneurs and artists, and to revive the art market in our area, which during a pandemic may be particularly tempting as a secure investment and ennoblement. Collecting is an indicator of cultural maturity and awareness of the great value of art. Usually, it is thanks to private art connoisseurs that we know the works of most artists in the history of art. Almost all of Art Exhibitions Oce– BWA in Jelenia Góra also known Europe's great museums developed from the collections of the as a Contemporary Art Gallery which was established in ruling families of the time. The collectors were usually the 1976. wealthiest and most educated: kings, princes, politicians, BWA in Jelenia Góra is one of the most important art wealthy townspeople and often artists. The great patrons of galleries in the region and occupies a high position on art were powerful secular and clergy rulers, including; Pope the Polish art scene. Julius II in 16th-century Italy, probably all influential Italian At BWA, we popularize the latest art, conduct exhibitions as princes were infected with a passion for collectors, including well as we are involved in publishing and educational activities. the Medici family in Florence, Gonzaga in Mantua, the d'Este We organize art auctions, tours, and conduct performances and family in Ferrara, Sforza in Milan or Montefeltro in Urbino. In artistic actions. A gallery is a place of non-commercial approach France, the collection of King Louis XIV became the basis of to art, responsive to the current and most interesting the collections of the Louvre and the National Library. In phenomena of 20th and 21st-century art, promoting diversity in Poland, the Jagiellonian’s should be mentioned: Zygmunt our current programs. Our program includes presentations of Stary and Zygmunt August. Stanisław August Poniatowski outstanding artists, presentations of young rising artists, was also passionate about art. Unique art collections presentations of the local community, supporting dicult gathered the most influential families in Poland: Lubomirscy in subjects in our exhibitions, as well as delivering multi-level Łańcut, Potocki in Krzeszowice, Radziwiłł in Nieborów and projects, running presentations of comic art and exhibition- Warsaw, Czartoryscy in Kraków, Raczyński, Zamoyski, and related activities. Some of the activities are our workshops, Branicki.. artists meetings and discussion panels followed by artistic Collecting also plays a significant role in popularizing modern interventions. Those multilevel approaches to the local receiver, art. For example, the interest of an unknown artist was create a strong message to the community of the region so no aroused by collectors unfettered in their choices. Thanks to one interested in the art feels such a long distant from the collectors, art and artistic craftsmanship of the Art Nouveau biggest artistic and cultural centers. period were discovered, and in the 19th century - Japanese art. In our activities, we raise important social topics, including local BWA in Jelenia Góra cooperates with the most important ones, concerning for example; the role of art in shaping galleries in Poland (e.g. in Warsaw, Gdańsk, Wrocław). The attitudes, respect for people, appreciation of cultural heritage in gallery also produced exhibitions that were presented abroad, the aspects of creating openness and tolerance. We also provide incl. in Tokyo, Naples, Paris, Prague, Strasbourg, Bratislava an opportunity to encounter new forms and new ways of and Gomel. creativity in areas such as new media art, new technologies, computer games, social advertising. We are also interested in issues from the borderline of art, as well as ecology, advertising, www.galeria-bwa.karkonosze.com sociology and many other aspects in order to shape social www.bwajg-aukcja.pl sensitivity in addition to aesthetic sensitivity.

Ryszard Wozniak, Pladrografia, BWA Luxury splash of Art 30 Temporary exhibitions of outstanding Polish and foreign artists are permanent elements of BWA's activity. We showed works by artists such as: Magdalena Abakanowicz, Urszula Broll, Bohdan Butenko, Edward Dwurnik, Milton Greene, Tadeusz Kantor, Katarzyna Kozyra, Andrzej Mleczko, Daniel Mróz, Józef Szajna, Josef Sudek, Waldemar Świerzy, Roland Topor.

There are a few upcoming exhibitions this year: – Until 13th.of November there is an exhibition by Tomasz Michalowski - an excellent photographer, film operator, lecturer at The Leon Schiller National Film School in Łodz. At the exhibition "Logos and Myth in Photographs" we are showing his photographic landscapes, we present various worldviews and the unusualness of existence. – On November 21st, 2020, we are planning to organize the 4th Auction of Works of Art at BWA in Jelenia Góra – from November 27th, 2020 to January 2021: Tadeusz Baranowski and his comic book, painting. Tadeusz Baranowski – scriptwriter and cartoonist of comic books, illustrator, graphic artist, advertiser, and avant-garde painter – is one of the most outstanding comics creators of the Polish People’s Republic and later times.

EXISTENCE AT THE TIME OF PANDEMIC

For a moment we were locked in houses, in „golden cages”, in uncertainty, the borders were closed... – which art cannot stand! The pandemic forced us and other institutions to analyze the activities and ways of their implementation. One thing is for sure: ART is tempting and we all need to care for it. We cannot allow our imagination to be paralyzed and to constantly push the limits of what we can agree to. It is, it will be different, but art, and with it galleries - will survive, because our driving force is a man and his story about himself or his relations with the world. Only this and so much! However, we must care for the contact with the original - because only then does the dialogue begin and the art begins to act. It is also the foundation of our and other institutions. All: small galleries and the biggest "giants" have lost. The situation around the world has changed and what has always been a kind of barrier for us has become our salvation. It is about the state’s patronage over cultural activities – it gives not so big financial opportunities, does not ensure the organization of spectacular undertakings (for this we must obtain funds from other sources), but it provides stability - what is the most important. In Poland (similar as in many other countries), state cultural institutions operate based on the Act on organizing and conducting cultural activities (state subsidy at the level of 70-100%). Another model, that almost completely collapsed, is activities based on the mainly on donations from sponsors, profits from the sale of tickets and advertising. This is due to the system of managing culture as a business. Which model is better? The pandemic has shown definitely, how important is the state and local patronage over culture. This undefined future is our everyday life and it is dicult to navigate in it, but one thing is certain – you cannot get closed in fear and you have to trust the artists.

Luiza Laskowska, Director of BWA in Jelenia Góra, June 2020.

"This undefined future is our everyday life and it is difficult to navigate in it, but one thing is certain - you cannot get closed in fear and you have to trust the artists."

Vertical Glass painting by Karolina Ludwiczak and Marcin Stachowiak, the exhibition: „Szukając Marilyn – Finding Marilyn”, BWA in Jelenia Gora 2018-2019, curator Waldemar Plusa

Václav Jirásek, Tono Stano, František Drtikol, the exhibition „Sudek, Funke, Drtikol...”, BWA in Jelenia Gora 2019, curators: Joanna Mielech, Lucie Mlynářová, photos at the exhibition borrowed from the collection of PPF Art a. s. in Prague.

Horizontal Milton Greene, Tadeusz Rolke, Wojciech Plewiński, BWA in Jelenia Gora 2018-2019, curator: Waldemar Plusa, photos borrowed from Hala Stulecia - Centennial Hall in Wrocław 32 ATELIER SAINT- HONORÉ 18th Century Reenactment & Haute Coutre

Atelier Saint-Honore is a fashion brand established in 2016 by Madame Jejette, costume historian and designer. In our studio, we create gowns and accessories designed with care for historical probability and based on deep knowledge and years of experience - working for private clients, museums and auction houses. To reach an exquisite original look, we are using historical tailoring techniques and manual embroidery as well as carefully selected antique fabrics. We make our gowns fit the unique taste and beauty of our clients. We also specialise in extravagant bridal fashion and are always open to individual aesthetic wishes. Interview with Madame Jejette, Art Director

LSA: You studied scenography but you When I was walking with my mum I observed My first book about the history of clothing was decided to become a costume designer. passing by people and analysed how they from that old professor. It was a very crucial Can you please tell me why did you were dressed and it was interesting to see how moment in my life because I realised what I choose to design and creating 18th their styles differed from each other. really want to do. I wanted to become a centuries dresses? Whenever I drew a person, I always started fashion historian and costume designer. ASH: I always wanted to combine my artistic with designing a costume; it was a must skills with my scientific knowledge. Since I was without it there was not fun. When the design Since then, I started preparing myself for four I knew I would be an Academy of Fine of a costume was ready the rest of the person University and learnt a lot about the history of Art student. As a kid, I was very sensitive and was coming to life and the story of what they fashion and fabrics. During my student and that sensitivity was very specific and unique. I did and who they were. It was very intuitive then professional life, I oscillated between art was drawing, doodling and dreaming to now I know that this approach was very and science. I used to work at the opera and become an artist. 18th-century fashion and theatrical. theatres but mainly I was a lecturer working at costumes were always in the centre of my When I was 10, an old professor who was my different universities, cooperating with interest. I used to watch theatre performances art teacher, told me about scenography. museums and auction houses. At that time I and costume movies for hours and hours; I was I found out that I could learn how to design was at the top of my scientific career, however, hypnotised by the beauty of those costumes. movie and theatre costumes. I was missing what I loved the most, designing theatre and movie costumes.

Luxury Splash of Art

LSA: Why 18th-century costumes interest you the most. What is so LSA: Is there anything or anyone that you follow? special about them? ASH: Ancient designs, portraits, architecture and 18th-century art are ASH: From the very early stage I knew it is not possible to be an my inspiration. Without my knowledge that I gained at the expert in every era, I wanted to gain general knowledge about the university and then through experience at work, it would be very history of design but decided to specialise in one era only. I consciously hard to find my way. That specific knowledge helps to interpret and made the decision that end of 17th and beginning of the 18th century understand the wider context of each creation. Thanks to that, every was the one I was drawn to the most. I was watching lots of costume decision made during the design phase are conscious and I decide if I movies and that had a big impact on me, one of my favourites was want to follow the rules or break them. ‘Dangerous Liaisons’. I am not following other artists who are interested in the same era as me. I am drawn to strong women like Wanda Rutkiewicz who had As a teenager I used to read a lot of French literature from the 18th nothing in common with sewing, design and fashion but her strong century, it only confirmed that my choice was right. Till today I love character and charisma is very inspiring for me. Whenever I think that era and I am not getting bored with it. I don’t limit myself to about her I consider myself as a weak woman. dresses only; I have lots of fun designing and creating costumes for men. There are a lot of details, colours, contrasts, and a combination of LSA: Atelier Saint-Honore is a French name, why did you choose texture, pattern and colours which are used completely different than that name? Is there any story behind it? when designing woman costume. ASH: There is Saint-Honore Street in Paris where in the middle of the The masterpiece is achieved when you know how to combine 17th century, artists and intellectual elite were socialising, meeting and harmony with extravagance. discussing their ideas. This is the place where French design has its Unfortunately, not very often I have the pleasure to create man roots. Rosa Bartin- personal stylist for Maria Antonina - opened first in costume. Most of my clients live abroad and tailoring is very complex a historic fashion house. It is the heart of French culture and a very and complicated, lots of fittings are required to achieve the top results. prestigious place.

LSA: Where is the inspiration coming from? This is a perfect name for my business and what I do. Although my ASH: It really depends on what I am working on. If I need to business is based in Poland I choose its virtual space to be in Paris. It is reconstruct something then I keep my inspiration close to what kind of declaration about style, tradition and our aspirations. We inspired 18th-century artists. When it is the rococo style I look for create costumes haute couture according to 18th-century French interesting material texture, 3D effects and I try to build a layer of fashion and modern variation which are our artistic interpretations. material so it looks like they are ‘dancing’. As a designer working for such a company I can’t be invisible, I can’t If it is the second part of the 18th century and classicism I want to wear a black t-shirt and hide behind collection like the founder of Pret achieve elegance, it is important to add flashes and ornaments a porter. I need entourage which will be part of brand identification. derivate from antique. The key here is the portrait and museum This is how Madame Jejette came to live and became a very facility. important part of my business and a wider vision of my brand. Madame Jejette is part of the world that I create. For some, it might If the creation needs to be modern and inspired by historical fashion sound like diminutive nickname used by ladies from the rococo era rather than reconstruction, I usually reach out to modern designers but those passionate about 18th-century history will know what JJ and I trust my intuition. I reject anything that is anachronistic and I stands for, for others let it be a mystery… focus on the most attractive elements of historian design at the same time searching for more practical solutions. LSA: What was the beginning of Atelier Saint Honore ASH: It all started with a tragedy. Lots of very unfortunate life events left me without work, I had to quit my PhD, and there was no way to rebuild what I had lost. The only way to continue my PhD was to go abroad but I was not strong enough to make this decision. I had no other option but to rebrand and start all over again. I decided to use my knowledge and experience gained as a student and lecturer. I started designing for my friends and colleagues from reconstructive groups. Those people were not wealthy and very often I was working for free using my silk fabrics to sew. The payment I was receiving was not enough to cover the cost of the fabric, let alone my work. To build my portfolio and to move on I had to do it that way, had no other option. I was working very hard and created more than twelve costumes in a year!

My divorce happened in the least expected moment: my business was still crawling and I struggled with health problems. Again, I had no money and for the second time had to start everything all over again. I never gave up, even when I was criticised and told that any job is better than a hobby that does not provide money and food. I did not give up; I lived with my very supportive parents and was determined to achieve my goals. I had a dream to live with passion and earn money doing what I loved. It was not easy at all, hard to describe how I felt but I was very determined. My health got worsen because I was working so hard but finally my hard work paid off and first orders from clients living abroad started getting in. I was receiving funds to execute orders.

My business was growing very slowly, with time more and more orders were coming through; I saw the light in the tunnel. It really motivated me; I found an investor and a business partner. It was finally going in the right direction. My bedroom was not my atelier anymore; I found the right space and hired an assistant. At the moment, I hire more people and there is always a lot to do. I know that it is just the beginning of something beautiful. I made it! Depression, health problems or even divorcee did not stop me, I never gave up! I turned my passion into business despite the problems. I hope I can inspire someone with my history, I never talk about this (there is always so much to do!), this interview made me realise how strong I am and what bumpy road I had to go through to be where I am.

Luxury Splash of art Luxury Splash of Art

LSA: When was your debut? ASH: I opened a very unique and specific fashion house; I met lots of ASH: The first costume I made was when I was studying at the challenges because what I do is not that popular, however, Academy of Fine Arts. I always dreamt to work at the ‘backstage’ of competition is growing very fast. There are brands existing on the a costume movie, not having an opportunity I decided to make my market for a very long time and they have a very good reputation. own movie. It was a lyrical etude inspired by Antoine Watteau To stand out, I knew I had to be unique, find my own style without paintings called ‘Embarkation for Cythera’ (as one of his paintings). copying anyone. I decided to focus on my advantages and see how I Not having any experience in sewin I was very nonchalance, I can use them to cover the niche in the market. I realised I had enough opened the book with designs, made measurements and started my knowledge and experience to create incredibly original dresses – but work. I painted meters and meters of fabrics as I wanted to keep not copies – based on 18th-century fashion. The dresses we create are original patterns that were not available anywhere. My plan was made according to all the rules used in the 18th century. I would be very ambitious, only now I know this. The movie did not come out as not able to do that if I didn’t gain historical knowledge. All I wanted it to be but I was very happy with the dress. embroidery is handmade and we consistently stick to 18th-century techniques. Thanks to that, we were able to include lots of interesting LSA: What is most important for you when you start a new products like stomachers, handbags, aprons, fan cases and waistcoats. project? ASH: Client is in the centre of everything I do. I feel a little bit like a There are no other designers or business whose embroidery accessories psychologist when I first meet my client and we start working are as good as ours. together. I have to find out a lot of details to be able to provide what The last but not least is quality – this is very important for us and it that person really needs. I have to find out what she/he likes and relates to fabrics as well as handmade finishes, there are no what she is looking for and at the same, I have to be like a guide and compromises here. Every creation is an amazing haute couture. stay alert that the rules of designing 18th-century costumes are not Quality was always number one for me, knowledge and very unique broken. It is very important and makes me incredibly happy to see skills lead us to where we are now. I am thrilled to hear that we are someone’s dreams coming true and I am part of it. It really motivates becoming recognizable in Europe and USA. me. Every project is unique and one-off. I want my client to feel that they have something exceptional, something that no one else would LSA: We live in uncertain times; did pandemic have an impact on ever have. your business? ASH: Yes, in the beginning, it did not look promising. We noticed I also create without any specific order, this kind of projects I like the that number of orders started to decrease rapidly. All events were most. The idea comes to my mind and grows very slowly, I change it, cancelled and our production had to stop, lots of very interesting improve it … sometimes it starts with a small piece of fabric or a projects ceased. Fabrics had to go back on the shelves. But I decided ribbon and that triggers the whole process. I love this kind of creation not to give up but instead be flexible and adjust to the current and projects because I have a lot of time to work on them and usually situation. We created a mini collection with dresses that were cheaper they are the best, most original and polished costumes. When finished, and more modest. Lots of orders started coming through and I sell them. thankfully we did not have to fire anyone. I think that sometimes we need a situation like this; it teaches us how to be more creative, LSA: Do you consider yourself an artist or a designer? flexible and how to cope with difficulties. Of course, I am not saying it ASH: I think that every designer is an artist; it does not matter if it is is good to see that people are getting ill, it is our reaction to the fashion, scenography, architecture etc. We create commercial art, situation and what we can do with what we have. which people can relate to the most.

I was always very interested in commercial art and its history. Creation of porcelain, wallpaper, clothes or furniture is like a mirror of the times the artist was living. When looking at them you are able to move back in time and try to understand the way of thinking of those people. For me, it is like a stamp of people and time that has passed.

LSA: What is designing for you: work or a passion? ASH: It is both, my big passion and work at the same time. If you want to live and earn money from your passion you need to be prepared for hard work, long hours – it is not only your passion any more, you need to shift your mindset and become very professional, think strategically, look after your team and always finish your projects on time to keep your clients satisfied. Passion is your starting point and then you build your business based on it, keeping in mind that it can bring lots of changes and challenges. Sometimes, I feel exhausted by the hours spent embroidering. I would not do it if it was only my passion but I am responsible for my team and my brand.

LSA: Who are your clients? ASH: Usually women. They are a different, different age, country, profession etc. but I love them all. It never had an experience with ‘horrible’ client. I love building relationship with them; it takes months to create one costume but that gives an opportunity to get to know my client. I love that aspect of my work. Lots of my clients helped me promote my business and I am extremely happy and grateful that I meet such beautiful women on my path.

Most of them are artists. I had a pleasure to work with American artist creating feminist paintings, an art professor from Florence, artists who create costumes, a restorer from New York, owner of antique jewellery boutique, photographers, and constructors but also women who want to wear a costume once and add the creation to their private collection of dresses. I am proud that my work is appreciated by other artists.

LSA: Your business and what you create is very unique and specific, how easy or difficult is it to break through and be visible in a world full of other brands and fast-growing competition?

Luxury splash of Art ATELIER SAINT- HONORÉ

LSA: Your brand and what you do is very unique and we don’t see creations like yours in everyday life. Where can we find them? Are they just costumes or do you see them as something more? ASH: Interest in costumes is definitely growing around the globe; there are more and more events where costumes like ours can be worn. One of the biggest ones for example is an international festival organized by the Palace in Versailles or Venice Carnival. Smaller events or intimate gatherings organised by reconstruction societies. There are even picnics in the park where people meet wearing costumes from a certain century. It is so sophisticated and preparations are very important here, makeup, hairdo but also knowledge gaining.

LSA: What would you say to a young artist who is the beginning of their path? ASH: Never give up, work harder and harder, try not to copy anyone but look for your own style and ideas. It is important to find a niche and polish your skills to be an expert in your field. Learn new things and always invest in improving and gaining knowledge. Quality is the key, so no compromises. Planning next steps and goals is equally important – the best way to develop and grow. Being flexible, adjusting to a different situation. And always remember about your clients, look after them, treat them as you would like to be treated.

LSA: Do you have any plans for the future? ASH: I would love to have some time to rest but I rest actively. It would be ideal to have time for creation and time for production; this is how modern designers are functioning. I would not have to be in a rush constantly and do everything simultaneously. I hope that one day that will happen, then I would open other branches with modern fashion (quality and techniques would stay the same, of course!). It would give us the opportunity to open my dream showroom; all that hard work would pay off. I would not mind inviting my clients to my atelier for a glass of champagne in the surrounding of the library and amazing dresses.

https://atelier-saint-honore.eu/ Photography by Cezary Pomykalo Interview by Kamila Krzyzaniak luxury splash of art

39 Luxury Splash of Art

Art & Culture SYMBOLISM IN EGYPTIAN ART

The oldest preserved examples of painting come from times of ancient Egypt and were found on fragments of ceramic, linen cloth and on the walls. The depicted scenes landscape of the Nile and were full of images of animals, especially birds, fish and between man appeared. From the very beginning, painting severed both auxiliary functions and was art itself such as statues, reliefs, columns and scenes on the walls of the https://lnkd.in/g4nkTvX temple buildings, also the interiors of the houses, was painted but usually was decorated more modestly. The surface on which the painting was to be made was covered with a thin layer of smoothed lime mortar, on which the sketch of the scene was applied with a red line. The contours were marked with a strong black line and the resulting fields were filled in with colour. This reveals the main artistic conventions in Egyptian art, both pictorial, sculptural, and architectural, from the 3rd dynasty until the Ptolemaic period.

In Egyptian art, there is a total lack of perspective, so the characters are always represented identically: the head and legs are drawn in profile, shoulders, arms and hands from the front. The dimension of the characters within the Egyptian artistic convention resulted from their function at the heart of society. The dignitaries were, therefore, the most disproportionate in paintings, sculptures or bas-relief. The pharaoh, considered the son of God, was always represented as the greatest of all and so were the gods whose appearance depended on their notoriety and their power. Symbolism was omnipresent in Egyptian art. The animals were avatars of the gods and goddesses of the Egyptian pantheon; we find under the features of the jackal, the gods: ‘NPOU also named ‘NOUPOU (Anubis) funerary divinity whose name derives from ‘N PÂY POU (is it him ?), As well as OUPOUAOUT (Ophoïs) the opener of the way beyond. Color also had a sacred meaning: yellow evoked the Sun and by extension, the supreme tutelary divinity; green and blue symbolized the Nile River as well as life; red evoked strength, war, power and vitality; and black embodied death as well as the resurrection.

Patrick QUENUM was born in France in Paris. Graduated in art history, antique sales and art gallery management; after having been an antique dealer for more than 20 years, then a gallery owner, he is now an art historian and at the same time runs the art expertise and consulting company:

Art-Esthete – www.artesthete.com

Published book - Prehistoric Art: The Origin of Art Art was not born yesterday and this work will demonstrate it by going back to the origin of art: prehistoric art. "The history of art is one of the sciences allowing the study of the history of civilizations through their pictorial, sculptural and architectural works". Through this volume which is part of a series of books dealing with art and styles, all the intimate secrets of the works of art of this world will now be revealed to you. Luxury Splash of Art

The fight goes on... Artists support Women's Rebellion

At the beginning, there was a pandemic and chaos ensued, and now – there is a real hell for Polish Women, i.e. a ban created by politicians. This is a situation that is hard to accept in the 21st century when women still have to fight for their rights. Women are definitely saying STOP! Our body – our choice and our future do not depend on the government’s decisions. We feel frustrated because the whole situation with the epidemic and our isolation in the homes of Poland is being perfidiously used by the government to push through the anti-abortion law. Women are terrified that they may lose their rights to make decisions about their own lives. Jarek Kubicki

Fortunately, the response of women met with great support from artists who were not indifferent to this issue. You can find a lot of messages, illustrations, posters and paintings related to women’s issues because art never stands indifferently to everyday life. Art has always conveyed strong 'I want to point out that I am having a period too. Humanly. In a messages about moral and social issues. The artists’ sensitivity and moral responsibility to social and feminine way. The same way as any average woman. It affects political situations translate into their work. It is primarily a spontaneous creative idea, not an more people than hunger, lack of access to water or recently advertising campaign or just a graphic design on a common cause. The most important thing is for the popular coronavirus’ artists’ message to hit the nail on the head and speak in a language that is widely received and accepted by the average recipient. The role of the artist in the current situation is to convey, support Interview published in "Wolna Sobota", the weekend magazine of " and to inform, and thus encourage the public to take action, to make decisions and take the voice to Gazeta Wyborcza,, - bit.ly/3k82Ctn. the streets. Such an example is Jarek Kubicki’s ‘Fun Project’, where he shows us the roles of the main characters from famous film productions, in which words such as “fuck off” are boldly used. The Another artist, Puja Bhakoo uses her art to express her thoughts aforementioned heroines are strong, independent and firmly grounded women, where they fight for about the role of a woman in the world ‘Let’s talk Taboos….’ We’re their rights despite the most difficult situations. a liberal society, or so we think. But even today in a household like ours, the entire family goes hush-hush when the daughter has her The famous Polish philanthropist and reporter, Dominika Kulczyk - founder of Kulczyk Foundation, periods but starts pontificating when the son sprouts a beard. deals with various problems of the world. She doesn’t stay indifferent to other women’s problems.

Puja Bhakoo

Polly Lindsay & Agnieszka Stopyra

Photography of Dominika Kulczyk by ‘When I understood that very often woman is the source of any change, in fact any changes coming to Tatiana Jachyra our lives starts because of a woman. When I realised that, I decided to look closer, focus on women’s DOMINIKA KULCZYK NEW issues and support them. Our role (as women) and our importance to the world are much greater than PROJECT IS: ever. We are also much more aware of our rights and our impact on the world that we are actually changing more than before. It is fascinating to be a woman in times like this. Now, I have a goal: I want to support women’s freedom in the sphere of consciousness, corporeality and being. Start with "BLOODY PROBLEM,, nature, biology, sexuality, and physical sphere. The most important thing is awareness of being part of "WHERE ARE YOU FROM? everything here and now, also realizing itself in the sphere of spirit and intellect’. FROM THE VAGINA'' Art & Rugby? Story by Dieter Hanf

I am often asked how rugby and art go together and there are The stage structure of the building is rediscovered by the observer certainly good reasons to do so, because at first glance rugby on the left and right, and on the second viewing, one sees that the appears as a hard, daring sport and seems to have very little in shapes of the buildings on the left seem to reproduce the structure common with the subtlety of art. of the Empire State Building. A feature of Annette's work is the technical completeness of the execution of her photographs, so it is The fact that my love of rugby and art has accompanied me all my no wonder that photography is absolutely perfect in all its aspects life is based essentially on the same paradigms and I would like to of composition, light, sharpness, depth, cut, texture and exposure. present this today in two masterpieces. Three more features of this image are quickly forgotten through the humorous view. As a person you walk through the city, you see Annette Schreiber, a gifted photographer, a master graduate of the people, things, buildings, a crane, the Empire State Building ... ok. Academy of Fine Arts in Dusseldorf/Germany, where Joseph Nearly all people won't recognize the scene at all. Annette did, she Beuys once taught art, published a photograph titled "Hooked", lifted her head and the creation of art started to execute. showing an unusual scene. In November 2018 she photographed the Empire State Building in New York. This is nothing special, To create such a picture, you need a vision, you have to go in search considering the fact that this building was probably photographed of the right place, you have to do it quickly because the crane may a million times. However, Annette is a special artist of change its position and the desired effect is gone. Then you need architectural photography, so you may be curious. In fact, the perseverance, a sense of the right angle, you need the right timing picture shows a crane that seems to want to lift the Empire State and the certainty and clarity is perhaps the only right moment, the Building from its place because it seems to be attached to the artistically correct to do after a long hard photographic work with hook of the crane. all your experience, then you need to calm down and push the button once. This may well be a humorous anecdote right now, in fact, this picture is much more than that. Let's take a closer look. This reminds me of Jonny Wilkinson's Rugby World Cup-winning drop goal from 2003 in Australia. This is where the story starts to It is absolutely balanced in its composition. The crane, projecting get around because superficially it is about 90 seconds on the clock, from the right, stands in exactly the right position to the antenna 17:17 on the scoreboard, a man, his vision, his eyes, his hands, a ball, tip of the Empire State Building. Opposite him towering upright his foot, two square meter rugby pitch, the wind, the rugby bars and and almost barely breaking out of the line are two more the ball flying over it, that's it! No! It is not like that. Not only skyscrapers that seem to merge like a building. Their construction because it is about rugby history, as England won the World Cup as makes them recognizable as two buildings. The roof edge of the the first Northern hemisphere team against the reigning Champions smaller left building divides the picture in its vertical centre and on their home ground. Not only it was Jonny Wilkinson, as he kicked unconsciously directs the eye to the elaborate construction and in the perfection of course. It is the result of a team vision, it is a roof of the Empire State Building. result of permanent perseverance, tactical sense of the forwards, the scrum-half, technical knowledge, clarity, and the certainty is perhaps the only right moment, under high pressure in perfection to do the sporty right thing.